Sentences with phrase «curated group exhibitions such»

Since joining the MCA in 1999, she has curated group exhibitions such as Escultura Social: A New Generation of Art from Mexico City, which was accompanied by a bi-lingual catalogue, as well as in - depth presentations of the MCA Collection in Constellations: Paintings from the MCA Collection and MCA Exposed: Defining Moments in Photography, 1967 - 2007.

Not exact matches

Sammak has been included in numerous group exhibitions, such as DSM - V, curated by David Rimanelli and presented by Vito Schnabel in The Future Moynihan Station, New York.

Seror's work has been included in group exhibitions such as Don Juan, Vienna Kunsthalle (2006); Jeugen von heute, Schirn Kunsthalle Frankfurt (2006); Balance and Power: Performance and Surveillance in Video Art, curated by Michael Rush, Rose Art Museum at Brandeis University (2005); In Focus: Themes in Photography, Albright Knox Art Gallery, Buffalo (2005); typ0, Moderna Museet, Stockholm (2004); Strangers: First ICP Triennial of Photography and Video (2003).

Her work has been part of international group exhibitions such as the 8th Berlin Biennale, curated by Juan Andrés Gaitán, 2014; «Clemania» at the FRAC des Pays de la Loire, Carquefou, France, curated by Daniela Pérez, 2014 and, «Crossing Boundaries,» the II Moscow International Biennale for Young Art in Moscow, Russia, 2010.

Maor has curated solo shows for numerous Israeli and international artists, as well as large - scale, thematic group exhibitions such as «Embroidered Action,» «(after),» «Temporally,» «History of Violence,» «Living Room,» «showtime,» and others.

Andria Hickey is Curator at the Public Art Fund, where she has curated exhibitions throughout New York City with artists such as Danh Vō, Katharina Grosse, and Oscar Tuazon, as well as the group exhibitions Lightness of Being (2013), Configurations (2012 — 13), and A Promise Is a Cloud (2011 — 12).

Besides numerous thematic group exhibitions, Kroksnes has also curated solo exhibitions by international artists such as Thomas Ruff (2002, in collaboration with the Kunsthalle Baden - Baden), Paul McCarthy (2003, together with the Kunstverein in Hamburg), Nick Relph / Oliver Payne (2003 - 2004, in collaboration with the Musée d'Art Moderne de la Ville de Paris), Rémy Zaugg (2004), Louise Lawler (2005), and Kirstine Roepstorff (2010, with Kunstmuseum Basel).

Recent shows include the solo exhibition The Power of Reinforcement, curated by Zhang Peili, Zendai Moma, Shanghai 2009; and groups exhibitions such as Jungle, Platform China, Beijing, 2010; Go, OCT Contemporary Art Terminal, Shenzhen, 2010; Bourgeoisified Proletariat, Shanghai, 2009; Quantity Bears Identity, Kultflux, Vilnius, Lithuania, 2009; Itchy, BizArt, Shanghai, 2009; Spade, T - Space, Beijing, 2008; eArts Festival, Shanghai, 2008; and New Directions from China, Plug.In, Basel, Switzerland, 2007.

A former Director (2000 - 06) of CCA Wattis Institute, at California College of the Arts in San Francisco, he has curated numerous group shows at the Hayward Gallery over the past 11 years, including The Painting of Modern Life (2007), Psycho Buildings (2008), an exhibition that included interactive and immersive installations by artists such as Mike Nelson, Gelitin and Do - ho Suh; and The Infinite Mix (2016); he also has curated important retrospectives and solo exhibitions by Ed Ruschka, Jeremy Deller, Carsten Holler, Tracey Emin and George Condo.

A former Director (2000 - 06) of San Francisco's CCA Wattis Institute, he has curated numerous group shows at the Hayward Gallery over the past 11 years, including The Painting of Modern Life (2007), and Psycho Buildings (2008), an exhibition that included installations by artists such as Mike Nelson, Gelitin and Do - ho Suh.

Such an idea of creating environmental fiction underpins this group exhibition curated by artist Sean Lynch.

She's curated exhibitions internationally, including the performance and print programme for Chart Art Fair in 2015, The Dark Cube at the Palais de Tokyo, E-vapor-8 at Site Sheffield and 319 Scholes in New York, along with numerous other shows in European project spaces, showing a keen and experienced eye, which was demonstrated in Manifesta 11 by including a diverse group of artists such as Martine Syms, Coco Fusco, Aleksandra Domanović, Trisha Baga and Frances Stark.

Curated by Bettina M. Busse, the exhibition ICON continues the gallery's tradition of large - scale group exhibitions such as Women — Art — New Trends featuring Marina Abramović, Valie Export, Rebecca Horn, Maria Lassnig, Gina Pane, and Carolee Schneemann from 1975, Mannerism Subjective.

Accompanying such curated group and solo exhibitions have been a series of publications, film screenings, artist talks and live performances.

From there we set off for the Chi K11 art space, featuring three exhibitions spanning thirty thousand basement - level square feet: media installations by Guan Xiao, sculptures by Neïl Beloufa, and the touring «Hack Space,» a group show curated by Hans Ulrich Obrist and Amira Gad that brings together artists such as Cao Fei, Firenze Lai, and Simon Denny.

His work was also included in notable group exhibition such as: Unscene, WIELS Contemporary Art Museum, Brussels; ATOPOLIS (curated by Dirk Snauwaert) at Manège de Sury, Mons on the occasion of Mons 2015 - European Capital of Culture; Celluloid Brushes at Isabel Bortolozzi, Berlin and Ludlow 88, New York; Vibrant Matter, KIOSK, Ghent, Belgium; Richard Parker (curated by Marc LeBlanc), Michael Thibault Gallery, Los Angeles; Marfa Book Company, Marfa, USA; Mu.ZEE Ostende, Belgium; Middlemarch, Brussels; Karma, New York and White Flags, Saint - Louis, USA.

He has been the subject of numerous exhibitions, including solo shows at the Whitney Museum (2005), the Whitechapel Gallery in London (2001), and the Drawing Center (1999), as well as notable group shows such as the Whitney Biennial in 1993 and 2004 and the 2007 Venice Biennale exhibition Think with the Senses — Feel with the Mind: Art in the Present Tense, curated by Robert Storr.

Curated by Dean Saskia Bos and Associate Dean Steven Lam, Free as Air and Water addresses these questions within the context of contemporary art linking a broad set of issues such as public access to resources, political ecology and governmentality within a group exhibition that features a diverse array of artistic operations and tactics.

Since 2009 MELK has curated almost 40 solo exhibitions in their space in Oslo, and also organised group exhibitions, talks and seminars in other respected venues such as Akershus Kunstsenter, Fotogalleriet, Vestfossen Kunstlaboratorium and Astrup Fearnley.

Outside of the Reina Sofía she has curated a large number of exhibitions, including solo shows by Valie Export and Lotty Rosenfeld, and group exhibitions in institutions such as the former Whitney Museum (Connecticut), CIFO (Miami), ArtPace (San Antonio), Museo Vostell (Carceres), Argos (Brussels), Centro Atlántico de Arte Moderno (Canary Islands), Centro Andaluz de Arte Contemporaneo (Seville), Itau Cultural (São Paulo), and New York University 80WES, among many others.

Andria Hickey is the associate curator at the Public Art Fund where she has curated exhibitions in the public realm throughout New York City with artists such as Danh Vo, Katharina Grosse, Olaf Breuning, Oscar Tuazon, and Sam Falls as well as group exhibitions Configurations: Valerie Blass, Katinka Bock, Esther Klas and Allyson Vieira; Lightness of Being; and A Promise Is a Cloud.

Lācis has curated solo, group, participatory, and pop - up exhibitions at such institutions as SPACES, Zygote Press, The Cleveland Foundation, The Sculpture Center, 78th Street Studios, and the Museum of Contemporary Art Cleveland, where she served as Emily Hall Tremaine Curatorial Fellow between 2007 and 2010.

Cichocki curated one such group exhibition, the vibrant and unflinching Desert Island, at Coachella Valley Art Center in the city of Indio, on view through April 20, and featuring the work of some 24 artists in photography, painting, sculpture, installation, performance, and video, all with their own abiding interests in the region, not all of whom live there, but all of whom do their best, most explosive and salient work in the desert lands.

She has curated solo exhibitions and group shows, and put together research - based projects, such as an exhibition focusing on the development of the sound art discipline.

Artistic Director of the 7th Istanbul Biennale (2001) Hasegawa has curated major thematic group exhibitions, and solo exhibitions by such artists as Matthew Barney, Marlene Dumas, Rebecca Horn, and Atsuko Tanaka.

These Days; Leaves of Grass also includes a compact exhibition St. Johns curated to bring together works by a group of his peers such as Pope L. and Andy Warhol, as well as his previous students Borna Sammak and Alex McQuilkin.

A former Director (2000 - 06) of CCA Wattis Institute, at the California College of Arts in San Francisco, he has curated numerous group shows at the Hayward Gallery over the past 11 years, including The Painting of Modern Life (2007), Psycho Buildings (2008), an exhibition that included interactive and immersive installations by artists such as Mike Nelson, Gelitin and Do - ho Suh; and The Infinite Mix (2016); he also has curated important retrospectives and solo exhibitions by Ed Ruscha, Jeremy Deller, Carsten Holler, Tracey Emin, and George Condo.

And then there were the museum - quality historical exhibitions not shown at a museum, such as Alberto Giacometti's drawings curated by Karen Wilkin at the New York Studio School; the resurgently influential Supports / Surfaces group, showcased at the Lower East Side gallery CANADA in conjunction with Galerie Bernard Ceysson; and the Vienna Actionists at Hauser & Wirth, curated by Hubert Klocker.

A: Typically when I have curated exhibitions, I group the art for each show together with a common visual theme, such as animals or abstracts.

Through a live performance, which was part of a group exhibition titled, Post Oriental Exhibition, curated by Mo Reda at The Mine in Dubai, UAE [2015], the artist actively experimented with the misuse of music throughout history by listening to 21 songs from past torture reports from Guantanamo Bay and Abu Ghraib; risking mental challenges that can be a product of the performance for sucexhibition titled, Post Oriental Exhibition, curated by Mo Reda at The Mine in Dubai, UAE [2015], the artist actively experimented with the misuse of music throughout history by listening to 21 songs from past torture reports from Guantanamo Bay and Abu Ghraib; risking mental challenges that can be a product of the performance for sucExhibition, curated by Mo Reda at The Mine in Dubai, UAE [2015], the artist actively experimented with the misuse of music throughout history by listening to 21 songs from past torture reports from Guantanamo Bay and Abu Ghraib; risking mental challenges that can be a product of the performance for such a cause.

While it may be easy to declare that the individual works of each artist suffer as a result of such an exhibition strategy, doing so would only reaffirm the monolithic model of the gallery group show, one where works are curated in a typical — yet hierarchical — fashion.

There are the numerous exhibitions she has curated, such as «Democrazy» (2007 — 08); «Jide Alakija: Owambe, Aso - Ebi and the Politics of Dress» (2011); «Kelani Abass If I can save time» (2016 — 17); «Playing with Chance: El Anatsui» (2014); as well as group exhibitions such as «Like a Virgin» with Lucy Azubuike and Zanele Muholi.

Ha has curated and organized more than 100 solo and group exhibitions and exhibited artists such as Sarah Sze, Christoph Büchel, Jessica Craig - Martin, Rachel Feinstein, and Anna Gaskell, often presenting their first solo exhibitions.

At EMPAC she commissioned and / or produced a broad range of new work by artists that included The Wooster Group, Laurie Anderson, Japanther, Jem Cohen and Ben Rubin, and curated exhibitions such as Dancing on the Ceiling: Art and Zero Gravity.

His work has been included in group exhibitions such as Peter, Paul and Mary, Adrian Rosenfeld Gallery, San Francisco, CA, USA (2018); Marching to the Beat, Jessica Silverman Gallery, San Francisco, CA, USA (2017); Touchpiece, Hannah Hoffman Gallery, Los Angeles, CA, USA (2017); Home Improvements, curated by John Waters, FraenkelLAB, San Francisco, CA, USA (2016); Love for Three Oranges, Karma at Gladstone Gallery, Brussels, Belgium (2015) and Embracing Modernism: Ten Years of Drawings Acquisitions, The Morgan Library & Museum, New York, NY, USA (2015).

The artist has also participated in recent group exhibitions, such as: Hard Targets, Wexner Center for the Arts, Columbus (2009); Moby Dick, CCA Wattis Institute for Contemporary Arts, San Francisco (2009); Revolutions — Forms that Turn, curated by Carolyn Christov - Bikargeiv, 16th Biennale of Sydney (2008); and NeoHooDoo: Art For A Forgotten Faith, The Menil Collection, Houston (2008).

Andria Hickey is Curator at the Public Art Fund where, since 2011, she has curated exhibitions throughout New York City with artists such as Danh Vo, Katharina Grosse, Olaf Breuning, Monika Sosnowska, and Oscar Tuazon as well as group exhibitions Lightness of Being (2013); Configurations (2012); and A Promise Is a Cloud (2011).

She has curated numerous exhibitions, including most recently Love is a Stranger at Creative Growth Art Center in Oakland, and has organized over 50 exhibitions ranging from solo shows of the work of Richard Artschwager, Dan Flavin, and Brice Marden to major group exhibitions such as Monuments for the USA and IRREDUCIBLE: Contemporary Short Form Video.

He has shown internationally for more than fifteen years, with inclusion in renowned group exhibitions such as ILLUMINations, the curated exhibition for the 54th Venice Biennale in 2011, the 5th Berlin Biennale in 2008, the critically acclaimed Brave New Worlds at the Walker Art Center in Minneapolis and Unmonumental at the New Museum in New York in 2007, as well as recent solo exhibitions in Norway, Beirut, Mexico City, London, Berlin, Boston, and Houston.