Elizabeth Smith joined the Helen Frankenthaler Foundation as its first executive director in fall 2013.[9][10]
Her previous position as executive director, curatorial affairs at the Art Gallery of Ontario (AGO) in Toronto was from 2010 to 2013,[11] and her position as Chief Curator and Deputy Director of Programs at Chicago's Museum of Contemporary Art (MCA) was from 1999 to 2009.[12][13] Prior to joining MCA, her position as Curator at The Museum of Contemporary Art (MOCA) in Los Angeles was from 1983 to 1999.
Smith's curatorial work and writings have spread extensively across many areas, including visual art, public art, and architecture from mid-20th century forward, and have continuously advanced the work of many women artists. While at AGO, Smith curated and oversaw exhibitions on the work of artists Yael Bartana[14] and Kim Adams,[15] as well as group shows with artists including LaToya Ruby Frazier and Erin Shirreff, and was curator-in-charge of traveling exhibitions such as Abstract Expressionist New York,[16]Chagall and the Russian Avant-Garde curated by Angela Lampe,[17] and Picasso: Masterpieces from the Musée Picasso.[18]
Besides her exhibition catalogues, Smith's writings have appeared in such publications as Do-ho Suh: Drawings;[39]Chicago Makes Modern; Buckminster Fuller: Starting with the Universe;[40]Design Cities 1851–2008;[41]Birth of the Cool;[42] and the 54th Carnegie International.[43] She is the author of Techno Architecture (2000)[44] and books on the Los Angeles Case Study Houses (2002/2006).[45] Her essay "Redefining a Practice: Helen Frankenthaler and Painting in the Early 1960s" appeared in the catalogue Helen Frankenthaler: Composing with Color, 1962–1963,[46] co-published by Gagosian Gallery and Rizzoli International Publications in 2014. Her essay on Helen Frankenthaler's use of color was published in a special issue on color in the journal PUBLIC,[47] in October 2015, her text on five sculptors of the 1950s appears in the book "Revolution in the making: Abstract Sculpture by Women 1947–2016,"[48][49] and she is the lead essayist in the 2021 book Catherine Opie,[50] published by Phaidon Press.
In 2004 Smith won the "Best Monographic Museum Show Nationally" award from the Art Critics Association/USA for her exhibition Lee Bontecou: A Retrospective,[57] and her catalogue for the exhibition was described by the Museum of Contemporary Art, Chicago, as "one of the best-selling in the museum's history."[58]