Natalia Mount | Executive Director
Originally from Sofia, Bulgaria, Mount holds an MBA in Media Management from the Metropolitan College of New York in New York, M.A. in Art Market from the Fashion Institute of Technology in New York and a B.A. in Criminal Justice from John Jay College of Criminal Justice in New York. Mount has over twenty years of experience working in the contemporary art field at a number of institutions including MoMA PS1, one of the oldest and largest nonprofit contemporary art institutions in the United States, and the Clocktower, the oldest alternative art project in New York, with its radio station, Clocktower Radio, founded in 2003 as one of the first all-art online museum radio stations in the world.
While at MoMA PS1 and Clocktower, Mount worked with international scope of curators, artists, and institutions, and on seminal exhibitions such as the first instalment of Greater New York in 2000; the retrospective of painter John Wesley, covering his entire career from 1961-2000; Around 1984: A Look at Art in the Eighties, Disasters of War: Francisco de Goya, Henry Darger, Jake and Dinos Chapman; Body Works: Bruce Nauman, Valie Export, Gabriel Orozco, Joan Jonas, and Louis Bourgouis; Sol LeWitt: Concrete Block; Min Tanaka presents Subject: Heuristic Ecdysis, Santiago Sierra, Person remunerated for a period of 360 consecutive hours, 2000, among others. In 2013, Mount was the Associate Director of Research and Archive for the Dale Henry Estate and subsequently, worked in the role of a consultant for the Dale Henry: The Artist Who Left New York retrospective exhibition at Pioneer Works, Center for Art and Innovation in Brooklyn, NY in the Spring of 2014.
Mount is the co- founder of FLUX Art Space – a pioneering nonprofit organization that commissions and produces long-term art projects, claiming the intersection of art, technology, and civic engagement. Mount is also the founder of Redhouse Radio, the first radio station in Central New York, exclusively dedicated to programming in the arts. From 2007 until 2012, Mount was the Executive Director of The Red House Arts Center, a nonprofit, multi-arts organization dedicated to interdisciplinary works in theatre, music, and the visual arts. From 2010 until 2012, Mount served on the Advisory Panel for New York State Council on the Arts’ Theatre Program and prior to that appointment, she co-founded NYSCA’s Upstate/Downstate Theatre and Presenting Programs Initiative with the mission to promote collaborations between small and mid-sized NYC-based producing/presenting organizations and their upstate counterparts. She is a recipient of The Ewing Marion Kauffman Prize in Entrepreneurship and the 2011 Arts Connect Curator of the Year Award. Select presentations at International conferences include: “The Politics of Representation, Displacement and Hybridity in Cultural Production” at Light/Move Festival, Łódź, Poland, 2011; “Situational Technologies Reinvestigated Through Open Network Radio Utilizing Modular Transmission in Urban Areas,” at the Third International Puredata Convention, Sao Paolo, Brazil, 2009.
Mount’s curatorial practice utilizes a trans-disciplinary approach to the politics of representation, visual art and cultural memory. Select curatorial projects and new work commissions include: LUMEN International Video and Projection Festival, including more than 50 individual artists and collectives; Decadent Eclipse: Marion Wilson, Joro de Boro, Jessica Posner, Daniela Kostova, Michael Burkard, Samantha Harmon; HOUSE/XAYC: Hybrid Authenticity Under Construction site-specific project by collective XAYC; I Stole It, I Borrowed, I Broke It: 4 Residency Unlimited Artists, with Anne Percoco, Edward Schexnayder, Kate Shaw and Eve K. Tremblay; Lewis Colburn’s The X-Prize and The Herotic Theory of Invention; Matthew Gehring’s From the Bottom of My Heart; Inventory of Terrors, a piano quintet written by Andrew Waggoner for “Open End,” and Blake Carrington’s Topoextension, among others.
In addition to Mount’s extensive curatorial and theoretical background and practice in the visual arts, Mount has curated and produced numerous theatre works, among which are: Tongues Will Wag, written and performed by Mike Daisey and directed by Jean-Michelle Gregory; Lovesong, written by John Kolvenbach and directed by Peter Moller; The Eaten Heart, written & directed by The Debate Society, Evolution, written and performed by Patricia Buckley, directed by Leslie Noble; Intringuilis, written and performed by Carlo Alban and directed by David Anzuelo, co-production with LAByrinth Theatre Company, NYC; Nuit Blanche, an original dance theatre peace by CORPUS; and Radio Play by Reggie Watts & Tommy Smith.
Mount has also curated and produced Film and Music programs such as: ((Audience)) Experimental Cinema & Sound Festival (Cinema for the Eyes & Ears); Overcoming the Spectacle: A Cinema of Pure Means; and Art as Politics, screenings of Predictions of Fire and Taking Down a Dictator; The Leading-Edge Series: Contemporary Classical Concerts for Small Audiences with performances by Neil Rolnick, Flexible Music, Sequitur, and Open End; Performances by Alva Noto & Byetone; Ashtray Navigations/Chris Corsano & Michael Flowers; Mellits Consort (USA); Real Quite; Zach Layton & MV Carbon; Loud Objects and others.
In the role of a consultant, Mount has worked on numerous strategic and development plans and large scale fundraising projects with organizations, such as: Residency Unlimited; Studio REV-, Royal Theatre Productions; Ruby Slippers Fundraising; Big Deal Advisory; and the Amoralists Inc., among others. Mount has also taught graduate classes in Business, Art Management and Art History. Last but not least, Mount has developed many innovative online platforms for artistic and cultural exchange, such as Lexicon and Exquisite Corps. Mount is currently collaborating on a book, concerning the topic of contemporary art production in Bulgaria, post-communism.
Sarah Lockhart | Associate Director
Sarah has almost 20 years of experience working for Bay Area non-profit arts organizations, after spending several years working in commercial radio production. Beginning as a volunteer at San Francisco’s media arts non-profit, Artists’ Television Access in 1998, Sarah went on to work as a media exhibition technician at the SF MoMA. In 2000, Sarah co-founded Oakland interdisciplinary arts space, 21 Grand, where she directed its acclaimed music and performance program, as well as managing marketing and fundraising. Sarah was one of the earliest leaders of the Oakland Art Murmur, and served as its Treasurer for the first 5 years. She also collaborated with other curators’ projects, Neighborhood Public Radio and The Illuminated Corridor, to produce work at Southern Exposure, the Whitney Biennale, and in various public spaces in the Bay Area.
After 21 Grand closed in 2011, Sarah served as Interim Executive Director of the Lab (2012-2013), rescuing that organization from bankruptcy and closure, as well as guest lecturing at Mills College on business models for arts organizations. From 2005 – 2016, Sarah was the Business and Marketing Manager for performing arts non-profit, the Paul Dresher Ensemble. In addition to her curatorial and project management experience, Sarah has 15 years of experience as a bookkeeper and licensed tax preparer. Sarah Lockhart holds a BA in Modern Culture and Media from Brown University, focusing on video art, popular culture, and electronic music; and an MA in Radio and Television from San Francisco State University, where her thesis was a fictional found-footage documentary claiming consumer desire is caused by a virulent brain parasite.
Samantha Reynolds | Gallery Manager
A native Chicagoan, Reynolds completed her master’s degree at the School of the Art Institute of Chicago in the Arts Administration & Policy department. There, she worked on a variety of curatorial and public programming projects and researched the adaptive and resilient nature of cultural organizations.
Prior to moving to the Bay Area, Reynolds worked as the Curatorial Fellow at Hyde Park Art Center focusing predominantly on the biennial exhibition, Ground Floor – which features recent MFA graduates from five Chicago universities. While there, she also served as the Interim Residency Manager, working with visiting international artists to develop research-based projects, public programs and connect with various cultural communities. Outside of Pro Arts, Reynolds continues to be involved in a variety of curatorial projects focusing on emerging and experimental artist practices in the Bay Area.