Sentences with phrase «as curator of the show»

(You may remember Hatry as the curator of the show «Meat After Meat Joy», a group exhibition of contemporary artists who used meat in their work from October 2008.)

Felicitas Thun - Hohenstein will serve as curator of the show by the pioneering feminist artist.

Not exact matches

In short, working as a curator involves the best features of her previous jobs, McAlister says: «All the bits I did like, like showing off the insects, I still get to do.

He is showing the idealism and ingenuity of the curators as well as their cynicism and absurdity.

In order to ready himself to play Reynolds Woodstock, he studied the lives of designers, learnt to sew, watched archive footage of 1950s fashion shows, consulted with the Victoria & Albert Museum's curator of fashion, apprenticed for a time under the head of costumes at the New York City Ballet and created his own couture dress from scratch using his wife, Rebecca Miller, as a model.

He has served as culinary curator for the weekend edition of NPR's All Things Considered, and he has been featured on dozens of television shows, from CBS Sunday Morning to Iron Chef.

The Cannon Beach Arts Association is pleased to announce that it will be hosting Bonnie Laing - Malcolmson, the curator of Northwest Art at the Portland Art Museum, as the guest curator for the Winter All Juried Show.

In his original request for artists proposals for inclusion in the Artists» Balls show, curator Hugh Margerum said, «as we all know, whether you are male or female, it takes balls to make art...» The resulting show encompasses that sentiment and extends in the case of the nine participating artists to a broad interpretation of the ball theme in paintings, drawings, sculpture, and wall pieces.

As I explained the research - based purpose of my visit (yet again), and went on to clarify that I didn't have any shows in mind, I realized (yet again) just how complicit curators often are these days in legitimizing mediocre work being aggressively pushed for the sake of financial gain.

As a curator, she runs a gallery in her backyard — and has organized an entire floor of the Whitney's much anticipated show

As it happens, the Williams College Museum of Art in Williamstown, Massachusetts, provided one fine example in the fall of 2016 when it worked with the guest curator Chaédria LaBouvier to present a show and programming around another Basquiat, a modestly sized piece from a private collection titled The Death of Michael Stewart (1983), named for the artist who was killed by New York police officers the year it was made.

The show curators, as Barrell notes, argue that Wilson's great leap forward was «to turn away from painting «invented compositions» of the kind preferred by Lorrain and Gaspard Dughet, in favour of views of real places.»

In an essay in the catalogue, Caitlin Julia Rubin (an assistant curator at the Rose who co-curated the show with art historian Katy Siegel, curator - at - large for the museum) writes that Home Sweet Home «suggests the duality of Drexler's home — the spaces where she lived never all that separate from the ones in which she worked — and her own, twinned role as homemaker and artist.»

Having posed for some 10 paintings by Alex Katz, Mie Iwatsuki — a Japanese model and independent curator based in New York — collaborated with dealer Nick Lawrence to solicit portraits of her by an additional 34 artists, ranging from Robert Frank to DJ Spooky, from New York's David Humphrey to China's Lin Yilin and Korea's Min Hyung (who, in one of the show's most imaginative leaps, depicts Itwatsuki as a male Maasai warrior in Kenya).

Apsara DiQuinzio, our Curator of Modern and Contemporary Art, and Phyllis C. Wattis, MATRIX Curator, has a number of wonderful small - scale MATRIX shows in the works, and we are doing several borrowed solo exhibitions that are emblematic of the kind of art that we love, such as a survey of Ana Mendieta's films [Covered in Time and History: The Films of Ana Mendieta, on view November 9, 2016, through February 12, 2017].

Rose and Christopher Y. Lew, the Whitney's associate curator who gave the young artist her first New York solo show, walked in at the end of her 10 - minute video and chattered over until the film looped back to the beginning: «When I first came back to Earth after 128 days in space,» the astronaut David Wolf intoned while pools of opalescent fluid shifted onscreen as if agitating a new cosmos.

After leaving the New York outpost of Paris gallery Balice Hertling, Lewis worked as a nomadic curator, staging pop - up exhibitions like Lucy Dodd's at No54 and his booth at the Dallas Art Fair, showing works by Viola Yesiltac and Charles Mayton.

As the first black curator of the Whitney Museum, she organized landmark shows, such as «Black Male: Representations of Masculinity in Contemporary American Art» in 1994, that now seem strikingly prescienAs the first black curator of the Whitney Museum, she organized landmark shows, such as «Black Male: Representations of Masculinity in Contemporary American Art» in 1994, that now seem strikingly prescienas «Black Male: Representations of Masculinity in Contemporary American Art» in 1994, that now seem strikingly prescient.

«I wouldn't go so far as to say it's a pervasive theme,» curator Alex Glauber told Gallerist about his inspiration for the show, «but over the last year and a half, I've noticed the Rorschach image in a lot of contemporary work I've been seeing — works by Donald Moffett, Louise Despont, Blake Raynes.»

Now he has been ranked by Artsy as one of the 20 most influential young curators in Latin America, with shows that «often juxtapose alternate realities, such as combining the pristine idealism of Minimalism and the promise of Modernism with the harsh consequences that sweeping ideologies bring to daily life in cities.»

The show, organized by the ICA's senior curator, Jenelle Porter, consists of installations of painted plaster sculptures, as well as cast porcelain and cast paper vessels, an array of large - scale works on paper, and some mouth - blown crystal vessels.

Her work as a curator includes exhibits «The «F» Word: Feminism in Art» a group show of 20 female artists, «Human / Nature» a group show revolving around environmental themes and «Allegories of The Held», a solo show of works by artist Jennifer Caviola aka Cake, as well as «The Voyeur» exhibit at Art Basel Miami sponsored by The American Friends of The Louvre.

ABOUT CURATOR INDIRA CESARINE Indira Cesarine's work as a curator for The Untitled Space gallery includes exhibitions (HOTEL) XX for SPRING / BREAK Art Show 2018,» Secret Garden,» presenting the female gaze on erotica; «SHE INSPIRES,» a group show of 60 artists exhibiting works honoring inspirational women; the internationally - celebrated group shows «UPRISE / ANGRY WOMEN,» and «ONE YEAR OF RESISTANCE» responding to the political climate in America since the election of Donald Trump as well as numerous other critically - acclaimed exhibCURATOR INDIRA CESARINE Indira Cesarine's work as a curator for The Untitled Space gallery includes exhibitions (HOTEL) XX for SPRING / BREAK Art Show 2018,» Secret Garden,» presenting the female gaze on erotica; «SHE INSPIRES,» a group show of 60 artists exhibiting works honoring inspirational women; the internationally - celebrated group shows «UPRISE / ANGRY WOMEN,» and «ONE YEAR OF RESISTANCE» responding to the political climate in America since the election of Donald Trump as well as numerous other critically - acclaimed exhibcurator for The Untitled Space gallery includes exhibitions (HOTEL) XX for SPRING / BREAK Art Show 2018,» Secret Garden,» presenting the female gaze on erotica; «SHE INSPIRES,» a group show of 60 artists exhibiting works honoring inspirational women; the internationally - celebrated group shows «UPRISE / ANGRY WOMEN,» and «ONE YEAR OF RESISTANCE» responding to the political climate in America since the election of Donald Trump as well as numerous other critically - acclaimed exhibitiShow 2018,» Secret Garden,» presenting the female gaze on erotica; «SHE INSPIRES,» a group show of 60 artists exhibiting works honoring inspirational women; the internationally - celebrated group shows «UPRISE / ANGRY WOMEN,» and «ONE YEAR OF RESISTANCE» responding to the political climate in America since the election of Donald Trump as well as numerous other critically - acclaimed exhibitishow of 60 artists exhibiting works honoring inspirational women; the internationally - celebrated group shows «UPRISE / ANGRY WOMEN,» and «ONE YEAR OF RESISTANCE» responding to the political climate in America since the election of Donald Trump as well as numerous other critically - acclaimed exhibitionof 60 artists exhibiting works honoring inspirational women; the internationally - celebrated group shows «UPRISE / ANGRY WOMEN,» and «ONE YEAR OF RESISTANCE» responding to the political climate in America since the election of Donald Trump as well as numerous other critically - acclaimed exhibitionOF RESISTANCE» responding to the political climate in America since the election of Donald Trump as well as numerous other critically - acclaimed exhibitionof Donald Trump as well as numerous other critically - acclaimed exhibitions.

A good crowd enjoyed tea, cake and a spirited conversation between John Eaves and curator Nick Moore as part of the current show «Intimate Abstraction».

Tiffany Bell and Frances Morris — the loving curators who put the London survey of her work together — include 1954's Untitled, with its Adolph Gottlieb — like shapes and a few other paintings of its kind, the better to show what it looked like as Martin moved away from the body and into drawing something more ineffable — nature, or more specifically, the cosmos at the heart of the natural world.

The new series of discussions with curators at the New York at fair held in March is envisioned as a «unique opportunity to facilitate dialogue among international thought leaders in the curatorial profession» and further develop the Armory Show's «role as an incubator for new ideas and practices among the world's top curators.»

As curator of the Architecture Gallery for this year's RA Summer Exhibition in London, Farshid Moussavi invited entrants to show material celebrating architecture as an «instruction - based art»As curator of the Architecture Gallery for this year's RA Summer Exhibition in London, Farshid Moussavi invited entrants to show material celebrating architecture as an «instruction - based art»as an «instruction - based art».

And the show's organizers — Johanna Burton, director and curator of education and public engagement at the New Museum, working with Natalie Bell and Sara O'Keeffe, assistant curators — have included a substantial amount of entirely abstract work of a kind 1982 audiences perceived as apolitical, though here it is not.

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.

In the last decade as AFAM's curator, Anderson, a brilliant scholar, organized extraordinary exhibitions of Martin Ramirez and Henry Darger and oversaw shows of Adolf Wolfli and Thomas Chambers — four of the greatest artists of the 20th century.

These successes launched Hoptman back to MoMA in 2010 as curator of contemporary art in its painting and sculpture department, and since then her landmark show has been «The Forever Now: Contemporary Painting in an Atemporal World,» the 2014 conversation - starter billed as the first contemporary painting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previous eras.

The 2014 show, «Another, Once Again, and Many Times More» sees some of the artists returning as exhibitors or curators.

The group show, which brings a whole slew of artists — including Amalie Jakobsen (also functioning as curator with Oliver Hickmet), Kyungmin Sophia Son, Oskar Jakobsen, Daniel Szor and Alexander Glass, along with about 16 others — takes the location as the starting point.

One wonders if Weber and Stritzler - Levine realised just how far off the map they would go when independent institutional curator José Roca, a native of Colombia who now lives in Bogotá, agreed to take on the project.1 Inspired by a show of Andean chuspas — bags made from coca leaves — that would run simultaneously in the BGC Focus Gallery, Roca envisioned immersive environments in which the paradoxes, polarities and points of contact between diverse artistic practices are explored through the tropes of the river and weaving.2 The works themselves provide their own context as they interact with each other and viewers, who are given a minimalist illustrated pamphlet as their only guide to what they will encounter in the gallery spaces.

We talk to writer - curator Anuradha Vikram about Claes Oldenburg, Carolee Schneeman, Sesame Street at the Temple of Dendur, sexism in midcentury art, Lee Krasner, Minimalism, Mike Kelley, Nam Jun Paik, the recent Whitney Biennial, running an art space, what makes a good show and curator - as - art - mom.

Committed to experimenting at the intersection of disciplines, publications and design, the gallery Exit Art remained steadfast in its mission to provide new possibilities and opportunities for artists, curators and viewers through its expansive historical shows, exhibitions of emerging and under - recognized artists, experimental theater and performance works, as well as national and international film and video programs.

The departure was short - lived, however, ending when Hoptman returned to the city as a senior curator at the New Museum, bringing in works by painters like Elizabeth Peyton, George Condo, and Tomma Abts while also organizing seminal exhibitions including «Unmonumental: The Object in the 21st Century» — the influential show of provisional - looking sculpture that famously included a lot of paint — and «Younger than Jesus,» the first iteration of the museum's Triennial.

While Mr. Sultan used imagery from newspaper photos as his source material, the paintings have powerful resonance today, said Alison Hearst, an assistant curator at the Modern Art Museum of Fort Worth, which organized the show.

«World War I and the Visual Arts,» organized by Jennifer Farrell, associate curator in the Metropolitan Museum's Department of Prints and Drawings, represented the Met's main commemoration of the centennial of the American entry into World War I on 6 April 1917.1 But while it incorporates prints by George Bellows and the Japanese - American soldier and artist Kerr Eby, as well as drawings by John Singer Sargent, the show emphasizes neither American art nor the term of American involvement in the war.

Nick Aikens, one of the prize's selectors and curator at Eindhoven's Van Abbemuseum, describes the range of chosen individuals as one which «shows the myriad, sophisticated ways artists are articulating and responding to some of the most pressing questions of our time.»

As the show's curator, Lucy Howarth, ruefully notes, the main effect of Moss's exposure so far has been to alert the Dutch museum that lent two works to the first show to the fact that they owned Mosses at all.

Claire Gilman, the chief curator at the Drawing Center, who worked with Frank on the show, says the traditional Brothers Grimm stories were told by mothers to their children as «tales of caution» about such very real concerns as being married off against your will.

Opening: «Noah Becker Presents Something» at Berry Campbell Noah Becker — artist, curator and founder of Whitehot Magazine of Contemporary Art (full disclosure, I also write for the publication)-- takes on the role as the first guest curator at Berry Campbell with a show of 20 international artists exploring enigmatic narratives in their paintings, sculptures and works on paper.

For the 14th Istanbul Biennial, in keeping with her Documenta strategy of hiring agents to advise on the show — she will draft the exhibition with help from various artists, curators and others: «seeking the artistic advice of Cevdet Erek, the intellectual rigor of Griselda Pollock, the sensitivity of Pierre Huyghe, the curatorial imagination of Chus Martinez, the mindfulness of Marcos Lutyens, the acute gaze of Füsun Onur, the political philosophies of Anna Boghiguian, the youthful enthusiasm of Arlette Quynh - Anh Tran, the wise uncertainties of William Kentridge and manifold qualities and agencies to come as the process develops».

He brings to deCordova extensive administrative and curatorial experience, having served as President of the Association of Art Museum Curators (AAMC), and having held curatorial positions at the Philadelphia Museum of Art and at the Wadsworth Atheneum, where he worked on the museum's first showing of the Sol LeWitt collection.

As former Venice - and Whitney - biennial curator Francesco Bonami puts it, «They're like those in the fashion world who only follow the last collection and are content to have their shows look like those of other museums.»

Vibrant photos of each artist's performance by renowned photographer Paula Court and texts contributed by a range of curators and critics provide accounts of every show, as well as an understanding of the importance of each work within the artist's individual career and in relation to larger historical trends.

Dana Miller, curator of the upcoming Whitney show, says, «She was right there dealing with the same issues that Stella and Kelly played with, using the structure of the painting and the canvas edge as a formal element to riff off.

Basel says it had 82,000 in attendance over 5 show show days, which included «influential collectors, directors, curators, trustees and patrons of leading international museums and institutions such as: Albright - Knox Art Gallery, New York; The Andy Warhol Museum, Pittsburgh; Baltimore Museum of Art; Brooklyn Museum, New York; Contemporary Arts Museum Houston; de Young Museum, San Francisco; Detroit Institute of Arts; Fridericianum, Kassel; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Musée d'art contemporain de Montréal; Museo de Arte de Lima; Museo de Arte Latinoamericano de Buenos Aires; Museum of Contemporary Art Chicago; Museum of Contemporary Art Cleveland; Museum of Contemporary Art Toronto Canada; Museum of Fine Arts, Boston; Nasher Sculpture Center, Dallas; New Museum, New York; Philadelphia Museum of Art; Serpentine Galleries, London; Solomon R. Guggenheim Museum, New York; Tate, London; The Museum of Modern Art, New York; Ullens Center for Contemporary Art, Beijing and Whitney Museum of American Art, New York.»

Here Robertson, the curator of two previous Hoyland shows, questions the artist about the new work and his development as an abstract painter...