Sentences with phrase «white art fund»
BLACK & WHITE ART FUND is proud to announce its first acquisition — Water Paintings, a series of seven photographs by the Brooklyn based artist Peter Brock.
http://www.blackandwhiteprojectspace.org/ Not exact matches
For programs under the college, career, and citizenship umbrella, only those that were funded in FY12 received money in the committee's bill, including Elementary and Secondary School Counseling ($ 52 million), Carol M. White Physical Education Program ($ 78 million), and Arts in Education (funded under a different line item, but scheduled to receive $ 26.5 million).
The Arts Fund celebrates 30th anniversary with A Formal Affaire: Art - Making in Black and White Exhibition, Auction, and Party in the Funk Zone.
Images: James Turrell, Raemar Pink White, 1969, Shallow Space, Collection of Art & Research, Las Vegas, Installation view at Griffin Contemporary, Santa Monica, CA, 2004, © James Turrell, Photo by Robert Wedemeyer, courtesy Kayne Griffin Corcoran, Los Angeles; James Turrell, Breathing Light, 2013, LED light into space, Los Angeles County Museum of Art, purchased with funds provided by Kayne Griffin Corcoran and the Kayne Foundation, M. 2013.1, © James Turrell, Photo © Florian Holzherr.
Collection Albright - Knox Art Gallery, Buffalo, New York; By exchange: Charlotte A. Watson Fund and Gift of Miss Amelia E. White, 2012 (2012:19).
The Lehmann Maupin gallery, which launched the installation this past Friday in collaboration with the Art Production Fund and White Cube, also opened a contemporaneous exhibition, «Tracey Emin: I Followed You to the Sun,» earlier this month, and her first solo museum exhibition in the U.S. will open at Miami's Museum of Contemporary Art in December.
Arlen Austin (b. 1981, Winooski VT), has worked on an uncompensated or below minimum wage basis for: Columbia University School of the Arts, Scaramouche Gallery, Chinese Staff and Workers» Association, Brooklyn is Burning, Public Art Fund Development Grant, Daniele Ugolini Contemporary, National Mobilization Against Sweatshops, Lower Manhattan Cultural Council, Mole Vanvitelliana, Ancona, Sweatshop Free Upper West Side, Volta NYC, Creative Time / Queens Museum, 6 - 9 Months Project Space, Fischer - Landau Center for Contemporary Art, Barefoot in the Head at Bruce High Quality Foundation, White Box and Frederich Petzel Galleries.
Art Production Fund (APF), White Cube and Lehmann Maupin, in cooperation with NYC Parks & Recreation, are pleased to present Roman Standard (2013), by Tracey Emin on view from May 10 to September 8 at Petrosino Square at Spring and Lafayette Streets in New York.
Selected solo exhibitions include The Public Art Fund, New York; Roger Bjorkholmen Gallery, Stockholm, Sweden; Postmasters Gallery, New York; White Cube, London, U.K. Selected group exhibitions in 2000 include The New Museum of Contemporary Art, New York; Seoul Biennial, Seoul; and Apex Art, New York.
Her work has been shown in solo shows at the Whitney Museum of American Art (New York), the Public Art Fund (New York), the Sculpture Center (Cleveland) and White Columns (New York) and included in the collections of the Museum of Modern Art (New York) and the Whitney.
(60 x 27.5 x 23 cm) Participant and breath: Pauline Oliveros San Francisco Museum of Modern Art, Accessions Committee Fund purchase Sphere Packing: Mozart, 2014 White polymer 3 - D print and 565 - channel audio 13 3/4 in.
Uta Barth, American, born Germany, 1958,... and to draw a bright white line with light (Untitled 11.5), 2011, three inkjet prints, National Gallery of Art, Washington, Alfred H. Moses and Fern M. Schad Fund, Courtesy of the artist and Tonya Bonakdar Gallery, New York
Images: Jackson Pollock, Echo: Number 25, 1951, 1951, enamel paint on canvas, Acquired through the Lillie P. Bliss Bequest and the Mr. and Mrs. David Rokefeller Fund, Museum of Modern Art, New York © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Number 7, 1951, 1951, enamel on canvas, The National Gallery of Art, Washington, D.C., Gift of the Collectors Committee (1983.77.1) © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Untitled, c. 1949 - 50, painted terracotta, Collection Gail and Tony Ganz, Los Angeles © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Portrait and a Dream, 1953, oil and enamel on canvas, Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Number 14, 1951, 1951, oil on canvas, Purchased with assistance from the American Fellows of the Tate Gallery Foundation 1988 © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York; Jackson Pollock, Black and White Painting II, c. 1951, oil on canvas, Private Collection © 2015 The Pollock - Krasner Foundation / Artists Rights Society (ARS), New York
Beautiful is supported in part by the Diane W. Camber Exhibition Fund and Gander & White, and presented with the support of the City of Miami Beach, Cultural Affairs Program and Cultural Arts Council, the Miami - Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami - Dade County Mayor and Board of County Commissioners, and sponsored in part by the Department of State, Division of Cultural Affairs, the Florida Council on Arts and Culture and the State of Florida.
With the funds from an additional Rosenwald Fellowship the following year, White spent a year creating the mural at the Hampton Institute (now, Hampton University), where he met and befriended art professor Viktor Lowenfeld and his student at the time, John Biggers.
Recent exhibitions this past year include A Promise Is A Cloud, Public Art Fund, New York; Structure & Absence, White Cube, London; The Anxiety of Photography, Aspen Art Museum, Aspen, Colorado; To What Earth Does This Sweet Cold Belong, The Power Plant, Toronto, Ontario; and in 2010, Still, Flat and Far, Institute of Contemporary Art, Philadelphia.
Tagged With: 5 Cities 41 Artists, Ambreen Butt, Artadia, Atlanta, Atlanta Contemporary Art Center, awards, book review, Boston, Chicago, Don Cooper, Dushko Petrovich, Fahamu Pecou, grants, Houston, James Gobel, Jen Mergel, Jim Duignan, Menil Collection, Metropolitan Museum of Art, Michelle White, Museum of Fine Arts, Oakland Museum of California, practical avant - garde, René de Guzman, San Francisco, Smart Museum of Art, Stephanie Smith, Stephanie Toppin, The Fund for Art and Dialogue, Tristan Al - Haddad, University of Chicago, Why do young artists leave Atlanta?
Gajin Fujita, (American, b. 1972) Ride or Die, 2005 spray paint, paint marker, paint stick, gold and white gold leaf on wood panels 84 x 132 1/2 inches Collection of the Kemper Museum of Contemporary Art, Kansas City, Missouri Bebe and Crosby Kemper Collection, Museum purchase, Enid and Crosby Kemper and William T. Kemper Acquisition Fund, 2005.39 a — c © Gajin Fujita, courtesy of the artist and L.A. Louver Gallery.
Joyce J. Scott: Harriet Tubman and Other Truths is supported in part by the following funders: National Endowment for the Arts Art Works, Bank of America, New Jersey Council for the Humanities, Agnes Gund Foundation, Art Alliance for Contemporary Glass, The Coby Foundation, LTD., Rotasa Foundation, PNC Fund of the Princeton Area Community Foundation, Goya Contemporary, Shirley and Arthur Martin Family Fund, and the following Exhibition and Education Supporters: Robbye D. Apperson, Jackie & René Copeland, Gordon and Lulie Gund, Barbara Lawrence and Allen Laskin, Mike De Paola and Alan White.
Moyer has exhibited her work at The Drawing Center (New York, NY), The Bass Museum (Miami, FL), University of Albany Art Museum (Albany, NY), The Public Art Fund (New York, NY), White Flag Projects and The Contemporary Art Museum St. Louis (St. Louis, MO), LAND (Los Angeles, CA), Tensta konsthall (Stockholm, SW), Cleopatra's Greenpoint (Brooklyn, NY), and Société (Berlin, DE).
Her work has been exhibited at The Drawing Center (New York, NY), The Bass Museum (Miami, FL), University of Albany Art Museum (Albany, NY), The Public Art Fund (New York, NY), White Flag Projects and The Contemporary Art Museum St. Louis (St. Louis, MO), LAND (Los Angeles, CA), Tensta konsthall (Stockholm, SW), Cleopatra's Greenpoint (Brooklyn, NY), and Société (Berlin, DE).
Katz, famed for his powerhouse portraiture, is collaborating with Barneys New York and Art Production Fund on a limited - edition collection of striking black - and - white home goods and gift items, now available at the store.
Additional support comes from Etant Donnés: The French American Fund for Contemporary Art, Charles L. Whited, Jr..
Gajin Fujita, Ride or Die, 2005; spray paint, paint marker, paint stick, gold and white gold leaf, 84 x 132 1/2 inches; Collection of the Kemper Museum of Contemporary Art, Bebe and Crosby Kemper Collection, Museum Purchase, Enid and Crosby Kemper and William T. Kemper Acquisition Fund
He is also a vocal public art enthusiast although his idea of installing a 50 - metre white horse at Ebbsfleet remains stalled because of a lack of funding.
Art Production Fund x Alex Katz x Barneys New York set of two standard pillowcases crafted of white cotton, one with a woman's portrait and one with a man's portrait printed in black titled «Study for Barneys 5» and «Study for Barneys 4.»
White Balance (to think is to forget differences) was funded in part by The New York City Media Arts Grant of The Jerome Foundation.
Sam Moyer has exhibited her work at The Drawing Center (New York, NY), The Bass Museum (Miami, FL), University of Albany Art Museum (Albany, NY), The Public Art Fund (New York, NY), White Flag Projects and The Contemporary Art Museum St. Louis (St. Louis, MO), LAND (Los Angeles, CA), Tensta konsthall (Stockholm, SW), Cleopatra's Greenpoint (Brooklyn, NY), and Société (Berlin, DE).
Pictured: Brewster shape teapot in white jasper with pale green dip, 1785 — 90 Ceramic, unglazed Purchased by the Art Fund following public and private donations; gifted to the Victoria and Albert Museum and placed on long - term loan to the Wedgwood Museum
Sandra was asked to be part of Vanessa Beecroft's performance on March 12th at the Art Production Fund's White Glove Gone Wild benefit gala.
New York (catalogue) Original Gagosian Gallery, New York New Portraits Blum & Poe, Tokyo (catalogue) Fashion Nahmad Contemporary, New York (catalogue) 2014 New Figures Almine Rech Gallery, Paris (catalogue) New Portraits Gagosian Gallery, New York It's a Free Concert Kunsthaus Bregenz, Bregenz (catalogue) Canal Zone Gagosian Gallery, New York Richard Prince / Roe Ethridge Gagosian Gallery, New York (catalogue) 2013 Monochromatic Jokes Nahmad Contemporary, New York (catalogue) Protest Paintings Skarstedt Gallery, London (catalogue) Untitled (band) Le Case D'Arte, Milan Richard Prince: New Work Jürgen Becker, Hamburg (catalogue) Cowboys Gagosian Gallery, Beverly Hills (catalogue) Sadie Coles HQ, London 2012 White Paintings Skarstedt Gallery, New York (catalogue) Four Saturdays Gagosian Gallery, New York 14 Paintings 303 Gallery, New York (catalogue) Prince / Picasso Picasso Museum, Malaga (catalogue) 2011 The Fug Almine Rech Gallery, Brussels (catalogue) Covering Pollock Guild Hall, Easthampton The Magic Castle 1968 - 1969 Le Consortium, Contemporary Art Center, Dijon (catalogue) Gagosian Gallery, Hong Kong de Kooning Gagosian Gallery, Paris (catalogue) American Prayer Bibliothèque nationale de France, Paris (catalogue) Bel Air Gagosian Residence, Los Angeles 2010 Pre-Appropriation Works, 1971 — 1974 Specific Objects, New York T - Shirt Paintings: Hippie Punk Salon 94, New York (catalogue) Tiffany Paintings Gagosian Gallery, New York (catalogue) 2009 After Dark Gagosian Gallery, New York 2008 Canal Zone Gagosian Gallery, New York (catalogue) Galerie Patrick Seguin, Paris (catalogue) Continuation Serpentine Gallery, London Four Blue Cowboys Gagosian Gallery, Rome Gagosian Gallery, London Spiritual America Walker Art Center, Minneapolis 2007 Spiritual America Solomon R. Guggenheim Museum, New York (catalogue) Panama Pavilion 52nd Venice Biennale, Venice Fugitive Artist: The Early Work of Richard Prince, 1974 - 77 Neuberger Museum of Art, Purchase Canaries in the Coal Mine Astrup Fearnley Museum, Oslo (catalogue) 2006 Cowboys, Mountains, and Sunsets Sprüth & Magers, Cologne The Portfolios Jürgen Becker, Hamburg Cowboys & Nurses John McWhinnie at Glenn Horowitz, New York 2005 Hippie Drawings Sadie Coles HQ, London (catalogue) Whitechapel Gallery, London Barbara Gladstone Gallery, New York Check Paintings Gagosian Gallery, Beverly Hills (catalogue) 2004 American Dream, Collecting Richard Prince for 27 Years Rubell Family Collection, Miami (catalogue) Sammlung Goetz, Munich (catalogue) Galerie Eva Presenhuber, Zurich (catalogue) Women Regen Projects, Los Angeles (catalogue) 2003 Nurse Paintings Barbara Gladstone Gallery, New York (catalogue) Upstate Sabine Knust, Munich New Work Glenn Horowitz Bookseller, East Hampton Publicities Hydra Workshop, Hydra Island (catalogue) Nurse Paintings Sadie Coles HQ, London 2002 Barbara Gladstone Gallery, New York (catalogue) Principal Painting and Photographs Kunstmuseum Wolfsburg, Wolfsburg Painting Kunsthalle Zürich, Zurich Patrick Painter, Inc., Santa Monica 2001 Museum für Gegenwartskunst, Basel (catalogue) Publicities Sadie Coles, HQ, London (catalogue) Regen Projects, Los Angeles Photographs 1977 - 1979 Skarstedt Fine Art, New York (catalogue) Galerie Micheline Szwajcer, Antwerp Neue Galerie im Höhmann - Haus, Augsburg 2000 Princeville Partobject Gallery, Carrboro Barbara Gladstone Gallery, New York Photographs, Paintings Jablonka Galerie, Cologne 4x4 MAK, Vienna Up - state MAK Center for Art and Architecture, Schindler House, Los Angeles 1999 Paintings 1988 - 1998 Sadie Coles HQ, London 1998 Regen Projects, Los Angeles Joke Paintings Skarstedt Fine Art, New York Psychoarchitecture: Richard Prince, Martin Kippenberger Anton Kern Gallery, New York Barbara Gladstone Gallery, New York Sabine Knust - Maximilian Verlag, Munich Stills Ltd., Edinburgh 1997 The White Room Jürgen Becker, Hamburg; Parco, Tokyo White Cube, London Museum Haus Lange / Museum Haus Esters, Krefeld Cowboys and Cowgirls Espace d'Art Yvonamor Palix, Paris 1996 Sabine Knust - Maximilian Verlag, Munich Passion Play Haus der Kunst, Munich New Works Jablonka Galerie, Cologne 1995 Paintings Barbara Gladstone Gallery, New York Theoretical Events, Naples Regen Projects, Los Angeles 1994 Photographs 1977 - 1993 Kestner Gesellschaft, Hanover (catalogue) Offshore Gallery, East Hampton 1993 Galerie Micheline Szwajcer, Antwerp Fotos, Schilderijen, Objecten Museum Boijmans Van Beuningen, Rotterdam Girlfriends Jablonka Galerie, Cologne (catalogue) Barbara Gladstone Gallery, New York San Francisco Museum of Modern Art, San Francisco First House Stuart Regen Projects, Los Angeles 1992 Kunstverein and Kunsthalle, Dusseldorf Whitney Museum of American Art, New York (catalogue) Protest Paintings Sabine Knust - Maximilian Verlag, Munich Beaver College Art Gallery, Glenside Works on Paper Le Case d'Arte, Milan 1991 Barbara Gladstone Gallery, New York Galleri Nordanstad — Skarstedt, Stockholm Galerie Ghislaine Hussenot, Paris Stuart Regen Gallery, Los Angeles 1990 Jokes, Gangs, Hoods Galerie Rafael Jablonka and Galerie Gisela Capitain, Cologne Galerie Micheline Szwajcer, Antwerp Arthur Roger Gallery, New Orleans 1989 Spiritual America IVAM Center del Carme, Valencia (catalogue) Sculpture Barbara Gladstone Gallery, New York Paintings Jay Gorney Modern Art, New York Barn Gallery, Ogunquit Daniel Weinberg Gallery, Los Angeles 1988 Galerie Rafael Jablonka, Cologne Barbara Gladstone Gallery, New York (catalogue) Centre National d'Art Contemporain de Grenoble, Grenoble Le Case d'Arte, Milan Galerie Ghislaine Hussenot, Paris Messages to the Public: Tell Me Everything Public Art Fund, Times Square, New York 1987 Galerie Isabella Kacprzak, Stuttgart Daniel Weinberg Gallery, Los Angeles 1986 International with Monument, New York Feature Gallery, Chicago 1985 International with Monument, New York Richard Kuhlenschmidt Gallery, Los Angeles 1984 Riverside Studios, London Feature Gallery, Chicago Baskerville + Watson, New York 1983 Le Nouveau Musée, Lyon (catalogue) Le Consortium, Contemporary Art Center, Dijon Institute of Contemporary Art, London Richard Kuhlenschmidt Gallery, Los Angeles Baskerville + Watson, New York 1982 Metro Pictures, New York 1981 Metro Pictures, New York Richard Kuhlenschmidt Gallery, Los Angeles 1980 Artists Space, New York CEPA Gallery, Buffalo
-- Open: Brooklyn Museum, Guggenheim (only its «Picasso Black and White» show), the Museum of Modern Art, — Closed: Frick, New Museum (which is in the area of Manhattan without power), Jewish Museum, Public Art Fund's «Tatzu Nishi: Discovering Columbus» at Columbus Circle, El Museo del Barrio (will reopen on Thursday), Hunter College galleries, Morgan Library and Museum, the Whitney — Not yet announced: the Metropolitan Museum of Art (announcement will be made in the morning)
Images: Anne Vallayer - Coster, Bouquet of Flowers in a Blue Porcelain Vase, 1776, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O'Hara Fund and gift of Michael L. Rosenberg; Édouard Manet, Vase of White Lilacs and Roses, 1883, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection; Gustave Caillebotte, Yellow Roses in a Vase (Roses jaunes dans un vase), 1882, oil on canvas, Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., in honor of Janet Kendall Forsythe; Henri Théodore Fantin - Latour, Still Life with Vase of Hawthorn, Bowl of Cherries, Japanese Bowl, and Cup and Saucer, 1872, oil on canvas, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O'Hara Fund and gift of Mrs. Bruno Graf by exchange; Pierre Bonnard, Pitcher with Flowers, c. 1935, oil on canvas, Dallas Museum of Art, The Wendy and Emery Reves Collection
Category: What's Up · Tags: Allora & Calzadilla, Iran do Espírito Santo, Mark Manders, public art fund, Round Holes: From White Cube to Public Sphere, Square Pegs
Through a joint effort by the First Lady and the Committee for the Preservation of the White House, and funded by a special donation from the White House Historical Association, the room has been refurbished and will serve as a showcase of 20th century art and design.
Projects that received funding this year included Thomas Schütte: Faces & Figures at Serpentine Gallery, Navid Nuur: Phantom Fuel at Parasol unit, and Pae White: Too much night, again at Parasol Unit, as well as Lakeland Arts Trust, Spacex Gallery, Focal Point Gallery, HICA, Mead Gallery, and The Common Guild.
The work cost # 67,500, with Emin and the White Cube gallery offering a discount of # 37,500 and the Art Fund providing # 30,000.
Previous to Work No. 975, a red neon text appeared in New York's Times Square (Work No. 225 1999, commissioned by Public Art Fund), a thirty - metre - long version was installed in Detroit (Work No. 790 2007), and another text in white neon ran the 75 ft length of the Rennie Museum's façade in Vancouver's Chinatown (Work No. 851 2008).
The Center - funded exhibition Pati Hill: Photocopier presented by Arcadia University Art Gallery opens this week, with over 100 of the writer - turned - artist's black and white prints on view from February 25 through April 24.
Image credit2: Dock in Snow, Vermont, The Jupiter Portfolio, 1971, Minor White (1908 - 1976), gelatin silver print, 12 x 9 inches, 76.107.12, San Antonio Museum of Art, purchased with funds provided by the Hearst Foundation, © Estate Minor White This resource represents a portion of the Museum's collection.
White has received several scholarships for study and was recently granted the Maine / New Brunswick Residency fund — a grant and an artist residency funded in part by The National Endowment for the Arts.
Concurrently, Mr. Katz has teamed with Barneys and the Art Production Fund to display a series of black and white mural portraits of 18 prominent women figures in the fashion world.
Additional funding provided by grants from the National Endowment for the Arts, AG Foundation, L. Ann and Jonathan P. Binstock, Ed Bradley Family Foundation, Jacqueline Bradley and Clarence Otis, Jr., Dr. Aliya and Reginald Browne, Valentino D. Carlotti, Christina Lewis Halpern and Loida Nicolas Lewis, Charles and Kathy Harper, Robert Horwitz and Catherine Redlich, Mr. and Mrs. Jerry L. Johnson, Pamela J. Joyner and Alfred J. Giuffrida, Dorothy Lichtenstein, The Lomax Family Foundation, Winston and Carolyn Lowe, Raymond J. McGuire and Crystal McCrary, Frank and Katherine Martucci, Rodney M. Miller, Jeanette Lerman - Neubauer and Joe Neubauer, Michael Rosenfeld Gallery, New York, Laurie M. Tisch Illumination Fund, William and Roberta Torian, Nancy and Milton Washington, and Rachel and Chris White.
White Noise Ebbets Field, installation for Halcyon Days, Curated by Thomas Eccles, Public Art Fund, Public Commission at Metro Tech, Brooklyn, NY
Additional funding provided by grants from the National Endowment for the Arts, AG Foundation, Peg Alston, L. Ann and Jonathan P. Binstock, Ed Bradley Family Foundation, Jacqueline Bradley and Clarence Otis, Jr., Dr. Aliya and Reginald Browne, Valentino D. Carlotti, Kathryn and Kenneth Chenault, Christina Lewis Halpern and Loida Nicolas Lewis, Charles and Kathy Harper, Robert Horwitz and Catherine Redlich, Mr. and Mrs. Jerry L. Johnson, Pamela J. Joyner and Alfred J. Giuffrida, Dorothy Lichtenstein, The Lomax Family Foundation, Winston and Carolyn Lowe, Raymond J. McGuire and Crystal McCrary, Frank and Katherine Martucci, Rodney M. Miller, Jeanette Lerman - Neubauer and Joe Neubauer, Michael Rosenfeld Gallery, New York, Laurie M. Tisch Illumination Fund, William and Roberta Torian, Nancy and Milton Washington, and Rachel and Chris White.
In 1940, with WPA funding, he helped to establish the South Side Community Arts Center in Chicago along with fellow African American artists Margaret Burroughs, Archibald Motley Jr., and Charles White, among others.
Elsewhere at Art Basel, Nicholas Baume, the director and chief curator of the Public Art Fund, told the New York Times he was particularly struck by Pope.L's performance at Unlimited's opening, in which the artist wandered through the fair in a white gorilla suit before departing in a white limousine.
The selection panel for the inaugural Frieze Brooklyn Museum Fund included three Brooklyn Museum curators: Anne Pasternak, Shelby White and Leon Levy Director; Catherine J. Morris, Sackler Family Senior Curator for the Elizabeth A. Sackler Center for Feminist Art; and Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art; working alongside three guest curators: Connie H. Choi, Associate Curator, Permanent Collection, The Studio Museum in Harlem; Lauren Haynes, Curator, Contemporary Art, Crystal Bridges Museum of American Art; and Rujeko Hockley, Assistant Curator, The Whitney Museum of American Art.
BREAKAWAY, 1966; 16 mm film, black and white, sound, 5 min.; San Francisco Museum of Modern Art, Accessions Committee Fund purchase; © 2016 Conner Family Trust, San Francisco.
Nicholas Baume, the director and chief curator of the Public Art Fund, said he was particularly struck by Pope.L's performance at Unlimited's opening, in which the artist wandered through the fair in a white gorilla suit before departing in a white limousine.