Ann Harezlak is an art historian, curator, and archivist who lives and works between Los Angeles and London.
Her trans-disciplinary practice considers archives and ephemera as primary materials for exhibition making and focuses on notions of hybridity across objects and relations. She is currently a Research Associate in the Getty Scholars Program at the Getty Research Institute, and has assisted major archival acquisition projects at institutions such as Tate Archive, the Henry Moore Foundation, Special Collections at the Chelsea College of Arts Library and the Ian Hamilton Finlay Archive at William Allen Word & Image. In addition to her archival practice, Harezlak is a founding member of the curatorial collective Five Story Projects (FSP), a key contributor to London’s self-organized exhibition culture of the late 2000s, and KollActiv, a nomadic exhibition platform for contemporary art practices.
She has created public programs and exhibitions for institutions including Tate Britain, the Victoria & Albert Museum, the Henry Moore Foundation, Burpee Museum of Natural History and the galleries 3307 W Washington Blvd, Actual Size Los Angeles and Sonce Alexander Gallery. Her writings and research have been published by Tate Research, Tiny Splendor Press LA and Bright Light Journal London. She received a MA in Critical Writing and Curatorial Practice from the University of the Arts London and a BFA in Photography from The University of Illinois.
A select list of her projects include: An Archive-in-Residence, BOOKSHELVES, 3307 W. Washington Blvd, Los Angeles, USA (2018); Seeing Sculpture: Gemma Levine & Henry Moore, Victoria & Albert Museum, London, UK (2017); Life in Perry Green: Gemma Levine, The Henry Moore Foundation, Perry Green, UK (2017); Mingled Visions: from The North American Indian by Edward S. Curtis, Burpee Museum (DUMA), IL, USA (2016); Linguaviagem: A Poesia Concreta Dialogue, Actual Size Gallery, Los Angeles, USA (2016); The Promise of Something and Nothing, Tiny Splendor Press, Los Angeles, USA (2015); Henry Moore in the Gemma Levine Archive, Henry Moore: Sculptural Process and Public Identity, Tate Research, Tate Online, London, UK (2015); Arrive and Likewise Depart, LA (2014); With Gemma Levine & Henry Moore, Tate Britain, UK (2016 & 2014 & 2013); Sent/received: selected cards related to the Nigel Greenwood Gallery, 1969-1974, Implicit Geographies, Bright Light Journal, London, UK (2014).