Sentences with phrase «as the curator desires»

Instantly displaying the most current information, the scrolling display, unlike a single printed card, holds as much or as little content as the curator desires.

This can be as much or as little as the curator desires.

AMLABEL holds holds as much content as the curator desires, is updatable in real time, and allows for language and font customization.

Not exact matches

Known on the site only as peacay or pk, he says his digital guise isn't an effort to create what he calls a «secretive persona» but rather the result of a desire to take a backseat to the art, «because, after all is said and done,» he adds, «I'm just a curator, and it is the content that deserves center stage.»

A show is built as a subtle game, or balance, between the desire of the curator to let his point of view on the work emerge and the artist's needs.

Townsend and his staff worked with independent curator Jennifer Scanlan to create an eclectic, provocative display, which, no doubt, will leave visitors pondering their own visions of paradise as a key to their deepest desires.

The Curators agree to organize Scenes 1 - 4 while considering the myriad needs, desires, and dispositions of the viewer, hereby referred to as The Client.

«The growing importance of Art Basel's Public program reflects both the strong desire of artists to work in ways that initiate a direct encounter with the public, and the investment that many galleries now make to help artists realize their most ambitious ideas,» stated Baume in June, after accepting his role as curator in the Basel - Bass collaboration.

The inclusion of the aforementioned works by AIDS activists and others such as David Hammons's defiant African American Flag (1990), which flies in the museum's courtyard, attests to the curators» desire to examine the city's jagged edges.

Her Lisson debut, which occupied both gallery spaces, interwove these tensions between the scientific and the rational with our desires and instinctual drives, in four ongoing themes: transformation, the unconscious, systems of belief, and the role of the artist as collector and curator.

Balzer notes: «What emerges above all in «Caravaggio and His Followers in Rome» is [the curators»] desire for us to read the artist as revolutionarily authentic, down - to - earth, experiential.

Franklin Street Works will be working with five New York City - based guest curators in 2017 and 2018, originating six new group exhibitions around themes such as: shared strategies of the labor and LGBTQ movements; economic and political refugees; ways artists animate desire in abstract painting; art that explores political and personal paranoia; and more.

The press release, found only on the artist - run curatorial collective's various web platforms, as well as in Facebook posts shared by Life Babies curator, Gabrielle de la Puente is an italicised description of the desire to bring together work made by artists that needs «sharing carefully and handling slowly».

Critic / curator Helen Molesworth described the tool works as «lushly painted and lustily suggesting the violent, combinative nature of sexual desire... the inanimate is not a working concept for Lozano — everything possesses some kind of energy, life, or drive.

As curator Margot Norton comments: «Charlesworth's work is part of the growing consciousness in the 1980s that images are so pervasive and they play a role in establishing individual attitudes towards desire or towards sexuality and identity.

Telling me how in the end he could reduce his desire as a curator to having people considering him smart.

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.