Cortes, 2014

Next Of Kin: Inbal Abergil in conversation with Elisabeth Sherman and Maurice Emerson Decaul, moderated by Allen Frame

Saturday, March 5th from 3 – 5pm
Seating is very limited, RSVP to advised
Suggested Donation $5
Q & A to follow the discussion

We are delighted to invite you to a panel discussion at the BAXTER ST at CCNY on Inbal Abergil’s exhibition, N O K – Next Of Kin, to be held on Saturday, March 5th from 3-5pm. With this body of work, Abergil examines private monuments erected among American families of soldiers, who have given their lives in the line of duty over the last century and brings us into a larger discussion of war, memory and the lived experience of conflict and trauma. The distinguished panelists are Elisabeth Sherman, Assistant Curator, Whitney Museum; poet and playwright Maurice Emerson Decaul, and Inbal Abergil, photographer. The panel will be moderated by Allen Frame.

This event is part of BAXTER ST at CCNY Conversations Series and will include a panel discussion followed by a Q&A. The event is free to the public but please RSVP as space is limited.


Elisabeth Sherman joined the Whitney in 2009. She assisted with the exhibitions Paul Thek: Diver (2010) and the 2012 Whitney Biennial. She was the senior curatorial assistant on the 2014 Whitney Biennial and Collected by Thea Westreich Wagner and Ethan Wagner, opening at the Whitney this fall. In 2012, she curated Trisha Baga: Plymouth Rock 2 and recently co-curated, with Laura Phipps, the installation of Michele Abele’s Baby Carriage on Bike or Riot Shield as Carriage (2015). Sherman works with the Photography Acquisition Committee and, since 2011, has served as the curatorial liaison to the Whitney Contemporaries. She has written for numerous Whitney exhibition catalogues as well as contributed to Artforum and Art in America. She has served on the juries for the Lower Manhattan Cultural Council Artist Residencies and the Rema Hort Mann Foundation Emerging Artist Grant and been a visiting critic for the Smack mellon Studio Program and Review Santa Fe. Previously, she was a curatorial assistant at the American Federation of Arts. She holds an M.A. from the Courtauld Institute, London, and a B.A. from Dartmouth College.

Maurice Emerson Decaul a former Marine, is a poet, essayist, and playwright, whose writing has been featured in the New York Times, The Daily Beast, Sierra Magazine, Epiphany, Callaloo, Narrative, The Common and others. His poems have been translated into French and Arabic and his theatre pieces have been produced at New York City’s Harlem Stage, Poetic License Festival in New York City, Washington DC’s Atlas INTERSECTIONS FESTIVAL in 2013 and 2014, l’Odéon-Théâtre de l’Europe in Paris, The Paris Banlieues Bleues Festival, The Middelhein Jazz Festival in Antwerp, The Avignon Theatre Festival in France and Détours de Babel, The Grenoble Festival, Grenoble France, Arizona State University Gammage Memorial Auditorium, The Metropolitan Museum of Art in New York City, The David Rubenstein Atrium at Lincoln Center and the Park Avenue Armory in NYC. Forthcoming productions include The Mary L Welch Theatre at Lycoming College in Pennsylvania The Kimmel Center in Philadelphia, Pennsylvania and Brown University. His album, Holding it Down, a collaboration withh Vijay Iyer and Mike Ladd was The LA Times Jazz Album of the year in 2013. Maurice, a Callaloo and Cave Canem Fellow, is a graduate of Columbia University [BA], New York University [MFA] and he began his MFA in playwriting at Brown in fall of 2015.

Inbal Abergil is a visual artist and an educator, originally from Jerusalem. Abergil holds an M.F.A. in Visual Art from Columbia University (2011). She studied photography at Jerusalem’s Hadassah College (2001), and received a BFA with honors from the Midrasha School of Art (2007). She has had recent exhibitions at Golden Thread Gallery, Belfast; Jeonju Photo Festival, South Korea; Shulamit Gallery, Venice, California; and Miyako Yoshinaga Gallery, New York City, among others. She is the recipient of numerous awards including the Rabenovich Prize from Tel Aviv’s Department of Art & Culture (2004), The America-Israel Cultural Foundation Foundation (2002) and the Artis Grant Program (2012). Her series Nothing Left Here But The Hurt was nominated for the prestigious Prix Pictet Photography Prize (2012). Abergil was selected as a 2013 FlaxArt International Artist in Residence, Northern Ireland. In 2015, Abergil’s recent project was selected for fiscal sponsorship with Artspire, a program of the New York Foundation for the Arts (NYFA).

Allen Frame is represented by Gitterman Gallery in New York where he has had solo exhibitions in 2005, 2009, and 2013.  His 2013 exhibition Dialogue with Bolaño was presented at the Museum of the Sonora in Hermosillo, Mexico, in 2014.  Detour, a compilation of his photographs over a decade, was published by Kehrer Verlag  Heidelberg in 2001.  He co-founded the contemporary art center Delta Axis in Memphis in 1992, and in 1990, he co-created  Electric Blanket, an epic slide show about AIDS, which toured throughout the U.S. and to Norway, the U.K., Germany, Hungary, Japan, and Russia.  He has been the curator of exhibitions at Art in General, including Darrel Ellis in 1996 and In This Place in 2004; at PS122 Gallery, including Bearings: the Female Figure in 2006; and at the Camera Club of New York, including Linda Salerno: A Selection of Experimental Photographs from the Black Mirror Series and Anatomy, Persona, and the Moment: 70’s Experimental Photographs of Luigi Di Sarro.  He currently serves as the President of the Board of the Camera Club of New York, and he is an Executive Producer of Joshua Sanchez’s feature film Four, released in 2013. He has been the recipient of grants from the Penny McCall Foundation, the Peter Reed Foundation, Creative Time, Art Matters, CECArtslink and others.  He teaches photography at Pratt Institute, the School of Visual Arts, and the International Center of Photography. He graduated from Harvard University in 1974.


The BAXTER ST at CCNY Conversations Series is made possible in part by generous support from public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.