Sentences with phrase «be a curator too»

On the other hand, you can be a curator too, and save stories to your own collections.

Not exact matches

Don Rosen, a curator of ichthyology at the American Museum of Natural History, wryly summarized what is involved: «Darwin said that speciation occurred too slowly for us to see it.

But even with these new funding opportunities, museum officials and curators stress that there is still far too little money to make all specimens digital.

The simulations will be revised, and the isotope measurements, too, will be revised,» says geochemist Kevin Righter, the curator of Antarctic meteorites at the Johnson Space Center.

James Hamilton, the curator at the University of Birmingham, who has written books on Turner, said that while Turner claimed to paint what he saw, it's dangerous to put too much weight on an artist's interpretation.

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Maybe I was influenced by Charlotte York and watching too much SATC during formative high school years, but my work style has always been a little influenced by the «museum curator» look.

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Speaking of Curators, that system is getting overhauled too.

-LSB-...] «Painting Too, at Harrington Mill Studios, forms part - two of a duo of shows about abstract painting, demonstrating that, to quote its curator David Manley: «current abstraction is in rude good health».

Curator Hripsimé Visser: «Her self - portraits are profoundly confrontational yet witty, and searingly emotional, too.

Too near the Hopper and the Calder, some media - mad curator has decided to install the first of an absolutely infuriating number of television sets (and yes, there is a corner for Nam June Paik, but that is sculpture and TV sets are just TV sets) whose volume is set just loud enough to intrude on the viewing of everything within three galleries.

He will have had good advice, too: at Monday night's ceremony he was hand - in - hand with a Tate curator who has overseen previous Turner prize exhibitions; one of this year's judges, Daniel Birnbaum, is a colleague at the Frankfurt art school where he teaches.

Art critics complained that the winners were too old or not even artists at all (curators were nominated during the»80s), and that there were no women on the first shortlists and juries.

Ms. Locks is an independent curator who recently left MoMA PS1 — and Mr. Lew is an alum of that museum, too.

He represents the current crop of art writers and curators who, I guess, feel there is too much art - related text to wade through without letting fiction further muddy the waters.

Without question, curators are under way too much pressure to recover neglected artists, just as they are under too much pressure to spot emerging ones.

Despite the curators» good intentions and the desire to decentralize the discourse of art, this perspective was too reductive.

From 2003 until 2011 he was a curator at the Antwerp Museum of Contemporary Art (MuHKA), where he organized large - scale group exhibitions as well as monographic shows, including Emotion Pictures (2005); Intertidal, a survey show of contemporary art from Vancouver (2005); The Order of Things (2008); Auguste Orts: Correspondence (2010); Liam Gillick and Lawrence Weiner — A Syntax of Dependency (2011); A Rua: The Spirit of Rio de Janeiro (2011); Chantal Akerman: Too Close, Too Far (2012) and the collaborative projects Academy: Learning from Art (2006), The Projection Project (2007), All That Is Solid Melts Into Air (2009), and Kerry James Marshall: Paintings and Other Stuff (2013).

«It's something I knew we had to have since I arrived here in 1998, and probably curators before me were on the lookout for one too,» Mr. Rondeau said.

Isolde Brielmaier, who was appointed curator - at - large at the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College last fall, was wading through the crowds, too.

I'm going to piss people off because I'm playing my music too loud and I'm having arguments, but the curators wanted that.

With the summer drawn to a close we are busy working on the delivery of our Autumn programme - packed full of artist's talks, curator - led gallery visits, private collection visits and our new education courses - but we aren't too busy to bring you our brand new initiative... Contemporary Art Society Recommends.

So while a video like Mathieu Kleyebe Abonnenc's An Italian Film (Africa Addio)(2012), in which a Yorkshire foundry reenacts the nineteenth - century colonial - era melting and recasting of looted Congolese copper treasures, is perhaps an obvious one to include, it nonetheless keeps the curators» narrative ticking over without, for better or worse, too many tangents for the viewer to get lost among.

For more in this series, see my thoughts on Art itself, Appointment only exhibitions, Artificial Intelligence replacing artists, Everyone's a Critic, Photo London, The Turner Prize, Art for art's sake, Conceptual art is complicated, Condo, How performance art is presented in museums, Frieze week floozies, too much respect for an artist's legacy, opinions not being welcome, an exhibition across three countries, tackling race and gender in art, artist - curators, art fair hype, top 5s and top 10s, our political art is terrible, gap left by Brian Sewell, how art never learned from the Simpsons, why artspeak won't die, so - called reviews, bad reviews are bad for business, the $ 179m dollar headline, art fairs appealing to the masses, false opening hours, size matters and what's wrong with video art.

For more in this series, see my thoughts on Private views, Art itself, Appointment only exhibitions, Artificial Intelligence replacing artists, Everyone's a Critic, Photo London, The Turner Prize, Art for art's sake, Conceptual art is complicated, Condo, How performance art is presented in museums, Frieze week floozies, too much respect for an artist's legacy, opinions not being welcome, an exhibition across three countries, tackling race and gender in art, artist - curators, art fair hype, top 5s and top 10s, our political art is terrible, gap left by Brian Sewell, how art never learned from the Simpsons, why artspeak won't die, so - called reviews, bad reviews are bad for business, the $ 179m dollar headline, art fairs appealing to the masses, false opening hours, size matters and what's wrong with video art.

Wider, and you are too far from the art, and the curators often divide the space with temporary walls.

When Roberta Smith worried about too many spare installations, she worried about a new paradigm, but curators good and bad alike are making do with less.

Yet, she explained she was never overlooked by curators or other creatives, but by critics and press, perhaps because her work «was too complicated to talk about».

Someone not long ago summed up concisely (too concisely, I thought at the time) the conflicts of such a mega-event: «As curator, you can never go wrong with such a massive exhibition: with such a vast number of participating artists there will always be at least five whose positions are worth special mention.»

His Picasso Baby, filmed in Pace Gallery and featuring too many curators and artists to count, was not the art world's finest seven minutes

«For too long, the later 1950s and the early»60s have been seen as a mere parenthesis between Abstract Expressionism, on one hand, and Minimalism and Pop Art, on the other,» says Pepe Karmel, the exhibition's curator.

An Eye For Art: «For professional curators, selecting specific paintings for an exhibition is a daunting prospect, far too revealing a demonstration of their lack of what we in the trade call «an eye.»

Adam Lindeman and Simon de Pury, who get around almost as much as the curators, are doing great, too.

But Hoptman is too good a curator, with too much integrity, to ever follow the whims of the market.

The sector for works too monumental for a traditional art fair has been curated by New York - based curator Gianni Jetzer.

I'm not nostalgic for the dreaded age of curator - bullies, and now that galleries and biennials do most of the codifying, I love that museums have the luxury of time to sift through things rather than react to every twist of aesthetic fate (although too many museums are trying to be like galleries — more on that later).

When it came to paintings, sculpture and drawings too, the Andersons seem to have thought like museum curators, although they say their concern has always been only to acquire the best.

When art and culture supposedly belong to the young, when curators look to artists in their twenties to tell us where art is going, what we actually want to see, it seems, is the work of an eighty year old painter too weak to hold a brush, who resorted to scissors in creating images of life - enhancing freedom and joie de vivre.

Kathleen McLean, principal of Independent Exhibitions, recently co-facilitated the Center's project, No Idea Is Too Ridiculous, with Performa curator Mark Beasley.

Paul Davis, the curator of collections, and Clare Elliott, associate curator for modern art, are essentially starting from scratch, too.

I am surprised the floors aren't littered with dead visitors, who'd looked the wrong way at an abstract expressionist masterpiece, and curators neutralised for getting too close to the objects in their care.

Then came the inevitable backlash, the published lists of those neglected, the complaints about the ones chosen: that there aren't enough young and hip artists, that there is too much painting and not enough Conceptual and political art, that some artists are too well known, others are completely unknown and a few are just friends of the exhibition's curator, Klaus Kertess.

But it needs to be made plain as day: Biesenbach is not a scholar or an intellect, maybe not even a curator, per se; he's an impresario who has been given too much power at MoMA.

Certain critics (and curators and collectors too) in the»80s thought that painting could be saved by forgetting about boring old abstract art.

«I'm intentionally moving attention away from the auteur - curator... The group exhibition is in crisis because of too much attention paid to curatorial practice... I believe in intuition.

She said she was never overlooked by curators or other artists but she was never in the press, perhaps because her work «was too complicated to talk about».

Not only that I was missing something, but that the curator, the distinguished Belgian contemporary artist Luc Tuymans, had somehow missed something too.

Independent Spanish curator Rosa Martinez, fresh from organizing the Istanbul Biennial, brings twenty - five cutting - edge contemporary artists to Santa Fe, including Ghada Amer, Louise Bourgeois, Mona Hatoum, Shirin Neshat, Charlene Teters, and — in case you were getting worried — a few guys, too.

Thank God, I knew that it would be too much for me — I said that I would like to be involved, but that I couldn't be the curator.