The imprint is founded by Maika Pollack, an art historian and writer based in New York, NY.
Maika Pollack holds an A.B. in art history from Harvard, an MFA in writing from Columbia University School of the Arts, and an M.A. and Ph.D. in art history from Princeton. She wrote a column on museum exhibitions in New York as an art critic for the New York Observer from 2011-2015. She has also published on contemporary art in Aperture, Artforum, ArtNews, BOMB, the Brooklyn Rail, Cultured, Flash Art, Interview Magazine, and The New York Times. Pollack is a founding member of Southfirst, in Brooklyn NY (2000) and in 2015 became the sole proprietor of the gallery. She also founded Object Relations (2015), a company for art historical research, exhibitions and publications. As a curator, her recent exhibitions have included “Jared Bark: Photobooth works, 1969-1976,” “Leslie Thornton: Of Necessity I Become an Instrument,” “Robert Grenier: Language Objects—Letters in Space 1970-2013,” and “Rosemary Mayer: Conceptual Works and Early Fabric Sculptures, 1969-1973.” Publications by Object Relations include Jared Bark: Photobooth Works & Performance Videos, 1969-1976 (2015), Excerpts from the 1971 Journal of Rosemary Mayer (2016) and the forthcoming Joe Gibbons: Drawings from Rikers (2017). Her exhibitions are reviewed regularly in The New York Times, The New Yorker, Artforum, Art in America, the Brooklyn Rail, Hyperallergic, and other publications. She has also curated and organized exhibitions at Sarah Lawrence college, PS1/MoMA, and the Whitney Museum, and contributed to museum exhibition catalogs for institutions including Ps1/MoMA, the Provincetown Art Museum, and the Museum of Contemporary Art, Cleveland. Pollack has taught art history and curatorial studies at Sarah Lawrence College (2015- present) and NYU, and writing at Bard College, Princeton and Columbia University. She lives and works in NY, NY. Current research interests include nineteenth-century French painting, the history of photography and performance, art of the 1970s, and feminist art.CV