Sentences with phrase «curatorial practice since»

Alongside teaching in the department of Curatorial Practice since the program's inception in 2003, he is a member (with Joanna Szupinska) of the curatorial collaboration grupa o.k., and is Senior Editor of The Exhibitionist, a journal of exhibition - making.

Not exact matches

Since 2012, she has initiated a series of collaborations tackling different aspects of public ceremonial culture, civic rituals, carnival and processional performance including Far Festa: Nuove Feste Veneziane (with curatorial collective CAKE AWAY; IUAV University and Fondazione Bevilacqua La Masa, summer 2013), Public Practice (with Delaney Martin; New Orleans Airlift, Fall 2014) and EN MAS»: Carnival and Performance Art of the Caribbean (with Krista Thompson; CAC New Orleans, 2014 - 15 and ICI New York 2016 - 18).

Respini has been a champion of photographic and new media practices since the early years of her career in MoMA's curatorial department, when she organized the 2012 blockbuster mid-career retrospective of Cindy Sherman.

Daniel F. Hermann, Eisler Curator and Head of Curatorial Studies said: «Since 2005, artist commissions have been a core part of the Whitechapel Gallery's programme that provides a vital forum for the development of artists» practice.

Hunt graduated from the Curatorial Practice program at the California College of the Arts in San Francisco, and has worked at various galleries and institutions since 2002, including Whitechapel Gallery, London; Friedrich Petzel Gallery, New York; the Wattis Institute for Contemporary Arts, San Francisco; and the Philadelphia Museum of Art.

Since Katrib joined SculptureCenter's curatorial team in 2012, her program has served as a launching pad for countless artists working across sculptural practices.

She will discuss her transition from New York City to Bentonville, her curatorial practice, and how her approach to curating has changed since the move.

Mussai lectures internationally on curatorial practice, photography, and cultural politics, and has been a regular guest curator and non-resident fellow at the Hutchins Center for African and African American Research at Harvard University since 2009, where she also serves on the Exhibitions and Acquisitions Committee of the newly established Cooper Gallery.

The Archives at the Center for Curatorial Studies at Bard College serve as the institutional repository for the Center, and the Hessel Museum of Art and as a collecting repository which actively acquires, preserves, and provides access to a wide range of primary materials documenting the history of the contemporary visual arts and the institutions and practices of exhibition - making since the 1960s.

By actively acquiring, preserving, and providing access to the archives and manuscripts of significant curators, innovative commercial art galleries, not for profit art spaces, arts collectives and initiatives, the Archives & Manuscripts Collection seeks to document the history of the contemporary visual arts and the institutions and practices of exhibition - making since the 1960s, representing a broad range of contemporary discourses and curatorial practices.

The graduate program at the Center for Curatorial Studies at Bard College (CCS Bard) is an intensive course of study in the history of the contemporary visual arts, the institutions and practices of exhibition - making, and the theory and criticism of the visual arts since the 1960s.

Debbie joined Hauser & Wirth Somerset from Bath Spa University where, since 2004, she worked as an Associate Lecturer teaching Critical Studies, Fine Art and Curatorial Practice.

KMQ: Since we last spoke, you've added a new methodology to your practice — a collective curatorial engagement — that you first introduced this past spring at Winklemann Gallery in your exhibition, The Wayland Rudd Collection.

Since 1983 he has developed an interdisciplinary art practice and exhibited internationally, and his curatorial projects have included innovative collaborations with visual artists, designers, and contemporary dance.

Since 1994, the Center for Curatorial Studies and its graduate program have provided one of the world's most forward - thinking teaching and learning environments for the research and practice of contemporary art and curatorship.

Since 2000 she has written extensively on the documentation of performance art (After the Act: The (Re) presentation of Performance Art, 2006) and performative curatorial practices and has curated numerous exhibitions and performance series in Europe as well as North America, including the series After the Act, Again and Against and Push and Pull (2005 - 2011) at the Museum of Modern art (MUMOK) in Vienna and TATE Modern in London.

Alongside teaching in the Graduate Program in Curatorial Practice at California College of the Arts since the program's inception in 2003, he is a member (with Joanna Szupinska - Myers) of the curatorial collaboration grupa o.k., and senior editor of The Exhibitionist, a journal on exhibitiCuratorial Practice at California College of the Arts since the program's inception in 2003, he is a member (with Joanna Szupinska - Myers) of the curatorial collaboration grupa o.k., and senior editor of The Exhibitionist, a journal on exhibiticuratorial collaboration grupa o.k., and senior editor of The Exhibitionist, a journal on exhibition making.

Since 2010, Bannerman tentatively explored, noted and when possible, co-opted movement and improvisatory methods as part of her curatorial practice.

Topics have included Artists in Residency in Tokyo, art and ecology and independent curatorial practices in Japan since 2000.

Since receiving her doctorate in 1994 she has worked as a consultant for a number of institutions in the Caribbean and Britain including the Royal Academy, London where she worked as coordinating editor for the exhibition and publication Africa the Art of a Continent (1995) the National Gallery of Jamaica where she has been a visiting curator member of the Board of Directors since 2000; The British Council where she worked as a consultant to evaluate and promote the profile of that organization in the Caribbean (1999 - 2000), The National Art Gallery of the Bahamas where she spearheaded the development of that institution's curatorial practices and policies following its establishment (2000 - 2002), and the School of Visual Arts in Jamaica where she designed that college's first degree program in Art History (2002 - 2Since receiving her doctorate in 1994 she has worked as a consultant for a number of institutions in the Caribbean and Britain including the Royal Academy, London where she worked as coordinating editor for the exhibition and publication Africa the Art of a Continent (1995) the National Gallery of Jamaica where she has been a visiting curator member of the Board of Directors since 2000; The British Council where she worked as a consultant to evaluate and promote the profile of that organization in the Caribbean (1999 - 2000), The National Art Gallery of the Bahamas where she spearheaded the development of that institution's curatorial practices and policies following its establishment (2000 - 2002), and the School of Visual Arts in Jamaica where she designed that college's first degree program in Art History (2002 - 2since 2000; The British Council where she worked as a consultant to evaluate and promote the profile of that organization in the Caribbean (1999 - 2000), The National Art Gallery of the Bahamas where she spearheaded the development of that institution's curatorial practices and policies following its establishment (2000 - 2002), and the School of Visual Arts in Jamaica where she designed that college's first degree program in Art History (2002 - 2004).

Building on its established practice since the fair's beginning in Hong Kong, Para Site provides the opportunity for emerging local artists to experiment and to expand their practice through collaboration and support from Para Site's curatorial team for newly commissioned works.

Leigh Markopoulos (1968 - 2017) was a writer, editor, curator, arts manager, the Director of the Steven Leiber Trust, a significant collection of artist's books, ephemera, and works, and the chair of the Graduate Program in Curatorial Practice at the California College of the Arts (CCA), San Francisco since 2008.

Since its inception in 2009, the course has been recognized as a platform for open discussions on curatorial practices and theoretical discourses of contemporary art with special emphasis on the strategic and aesthetic approaches of biennales.

Chosen from the plethora of exhibitions, biennials and art events that have sprung up across the world since the 1990s, each exhibition reviewed here has triggered profound changes in curatorial practice, and reanimated the potential of contemporary art.

Since its inception, the course has provided an open platform for collaborative education and expansion of curatorial practice as well as an opportunity for young curators to build an international network.

In addition to her studio and curatorial practice, Churchill has been the organizer of Conversations at SOHO20 Chelsea Gallery since 2009.

Her research and curatorial projects are determined by the specific socio - political conditions: OtherIS (2011 - ongoing) is a curatorial platform of video art relating to the US - sanctioned countries; Avant - Guide to NYC (apexart, 2009) redressed historical referents of art in the city within the present; Custom Car Commandos (Art in General, 2009) cross-sectioned the auto industry in crisis with the image industry; Soap Box Event by Pia Lindman (Federal Hall National Memorial, 2008) practiced performance of free speech; among numerous other projects since 1995, when she curated the Third Annual Exhibition of Soros Center for Contemporary Art in Vilnius, Lithuania (1995) in the post — Soviet conditions at the emergence of global networks.

The author of three books of poetry and numerous exhibition catalogs, Pritikin has taught in the graduate curatorial practice program of California College of the Arts since 2003.

Since his early electronic music pieces, Fell's practice has expanded to include moving - image works, sound and light installation, choreography, critical texts, curatorial projects and educational activities.

Since 2008, she served as chair of CCA's Curatorial Practice Program.

In addition to her studio practice, Donahue has maintained the ongoing interdisciplinary project Disparate Minds with collaborator Tim Ortiz since 2014, the scope of which includes curatorial projects, exhibition reviews, essays, and research dedicated to discussing the work of marginalized self - taught artists in the context of contemporary art.

It has since developed into a curatorial project that seeks to make connections through diverse modes of art making by finding common threads in work borne of a challenging and rigorous practice.

Since 1988, Ben Kinmont «s project - based work has demonstrated an interest in archiving and blurring the boundaries between artistic production, publishing, and curatorial practices.