Sentences with phrase «as a curator means»

Not exact matches

Every generation since has used Washington as a canvas on which it paints its own feelings about the meaning of being an American,» says Tom Kelleher, Curator at Old Sturbridge Village.

the outfit looks great as always, and I get what you mean with the curator outfit.

The group known as «The Monuments Men» consists of various architects, art historians, and curators who are not fit for war by any means.

Ben remembered reading about curators in «Wonderstruck», and thought about what id meant to curate your own life, as his dad had done here.

Not that anyone would take the word of an eleven - year - old girl against that of the Second Assistant Curator — even if that girl just happens to be the daughter of the Head Curator of the museum and is rather cleverer than most (or so I've been told; oddly, I don't think they meant it as a compliment).

As a master herbalist, our curator and founder Marc Ching works daily with both sick and healthy animals constructing feeding and herbal regimes meant to boost immune functioning, and provide preventative care.

This means that the galleries show chairs and tables arranged in symmetrical patterns as though in a great house, even if four identical chairs give no more information than one; they contain numerous «cutesy vignettes» (in the present curators» words) with vases placed on furniture to create a decorative effect, often to the detriment of the support; and are filled with paintings which make a decorative but not thematic contribution to the whole.

The artist as curator can mean who you know rather than what you know — or, worse, another self - destructive artist collective.

As part of its mission to document the history of alternative art spaces, AS - AP has been commissioning the production of oral history interviews with the founders, former and current directors, and curators of significant alternative art spaces throughout the United States: http://as-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationAs part of its mission to document the history of alternative art spaces, AS - AP has been commissioning the production of oral history interviews with the founders, former and current directors, and curators of significant alternative art spaces throughout the United States: http://as-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationAs part of its mission to document the history of alternative art spaces, AS - AP has been commissioning the production of oral history interviews with the founders, former and current directors, and curators of significant alternative art spaces throughout the United States: http://as-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationAS - AP has been commissioning the production of oral history interviews with the founders, former and current directors, and curators of significant alternative art spaces throughout the United States: http://as-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationAS - AP has been commissioning the production of oral history interviews with the founders, former and current directors, and curators of significant alternative art spaces throughout the United States: http://as-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationas-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationas-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationas key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationas key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationas a means of capturing first - person accounts of specific events, individuals, institutions and organizationas a means of capturing first - person accounts of specific events, individuals, institutions and organizations.

In this video, the exhibition's curator Tess Jaray RA talks about some of the techniques used by these artists as they push the boundaries of what printmaking means and what it can do.

Daniel Fuller, Curator at Atlanta Contemporary says, «be it as an artist, an arts advocate, or at Georgia State University where he served as the School of Art and Design's director for 11 years, there are very, very few people that have meant more to the Atlanta art scene than Larry.

As Charlotte Cotton, critic and former curator of photographs at the Victoria and Albert Museum (London) as well as the Wallis Annenberg Department of Photographs at the Los Angeles County Museum of Art, writes in The Photograph as Contemporary Art (World of Art): «Harris makes a map of visual and ideological connections... blending high criticality and personal narrative to suggest that all photography inherently carries representational meaning beyond the intent or making of the photographer.&raquAs Charlotte Cotton, critic and former curator of photographs at the Victoria and Albert Museum (London) as well as the Wallis Annenberg Department of Photographs at the Los Angeles County Museum of Art, writes in The Photograph as Contemporary Art (World of Art): «Harris makes a map of visual and ideological connections... blending high criticality and personal narrative to suggest that all photography inherently carries representational meaning beyond the intent or making of the photographer.&raquas well as the Wallis Annenberg Department of Photographs at the Los Angeles County Museum of Art, writes in The Photograph as Contemporary Art (World of Art): «Harris makes a map of visual and ideological connections... blending high criticality and personal narrative to suggest that all photography inherently carries representational meaning beyond the intent or making of the photographer.&raquas the Wallis Annenberg Department of Photographs at the Los Angeles County Museum of Art, writes in The Photograph as Contemporary Art (World of Art): «Harris makes a map of visual and ideological connections... blending high criticality and personal narrative to suggest that all photography inherently carries representational meaning beyond the intent or making of the photographer.&raquas Contemporary Art (World of Art): «Harris makes a map of visual and ideological connections... blending high criticality and personal narrative to suggest that all photography inherently carries representational meaning beyond the intent or making of the photographer.»

With Mickalene Thomas and Racquel Chevremont as curators, that also means black lives matter.

The first clearly and effectively traces the rise of curators as bestowers of value in the artworld (and elegantly glosses struggles for the control of value — between critics, dealers, artists and curators — along the way), up to the point at which curating's deskilling and populism means that everyone can do it and inherently contradicts the discipline's quest to professionalise itself via academic courses and qualifications.

It takes time, even if it means rushing from one independent curator to another as well.

«This bold and colorful exhibition is filled with beauty and layers of meaning,» said Marshall N. Price, Nancy Hanks Curator of Modern and Contemporary Art at the Nasher Museum, who serves as coordinating curator of the exhiCurator of Modern and Contemporary Art at the Nasher Museum, who serves as coordinating curator of the exhicurator of the exhibition.

Here, Evelyn Hankins, associate curator at the Hirshhorn, talks about the making of Shadows and what it meant in the context of Warhol's career, as well as what goes into displaying it.

Anthony Huberman Director and Chief Curator, CCA Wattis Institute for Contemporary Arts [Fishli and Weiss's] instructions are meant as a self - motivating reminder and description of their own process as artists, but are also directed to the rest of the world as a propositional code of conduct or ethic of behavior — in fact, a copy of How to Work Better is pinned to the wall of countless artist studios around the world, as well as above the desks of many curators, including this one.

Beeler Gallery's new Director of Exhibitions Jo - ey Tang will speak with his predecessors Dr. Natalie Marsh (Director and Chief Curator of the Gund Gallery, Kenyon College), Michael Goodson (Senior Curator, Wexner Center for the Arts) and James Voorhies (Dean of Fine Arts, California College of the Arts), as well as Assistant Director of Exhibitions and former Interim Director of Exhibitions Ian Ruffino about the unique role of galleries within an art school context, the evolution of Beeler Gallery, and what it means to «take over» a space from a predecessor.

Seminal works by the likes of Jenny Holzer, Jeff Koons, Barbara Kruger, Sherrie Levine, Richard Prince, David Salle, and Cindy Sherman have been brought together by Chief Curator Michael Auping, who conceived the show as a means of exploring the big themes of the 1980s: appropriation, the return of painting, graffiti, feminism, political activism, and the rise of the artist as celebrity.

For Robin Jaffee Frank and husband Robert Frank, Robin's appointment as the Wadsworth Atheneum's Chief Curator and Kreible Curator of American Paintings and Sculpture meant such a move.

Many of those featured artists have contributed personal statements reflecting on the work, its meaning and the social scene that surrounded it, including Lynda Benglis, Mel Bochner, Roy Colmer, Mary Corse, David Diao and Peter Young, Guy Goodwin, Harmony Hammond, Mary Heilmann, Cesar Paternosto, Howardena Pindell, Dorothea Rockburne, Carolee Schneemann, Alan Shields, Joan Snyder, Franz Erhard Walther and Jack Whitten, as well as one curator and one critic, Marcia Tucker and Robert Pincus - Witten.

Installed at Jones Center, with one Jim Lambie sculpture at Laguna Gloria, this group show addresses what senior curator Heather Pesanti describes as the «layers of meaning embedded in representations of the human form and the complex relationship between the dialectics of the viewer and the object.»

If criticism manifests most strongly in the face of what is meant to move us forward as a species, one can only imagine what curator John Cheim was expecting for the onset of his most recent exhibition, The Female Gaze, Part II: Women Look at Men.

This graphic, stimulating entrance was apart of the curatorial gesture to that as assistant curator Catherine Taft said was meant to «make the art pop» at the beginning of each «chapter».

Rasu Jilani is an independent curator, cultural producer and social sculptor, who investigates the intersections between art, culture and civic engagement as a means of raising critical consciousness.

As a curator in residence at Residency Unlimited, New York City, Herrera analyzed the artistic scene in the city, had studio visits, interviews and wrote about contemporary artists as a means of generating future projectAs a curator in residence at Residency Unlimited, New York City, Herrera analyzed the artistic scene in the city, had studio visits, interviews and wrote about contemporary artists as a means of generating future projectas a means of generating future projects.

I should be interested to hear your summation of how the art world... By that I mean principally galleries, curators, and critics, controls and steers the general market for the artist's work: as in whether you think it functions in the same way as other business practice?

The content is quite highbrow and high - end, with articles such as Wakako Kishimoto, co-founder of London - based fashion studio Eley Kishimoto, reflecting on what Brexit means for business, and a conversation between Amelie Klein, curator of the Hello, Robot exhibition at the Vitra Design Museum and science fiction writer Bruce Sterling.

She works as a freelance curator, obstinately and she is obsessed about two things: disseminating contemporary art among the general public, which means creating a «mass avant - garde», and finding emerging talents — among her «discoveries» there are Nathalie Djurberg and Ragnar Kjartansson, while she was the curator of the Nordic Pavilion at the Venice Biennale in 2004.

A statement from Curator Elizabeth Crisman: As a means of enlightenment, the work in the exhibition CONSIDER YOURSELF ILLUMINATED lures you in by the light that each piece of artwork emanates.

Young curators, trained to ask questions about what and how a work means rather than merely to rate it in terms of quality, have mounted sometimes exciting exhibitions that raise questions as they celebrate beauty.

As meanings shift, we might even be challenged to recall our initial impressions of the work, leading curator Kara Brooks to declare that the exhibition «illustrate [s] the fragility and malleability of memory.»

Culture Creators is an innovative program that provides an opportunity for teens to build literacy, analytical and interpersonal skills while gaining a firsthand perspective on what it means to have a career as an artist or curator.

If criticism manifests most strongly in the face of what is meant to move us forward as a species, one can only imagine what curator John Cheim was expecting for the onset of his most recent exhibition, The Female Gaze, Part II: Women Look at Men.1 It might be easier, though perhaps a bit militant in this case, to look askance at a man for tackling a women - centric show, or at the canon - grounded lineup, or at the cautionary, simplified curatorial statement [Would we view these works differently if they were made by men?]

Reading curator Carolyn Christov - Bakargiev's essay upon my return, it seems my transformation was anticipated: «Skepticism is an optimistic position that doubts the validity of induction as a means to arrive at knowledge.»

Its meanings include: to place a thing in a certain location (an imaginary couch in a living room, a person in a class affiliation); to place someone or place oneself in a certain attitude or position (our wealthy white male curator as a «universal» arbiter of taste); to behave affectedly (to pretend that one's tastes are not one's own); and to be buried, to be dead, to rest in the grave, to bury a corpse.

Since the 1960s, the «arts establishment» (meaning: government officials who control the Arts Budgets; directors / owners of galleries; curators of exhibitions; committees that run the important artist - organizations; teaching staff in arts colleges, and so on) as well as the contemporary art now being practised and encouraged, has become significantly more radical.

It symbolizes what Golden calls «an over-20-year constant conversation about art and art - making and the meaning of art in the context of life» with an artist who has influenced her as a curator perhaps more than any other.

With the boundaries between artist and curator ever porous, it's no surprise that the locus of meaning in Rosemarie Trockel: A Cosmos is as much in the exhibition's organization as in the works.

I appreciate how Lindsay has framed these as individually politicized works without moralistic tone on whether the will of the work is disruptive or enhancing to the browsing experience.Another thing I mentioned as a political issue that is hard to tell with AMP yet is what this platform alone means for artists and curators.

As soon as it's possible to say «criticality is trending» — as the curators did — you can be sure that, whatever it means, it's on its way ouAs soon as it's possible to say «criticality is trending» — as the curators did — you can be sure that, whatever it means, it's on its way ouas it's possible to say «criticality is trending» — as the curators did — you can be sure that, whatever it means, it's on its way ouas the curators did — you can be sure that, whatever it means, it's on its way out.

Why it truly meant so much to me was that it brought about yet another way for the public to look at works of art through the eyes of the artists as curators.

That the contribution that I've been able to make as a curator has had meaning for them, and that they want to participate in that for the next generation, who are emerging right now, as we speak.

All of them, however, have encouraged that work from the perspective of my curatorial vision, meaning they have all made it clear to me there would be no version of directorial perspective that was not informed by my perspective as a curator.

As Suzanne Pagé, the artistic director of Fondation Louis Vuitton and overall curator of the exhibition, says: «Paradoxically, the immense overall success of MoMA means that many interesting particularities about the museum have been eclipsed.

A century later, his term continues to resonate, and CAM curator Valerie Cassel Oliver has appropriated its connotations of invisibility and displacement as means to reevaluate conceptual strategies taken up by African - American artists over the past three decades.

Co-founders Audra Lambert, Kimi Kitada, and Adam Zucker are independent curators based in New York, and their respective curatorial practices similarly highlight the potential of art as a means to instigate social change.

This antagonistic staging and restaging of history through cultural means, as the curators and organizers observe, involves a detailed history of performance art from and about the so - called Arab world.

It is an eruption into the present of a past long gone, wreckage which, cut adrift from its own time, has somehow washed up on the shores of the present as poverty and abandonment...» and that `... To let the place begin to speak to us, we need a practice of observation of the kind Keats meant by «negative capability»... Take my advice and skip forward to the far more pragmatic and illuminating: Dust Bunnies and Coffee Stains: Anya Gallaccio in conversation with Clarrie Wallis, curator of contemporary art at Tate Britain — a far better point of entry, where one gets to know, first hand, what the work is really all about.