Sentences with phrase «interim curator at the museum»

She is presently Interim Curator at the Museum of Contemporary Native Arts.

Not exact matches

«This idea of having a museum — and it was his vision, at that time, that it be a contemporary - art venue — as part of public education at a higher institution is really a pretty amazing and significant contribution, and has been a lasting contribution to this campus, certainly,» said Corinna Ripps Schaming, curator and interim director.

Before her arrival at the Farnsworth, she served as the Interim Director of the Museum of Art, Rhode Island School of Design, where she had previously been its Assistant Director and Curator of Prints, Drawings, and Photographs.

Curated by the museum's Interim Director and Chief Curator Alex Gartenfeld, «Flat Rock» is Overton's first solo exhibition at an American museum.

Light Sensitive is co-organized by guest curator Patricia Leighten, Professor of Art History & Visual Studies at Duke, and Sarah Schroth, Nasher Museum's Interim Director and Nancy Hanks Senior Ccurator Patricia Leighten, Professor of Art History & Visual Studies at Duke, and Sarah Schroth, Nasher Museum's Interim Director and Nancy Hanks Senior CuratorCurator.

FROM OUR BLOG / New Nasher Museum student intern Kristie Landing writes «I was fortunate to start my first day as an intern at the Nasher Museum when Sarah Schroth, Interim Director and Nancy Hanks Senior Curator, was leading a tour of the exhibition, Collecting Matisse and Modern Masters: The Cone Sisters of Baltimore.

Patricia «Sue» Canterbury has been appointed The Pauline Gill Sullivan Associate Curator of American Art at the Dallas Museum of Art, it was announced today by Olivier Meslay, the DMA's Interim Director and its Senior Curator of European and American Art and The Barbara Thomas Lemmon Curator of European Art.

To ensure a continuing stream of art projects, Friends of the High Line recently hired Lauren Ross, a former interim curator at the Brooklyn Museum who was also a director and chief curator at White Columns, to oversee its arts programming with a focus on emerging artists and site - specific commissions.

Prior to the Philbrook, she was curator of arts programs for the High Line in New York, an interim curator at the Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art, and director and chief curator of the alternative space White Columns.

She returned to academia with her most recent position as Interim Director and Curator of the Perlman Teaching Museum at Carleton College.

The 2016 Gerrit Lansing Independent Vision Curatorial Award Nominating Committee is comprised of: Omar Berrada, Writer, translator, and curator; Joselina Cruz, Director and Curator at the Museum of Contemporary Art and Design (MCAD), De La Salle - College of Saint Benilde, Manila; Elvira Dyangani Ose, Lecturer in Visual Cultures at Goldsmiths, independent curator and member of the Thought Council at the Fondazione Prada, Milan; Ruth Estévez, Director & Curator, Gallery at REDCAT, Los Angeles; Sam Bardaouil and Till Fellrath, Independent curators and academics, Co-founders of the multidisciplinary curatorial platform Art Reoriented, Munich and New York; Julieta González, Chief Curator / Interim Director, Museo Jumex, Mexico, and Adjunct Curator of Modern and Contemporary Art, Museu de Arte de São Paulo (MASP), Brazil; Susan Hapgood, Executive Director, International Studio & Curatorial Program, New York; Aileen Burns and Johan Lundh, Executive Co-Directors of the Institute of Modern Art, Brisbane; Lucía Sanromán, Director of Visual Arts, Yerba Buena Center for the Arts, San Francisco; Sally Tallant, Director, Liverpool Biennial; Emiliano Valdés, Chief Curator, Museum of Modern Art, Medellín; and Jochen Volz, Curator of the 32nd Bienal de São Paulo 2016, curator; Joselina Cruz, Director and Curator at the Museum of Contemporary Art and Design (MCAD), De La Salle - College of Saint Benilde, Manila; Elvira Dyangani Ose, Lecturer in Visual Cultures at Goldsmiths, independent curator and member of the Thought Council at the Fondazione Prada, Milan; Ruth Estévez, Director & Curator, Gallery at REDCAT, Los Angeles; Sam Bardaouil and Till Fellrath, Independent curators and academics, Co-founders of the multidisciplinary curatorial platform Art Reoriented, Munich and New York; Julieta González, Chief Curator / Interim Director, Museo Jumex, Mexico, and Adjunct Curator of Modern and Contemporary Art, Museu de Arte de São Paulo (MASP), Brazil; Susan Hapgood, Executive Director, International Studio & Curatorial Program, New York; Aileen Burns and Johan Lundh, Executive Co-Directors of the Institute of Modern Art, Brisbane; Lucía Sanromán, Director of Visual Arts, Yerba Buena Center for the Arts, San Francisco; Sally Tallant, Director, Liverpool Biennial; Emiliano Valdés, Chief Curator, Museum of Modern Art, Medellín; and Jochen Volz, Curator of the 32nd Bienal de São Paulo 2016, Curator at the Museum of Contemporary Art and Design (MCAD), De La Salle - College of Saint Benilde, Manila; Elvira Dyangani Ose, Lecturer in Visual Cultures at Goldsmiths, independent curator and member of the Thought Council at the Fondazione Prada, Milan; Ruth Estévez, Director & Curator, Gallery at REDCAT, Los Angeles; Sam Bardaouil and Till Fellrath, Independent curators and academics, Co-founders of the multidisciplinary curatorial platform Art Reoriented, Munich and New York; Julieta González, Chief Curator / Interim Director, Museo Jumex, Mexico, and Adjunct Curator of Modern and Contemporary Art, Museu de Arte de São Paulo (MASP), Brazil; Susan Hapgood, Executive Director, International Studio & Curatorial Program, New York; Aileen Burns and Johan Lundh, Executive Co-Directors of the Institute of Modern Art, Brisbane; Lucía Sanromán, Director of Visual Arts, Yerba Buena Center for the Arts, San Francisco; Sally Tallant, Director, Liverpool Biennial; Emiliano Valdés, Chief Curator, Museum of Modern Art, Medellín; and Jochen Volz, Curator of the 32nd Bienal de São Paulo 2016, curator and member of the Thought Council at the Fondazione Prada, Milan; Ruth Estévez, Director & Curator, Gallery at REDCAT, Los Angeles; Sam Bardaouil and Till Fellrath, Independent curators and academics, Co-founders of the multidisciplinary curatorial platform Art Reoriented, Munich and New York; Julieta González, Chief Curator / Interim Director, Museo Jumex, Mexico, and Adjunct Curator of Modern and Contemporary Art, Museu de Arte de São Paulo (MASP), Brazil; Susan Hapgood, Executive Director, International Studio & Curatorial Program, New York; Aileen Burns and Johan Lundh, Executive Co-Directors of the Institute of Modern Art, Brisbane; Lucía Sanromán, Director of Visual Arts, Yerba Buena Center for the Arts, San Francisco; Sally Tallant, Director, Liverpool Biennial; Emiliano Valdés, Chief Curator, Museum of Modern Art, Medellín; and Jochen Volz, Curator of the 32nd Bienal de São Paulo 2016, Curator, Gallery at REDCAT, Los Angeles; Sam Bardaouil and Till Fellrath, Independent curators and academics, Co-founders of the multidisciplinary curatorial platform Art Reoriented, Munich and New York; Julieta González, Chief Curator / Interim Director, Museo Jumex, Mexico, and Adjunct Curator of Modern and Contemporary Art, Museu de Arte de São Paulo (MASP), Brazil; Susan Hapgood, Executive Director, International Studio & Curatorial Program, New York; Aileen Burns and Johan Lundh, Executive Co-Directors of the Institute of Modern Art, Brisbane; Lucía Sanromán, Director of Visual Arts, Yerba Buena Center for the Arts, San Francisco; Sally Tallant, Director, Liverpool Biennial; Emiliano Valdés, Chief Curator, Museum of Modern Art, Medellín; and Jochen Volz, Curator of the 32nd Bienal de São Paulo 2016, Curator / Interim Director, Museo Jumex, Mexico, and Adjunct Curator of Modern and Contemporary Art, Museu de Arte de São Paulo (MASP), Brazil; Susan Hapgood, Executive Director, International Studio & Curatorial Program, New York; Aileen Burns and Johan Lundh, Executive Co-Directors of the Institute of Modern Art, Brisbane; Lucía Sanromán, Director of Visual Arts, Yerba Buena Center for the Arts, San Francisco; Sally Tallant, Director, Liverpool Biennial; Emiliano Valdés, Chief Curator, Museum of Modern Art, Medellín; and Jochen Volz, Curator of the 32nd Bienal de São Paulo 2016, Curator of Modern and Contemporary Art, Museu de Arte de São Paulo (MASP), Brazil; Susan Hapgood, Executive Director, International Studio & Curatorial Program, New York; Aileen Burns and Johan Lundh, Executive Co-Directors of the Institute of Modern Art, Brisbane; Lucía Sanromán, Director of Visual Arts, Yerba Buena Center for the Arts, San Francisco; Sally Tallant, Director, Liverpool Biennial; Emiliano Valdés, Chief Curator, Museum of Modern Art, Medellín; and Jochen Volz, Curator of the 32nd Bienal de São Paulo 2016, Curator, Museum of Modern Art, Medellín; and Jochen Volz, Curator of the 32nd Bienal de São Paulo 2016, Curator of the 32nd Bienal de São Paulo 2016, Brazil.

This year's prize was selected by Alex Gartenfeld, the interim director and chief curator of the Museum of Contemporary Art, North Miami, and Sylvia Chivaratanond, the adjunct curator of American Art at Paris's Centre Pompidou Foundation and Museum.

Light Sensitive is co-organized by guest curator Patricia Leighten, Professor of Art History & Visual Studies at Duke, and Sarah Schroth, Interim Director and Nancy Hanks Senior Curator at the Nasher curator Patricia Leighten, Professor of Art History & Visual Studies at Duke, and Sarah Schroth, Interim Director and Nancy Hanks Senior Curator at the Nasher Curator at the Nasher Museum.

Dallas, TX, August 22, 2011 — Patricia «Sue» Canterbury has been appointed The Pauline Gill Sullivan Associate Curator of American Art at the Dallas Museum of Art, it was announced today by Olivier Meslay, the DMA's Interim Director and its Senior Curator of European and American Art and The Barbara Thomas Lemmon Curator of European Art.

Interim Director Sarah Schroth, Nancy Hanks Senior Curator, and Trevor Schoonmaker, Patsy R. and Raymond D. Nasher Curator of Contemporary Art at the Nasher Museum, walked through the fair for at least nine hours over two days.

Light Sensitive was co-organized by guest curator Patricia Leighten, Professor of Art History & Visual Studies at Duke, and Nasher Museum Director Sarah Schroth, who at the time of the exhibition was the Nasher Museum's Interim Director and Nancy Hanks Senior Ccurator Patricia Leighten, Professor of Art History & Visual Studies at Duke, and Nasher Museum Director Sarah Schroth, who at the time of the exhibition was the Nasher Museum's Interim Director and Nancy Hanks Senior CuratorCurator.

In 2008 - 09, Ross served as Interim Curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, and previously served on the staff of the venerated alternative art space White Columns for seven years, including as its director / chief curator from 2001 tCurator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, and previously served on the staff of the venerated alternative art space White Columns for seven years, including as its director / chief curator from 2001 tcurator from 2001 to 2004.