Sentences with phrase «curators look at the year»

13 CRITICS AND CURATORS LOOK AT THE YEAR IN ART Artforum International; December 1, 2004; Gingeras, Alison M Rimanelli, David Higgs, Matthew Cooke, Lynne Et al; 700 + words Alison M. Gingeras Alison M. Gingeras is an independent curator and writer based in Paris and New York.

«Best of 2004: 13 Critics and Curators Look at the Year in Art.»

Not exact matches

«Sturtevant's work is very «now,» and even her pieces from the»60s look as fresh today as they did when she created them,» says the curator Hans Ulrich Obrist, who oversaw a retrospective at London's Serpentine Gallery last year that drew record crowds.

At the gallery's 293 Tenth Avenue location, «Robert Motherwell: Early Paintings» examines the lesser - known, experimental abstractions of the artist's pre - «Elegy» years.1 Around the corner at Kasmin's 515 West Twenty - seventh Street venue, «Caro & Olitski: 1965 — 1968, Painted Sculptures and the Bennington Sprays» looks to the personal friendship and creative dialogue between sculptor and painter.2 And finally, up the block at the gallery's 297 Tenth Avenue address, in «The Enormity of the Possible,» the independent curator Priscilla Vail Caldwell brings the first generation of American modernists together with some of the later Abstract Expressionists — Milton Avery, Oscar Bluemner, Charles Burchfield, Stuart Davis, John Marin, Elie Nadelman, and Helen Torr, among others, with Lee Krasner, Jackson Pollock, and Mark RothkoAt the gallery's 293 Tenth Avenue location, «Robert Motherwell: Early Paintings» examines the lesser - known, experimental abstractions of the artist's pre - «Elegy» years.1 Around the corner at Kasmin's 515 West Twenty - seventh Street venue, «Caro & Olitski: 1965 — 1968, Painted Sculptures and the Bennington Sprays» looks to the personal friendship and creative dialogue between sculptor and painter.2 And finally, up the block at the gallery's 297 Tenth Avenue address, in «The Enormity of the Possible,» the independent curator Priscilla Vail Caldwell brings the first generation of American modernists together with some of the later Abstract Expressionists — Milton Avery, Oscar Bluemner, Charles Burchfield, Stuart Davis, John Marin, Elie Nadelman, and Helen Torr, among others, with Lee Krasner, Jackson Pollock, and Mark Rothkoat Kasmin's 515 West Twenty - seventh Street venue, «Caro & Olitski: 1965 — 1968, Painted Sculptures and the Bennington Sprays» looks to the personal friendship and creative dialogue between sculptor and painter.2 And finally, up the block at the gallery's 297 Tenth Avenue address, in «The Enormity of the Possible,» the independent curator Priscilla Vail Caldwell brings the first generation of American modernists together with some of the later Abstract Expressionists — Milton Avery, Oscar Bluemner, Charles Burchfield, Stuart Davis, John Marin, Elie Nadelman, and Helen Torr, among others, with Lee Krasner, Jackson Pollock, and Mark Rothkoat the gallery's 297 Tenth Avenue address, in «The Enormity of the Possible,» the independent curator Priscilla Vail Caldwell brings the first generation of American modernists together with some of the later Abstract Expressionists — Milton Avery, Oscar Bluemner, Charles Burchfield, Stuart Davis, John Marin, Elie Nadelman, and Helen Torr, among others, with Lee Krasner, Jackson Pollock, and Mark Rothko.3

On the occasion of what would have been his 100th year, this symposium, recorded on December 1, 2012, at the National Gallery of Art, takes a new look at Smith's achievement from the diverse perspectives of artist, art historian, and curator.

When Frieze Masters opened two years ago it was a very of - the - moment event, combining contemporary and classical art in a single setting in a way that has become increasingly voguish among curators — just look at the last Venice Biennale or dOCUMENTA, for example.

Hoffmann is positioning himself to be a major player in this emerging field of the exhibition - as - exhibition - history: his most recent book Show Time: The 50 Most Influential Exhibitions of Contemporary Art, published by D.A.P., is a useful compendium of the most important museum exhibitions, biennials, and experimental exhibition projects from the late 1980s through today, offering a thorough look at art exhibitions from the past 30 years that have dramatically altered the way artists, curators, and art patrons experience the contemporary exhibition.

This year, under the rubric Futures Past, the speaker series looks at topics around the imagination of the future emerging from two exhibitions on view at Blaffer Art Museum through Fall and Spring, Sergio Prego: Rose - colored Drift / To the Students (October 28, 2017 - January 27), curated by Javier Sánchez Martínez, and The Future is Certain; It's the Past Which is Unpredictable (February 9 - April 1, 2018) curated by Lithuanian independent curator Monika Lipšic with Toby Kamps.

In this video we have a closer look at the exhibition, and the director of Haus Konstruktiv and curator of the show, Dorothea Strauss, explains why she wanted to stage this exhibition since she became director of the museum eight years ago.

This year's guest country is Switzerland and the fair will also be taking a close look at the French art scene with a new theme developed especially for the twentieth anniversary: a selection of 20 artists to mark the 20th anniversary of Art Paris Art Fair by exhibition curator and art critic François Piron.

Met curator Sabine Rewald looks at prints of cats created by an 11 year old Balthus, as well as discusses some of his early portrait work.

After all, at this point, the company, who promised free creative reign to Lew and Locks for the project, and is sponsoring not only this year's, but the next few biennials through 2021, should know what it signed up for — or at least the intentions of the biennial's youngest - ever curators, who were looking not to create extra work for the artists for the sake of a watered - down corporate sponsorship, but to instead give them a chance to expand their biennial contributions and typical artistic practice, «as if their studio has expanded exponentially to the collaboration.»

Each year, an individual or a collaborative team (e.g. an artist, a curator, a writer, etc.) is invited to make an exhibition at White Columns based on their personal experience of looking at art in New York in the previous year.

The curators have been encouraged to look at the Tate's vast holdings year by year, with a plodding degree of thoroughness, in order to spot the unusual.

Opening: «Looking Back / The 10th White Columns Annual» at White Columns Organized by New York art world insiders, this annual White Columns exhibition offers a look back at what the show's curator saw over the past year, whether in an exhibition, in the artist's studio or online or in a publication.

Artists Space curator Richard Birkett appeared to have done some close, rough - and - tumble looking at New York exhibitions over the year past.

20 Years - An overview of the French art scene: For its 20th anniversary and in reference to its initial vocation of supporting the French art market, Art Paris Art Fair asked exhibition curator and art critic François Piron to take a subjective look at the French art scene.

After Jon Rafman's highly successful sculptural installation including VR - experiences at Seventeen's booth at Frieze London last year, Cecilia Alemani, curator of the Frieze Projects, tapped him for another show - stopping experience of looking and being looked at.

Lecture Abstract Expressionism: Looking East from the Far West Theresa Papanikolas, Ph.D., Deputy Director of Art and Programs Sept 7 • 5:30 pm • Doris Duke Theatre • Free Theresa Papanikolas, who curated the exhibition, gives an in - depth look at the museum's biggest show of the year from the curator.

When Senior Curator of Contemporary Art Gavin Delahunty arrived at the Dallas Museum of Art several years ago, he started exploring the collection as a whole and looking for different types of art.

Supported by a catalogue essay in which the curator Catherine Lampert discusses their habits and methods and introduces previously unseen writing by the artists, the exhibition will look at the way their conversations impacted on the development of their work, demonstrating that despite their wide - ranging styles they are each linked by a desire to catch what Bacon describes as «the mystery of appearance within the mystery of making», and in doing so broke new ground in contemporary painting The exhibition includes major works by each artist, several borrowed from public collections, among them Francis Bacon's Pope I 1951 from Aberdeen Art Gallery, David Hockney's Man in a Museum 1962 from the British Council and others like Frank Auerbach's Primrose Hill, Winter Sunshine 1962 - 64 and Euan Uglow's Nude, Lady C 1959 - 60 which have not been seen in public for many years.

Curated by Jarrett Gregory, who was formerly an associate curator of contemporary art at the Los Angeles County Museum of Art, this year's Focus section looks at economies, both here and elsewhere.

The magazine's December «Best of 2014» issue takes a look back at the past year, querying artists, critics and curators about the art they have seen, seeking their favorite highlights.

The de Young, which is experiencing difficult growing pains in its drive to become a thoroughly modern institution, opened the year with «Speaking in Tongues,» a witty investigation of its collection and display conventions by museum deconstructor extraordinaire Fred Wilson, and closed it out with «Museum Pieces,» an invitational show organized by guest curator Glen Helfand in which 18 local artists and artist teams looked critically at every aspect of the museum's history and function.

WORK HISTORY Aug 2007 — Dec 2012 Local Museum — Indianapolis, IN Curator • Arranged for a particularly rare Mayan artifact that the museum was looking for to be displayed for three years • Researched newfound facts about three different displays and added to the information tablet • Planned and executed exhibitions • Worked with the public at large to provide information regarding particular displays • Researched new and rare artifacts and arrange form purchases • Cataloged all items according to type • Managed item preservation • Wrote content for museum's website and tablets • Hired and trained staff to manage the exhibits