Sentences with phrase «curated numerous art»

Previously, Keith served as an associate curator at the Studio Museum in Harlem from 2011 to 2016, where she curated numerous art exhibitions including «Charles Gaines: Gridwork 1974 - 1989» in 2015.

Kristine has an active life in the arts, previously teaching art history at Antelope Valley College and Pasadena City College, forming an artist collective in Los Angeles and organizing and curating numerous art exhibitions.

Not exact matches

Recent group shows include the Cintas exhibition at Miami Dade College Museum of Art + Design; Self - Proliferation curated by Micaela Giovannotti at the Girls» Club, Ft. Lauderdale; and If You Leave Me, Can I Come Too, at Hunter College, NY among numerous others.

From 2008 to 2013, Sheridan worked as director of exhibitions and publications at Mercer Union, a recognized center for contemporary art in Toronto, where she has subsequently curated numerous well - received presentations and exhibitions by artists including Pierre Leguillon (2012), Aleksandra Mir (2011), and Sol LeWitt (2010).

As curator of the El Paso Museum of Art in El Paso, Texas he has curated one - person exhibitions, authored artist essays for the Encyclopedia of Twentieth Century Photography, as well as numerous other publications for the El Paso Museum of Art.

She has been included in numerous exhibitions including: Everyday Hybrid, Prospect1.5, Isaac Delgado Fine Art Gallery, New Orleans, LA; Prospect.2 Lafayette, Lafayette, LA; Double Crescent, curated by Dan Cameron, C24 Gallery, New York, NY; External, Eternal, Fitchburg Art Museum, Fitchburg, MA, among others.

She has previously served as the project director of Cai Guo - Qiang's studio and as a curatorial assistant in the Department of Painting and Sculpture at The Museum of Modern Art, in addition to organizing numerous independently curated exhibitions.

About Catherine J. Morris: Catherine Morris is the Sackler Senior Curator for the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum where, since 2009, she has curated and co-curated numerous exhibitions including We Wanted a Revolution: Black Radical Women, 1965 - 1985; Judith Scott - Bound and Unbound; and Materializing Six Years: Lucy R. Lippard and the Emergence of Conceptual Art.

Arns has curated many exhibitions in Germany and abroad, edited exhibition catalogues, and authored numerous articles on media art and net culture.

He co-founded the contemporary art center Delta Axis in Memphis in 1992 and has curated numerous exhibitions for contemporary not - for - profit spaces, including Art in General, PS122 Gallery, and Baxter [email protected] Camera Club of New Yoart center Delta Axis in Memphis in 1992 and has curated numerous exhibitions for contemporary not - for - profit spaces, including Art in General, PS122 Gallery, and Baxter [email protected] Camera Club of New YoArt in General, PS122 Gallery, and Baxter [email protected] Camera Club of New York.

She has curated numerous exhibitions including Paul Chan: 7 Lights, Serpentine Gallery, London, England (2007); Runa Islam: Conditional Probability, Serpentine Gallery (2006); Art Metropole: The Top 100, National Gallery of Canada, Ottawa (2006); and Daniel Richter: Pink Flag, White Horse, The Power Plant, Toronto, Canada, traveled to the Morris and Helen Belkin Art Gallery, Vancouver, Canada, and the National Gallery of Canada (2004 - 05), co-curated with Wayne Baerwaldt and Scott Watson.

Margaret Lee (b 1980, Bronx, NY) has organized and exhibited work at numerous venues domestically and internationally including The Windows, Barneys, NY; Concentrations HK: Margaret Lee, curated by Gabriel Ritter, Duddell's x DMA, Hong Kong; Made in L.A, 2014 Hammer Museum Biennial, Los Angeles; 2013 Biennale de Lyon; de, da do... da, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA; Caza, curated by Sofía Hernández Chong Cuy, Bronx Museum, New York; NO MAN»S LAND: Women Artists from the Rubell Family Collection, Rubell Family Collection, Miami; New Pictures of Common Objects, curated by Christopher Lew, MoMA PS1, New York, and Looking Back, White Columns, New York, amongst others.

He has curated numerous exhibitions for art institutions including the Addison Gallery of American Art, the Museum of Contemporary Photography, the Wadsworth Atheneum, the Weatherspoon Art Museum and the Hyde Park Art Center, where he has served as a board member since 2000 and the Chair of the Exhibitions Committee since 20art institutions including the Addison Gallery of American Art, the Museum of Contemporary Photography, the Wadsworth Atheneum, the Weatherspoon Art Museum and the Hyde Park Art Center, where he has served as a board member since 2000 and the Chair of the Exhibitions Committee since 20Art, the Museum of Contemporary Photography, the Wadsworth Atheneum, the Weatherspoon Art Museum and the Hyde Park Art Center, where he has served as a board member since 2000 and the Chair of the Exhibitions Committee since 20Art Museum and the Hyde Park Art Center, where he has served as a board member since 2000 and the Chair of the Exhibitions Committee since 20Art Center, where he has served as a board member since 2000 and the Chair of the Exhibitions Committee since 2008.

Her work has been featured in numerous international group exhibitions including Horn Please: Narratives in Contemporary Indian Art, Kunstmuseum Bern (2007 — 08); Orientations: Trajectories in Indian Art, Foundation De 11 Lijnen, Oudenburg, Belgium (2010); Equator # 1: Shadow Lines: Indonesia Meets India in the Yogyakarta Biennale (2011); and The Encyclopedic Palace, curated by Massimiliano Gioni, at the 55th Venice Biennale (2013).

From 1994 to 1996 Bauer was guest curator for NowHere at the Louisiana Museum of Modern Art, Humlebæk (1996), and was Artistic Director at Künstlerhaus Stuttgart e.V. from 1990 to 1994, she has also been responsible for numerous exhibitions, lectures and international conferences such as Radical Chic (1993) and A New Spirit in Curating «(1992).

His work has also been featured in numerous group exhibitions internationally, including Arts & Foods at La Triennale di Milano, curated by Germano Celant (2015); the Walker Art Center, Minneapolis, and the Metropolitan Museum of Art, New York City (both 2012); the Geffen Contemporary at MoCA, Los Angeles (2005); and the Museum of Modern Art, New York City, and the Serpentine Gallery, London (both 2000).

She has written on curating and exhibition practices for numerous publications and magazines, including Parkett, Modern Painters, Mousse, Art in America, Manifesta Journal, the Exhibitionist, and Frieze.

He was included in the 2013 Armory Focus: USA Centennial, curated by Eric Shiner, Director of the Andy Warhol Museum, and has had solo and group exhibitions at numerous institutions, including MoMA PS1; Museum of Contemporary Art, Chicago; Museum of Art and Design, New York; Cincinnati Art Museum; Bass Museum; and Contemporary Arts Center, Cincinnati and New Orleans; among others.

He has written numerous contributions on contemporary art and has curated solo - exhibitions with Louise Lawler, Johanna Billing, Christian Philipp Müller, Simon Starling, Amelie von Wulffen, Sterling Ruby amongst others but also large - scale thematic exhibitions like Flashback — Revisiting the Art of the 80s and Index — California Conceptualiart and has curated solo - exhibitions with Louise Lawler, Johanna Billing, Christian Philipp Müller, Simon Starling, Amelie von Wulffen, Sterling Ruby amongst others but also large - scale thematic exhibitions like Flashback — Revisiting the Art of the 80s and Index — California ConceptualiArt of the 80s and Index — California Conceptualism.

Charles Esche has curated or co-curated numerous international exhibitions, including the 9th Muslim Mulliqi Prize Exhibition, It Doesn't always have to be Beautiful Unless it's Beautiful at National Gallery of Kosovo, Prishtinë, 2012; the sixth U3 Triennial for Contemporary Art in Slovenia, An Idea for Living, Moderna Galerija, Ljubljana, 2011; the 9th International Istanbul Biennial, 2005; the 4th Gwangju Biennale, Korea, 2002; and Intelligence: Tate Triennial at Tate Britain, London, 2000.

Having curated more than fifty exhibitions, he has been the primary or sole author of numerous exhibition catalogues, including Artists at Continent's End: The Monterey Peninsula Art Colony, 1875 - 1907; Edgar Payne: The Scenic Journey (Pomegranate); A Touch of Blue: Landscapes by Gregory Kondos; Armin Hansen: The Artful Voyage (Pomegranate); David Ligare: California Classicist; and E. Charlton Fortune: The Colorful Spirit (forthcoming from Pomegranate).

His works have been exhibited in numerous solo and group exhibitions, among them, the 2007 retrospective at the Rubell Family Collection, Miami, FL, which presented a decade of the artist's work and traveled to the Brooklyn Museum of Art in February 2008; and Bas's inclusion in the Nordic Pavilion at the 53rd Venice Biennale, curated by Elmgreen & Dragset.

During her tenure at the High Museum of Art, Schleuning organized and curated numerous dynamic and acclaimed exhibitions, including serving as co-organizing curator for the nationally touring Iris van Herpen: Transforming Fashion, which broke attendance records at the High Museum of Art, making it the eighth most - attended show; the exhibition was on view this past summer at the DMA.

Cruz has attended numerous residencies and shown nationally with solo exhibitions at Chicago Artist Coalition, Chicago; Comfort Station, Chicago; SUG's at the School of the Art Institute of Chicago; and a solo project (representing the BOLT Residency) curated by Dieter Roalstraete at EXPO Art Fair, Chicago.

David Shrigley has participated in numerous exhibitions including The Fantastic Recurrence of Certain Situations: Recent British Art and Photography at Consejéria de Cultura in Madrid (2001), The British Art Show 5 (2000), Common People, British Art between Phenomenon and Reality curated by Francesco Bonami at Fondazione Sandretto re Rebaudengo per L'arte, Torino, Italy (1999) and Waste Management at Art Gallery of Ontario, Canada (1999).

Her work has been the subject of numerous national and international exhibitions, including Unnatural Histories, MoMA P.S. 1, New York; All the World's Futures curated by Okwui Enwezor at the 56th International Art Exhibition La Biennale di Venezia, Italy; Players, Collezione Maramotti, Reggio Emilia, Italy; Huma Bhabha, Aspen Art Museum, Colorado, Stranger, Museum of Contemporary Art, Cleveland, Ohio; A Different Kind of Order: The ICP Triennial, International Center of Photography, New York; Land Marks, The Metropolitan Museum of Art, New York; Intense Proximity, La Triennale, Palais de Tokyo, Paris, France; 2010 Whitney Biennial, Whitney Museum, New York; and the 7th Gwangju Biennale, Korea.

Middle Gate Geel ’13 is an international art event, curated by a renowned curator Jan Hoet and exhibited at numerous historical locations throughout the city of Geel.

She has also curated numerous milestone Chicano and Latino art music / sound exhibitions.

Numerous solo and group gallery and museum shows that followed culminated in a survey exhibition curated by Julie Joyce at the Santa Barbara Museum of Art in 2011, which drew widespread critical acclaim.

In the past few years, the artist has participated in numerous group exhibitions including Landscapes, Revisited at the Olympic Sculpture Park at the Alvord Art Lab in Seattle, Blind Field at the Krannert Art Museum in Champaign, Illinois and the Broad Art Museum in Michigan, curated by Tumelo Mosaka and Irene Small as well as Ground, Materiality # 2 (Earth) at the Sorø Kunstmuseum in Denmark.

The artist's work has also been exhibited posthumously in solo exhibitions that include a major 1997 installation of the Congregations curated by Klaus Kertess for the Parrish Art Museum in Southampton, New York; ROAD: Alfonso Ossorio's Response to Jackson Pollock's Death at the Pollock - Krasner House and Study Center in East Hampton in 2001 and, the following year, an exhibition of his ballet and costume designs at the Mississippi Museum of Art in Jackson, MS.. Since his death, Ossorio's work has also been featured in numerous group exhibitions worldwide, most notably Parallel Visions: Modern Artists and Outsider Art at the Los Angeles County Museum of Art, which traveled to the Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain and the Kunsthalle Basel in Switzerland (1992); Shaping a Generation: The Art and Artists of Betty Parsons at the Heckscher Museum of Art in Huntington, NY (1999); Postmodern Transgressions: Artists Working Beyond the Frame at the Yale University Art Gallery in New Haven, CT (1999); Surrealism USA at the National Academy Museum in New York, which traveled to the Phoenix Art Museum (2005); Repartir à Zéro, 1945 - 1949 (Starting from Scratch) at the Musée des Beaux - Arts de Lyon in France (2008); Asian / American / Modern Art: Shifting Currents, 1900 - 1970 at the de Young Museum in San Francisco, CA (2008); and Splendor of Dynamic Structure: Celebrating 75 Years of the American Abstract Artists at the Herbert F. Johnson Museum of Art of Cornell University in Ithaca, NY (2011).

He has curated numerous touring exhibitions including Under the Influence of Fluxus (1991 — 1993), Pierre Molinier (1994 — 1998), Joep van Lieshout - Collection 96 (1996), Beck & Al Hansen: Playing With Matches (1998 — 2001), and The Royal Art Lodge: Ask the Dust (2003 and touring) among others.

Formerly at Boston's ICA, where he curated numerous exhibitions on post-war art, he is a regular contributor to Artforum and Art in Ameriart, he is a regular contributor to Artforum and Art in AmeriArt in America.

Picón, who currently oversees the Met's department of Greek and Roman Art, has served at the institution since 1990, curating numerous exhibitions and overseeing a major renovation project for its Greek and Roman galleries.

Author of Nine Lives: The Birth of Avant - Garde in New China (2006), she has curated numerous exhibitions of Chinese art, including «The Chinese» at Kunstmuseum Wolfsberg, Germany (2004), «The Real Thing» at Tate Liverpool (2007) and «Subtlety» at Platform China, Beijing (2008).

Hutnick has curated numerous exhibitions at Ortega y Gasset Projects, SPRING / BREAK Art Show, Trestle Projects, Pratt Institute, Brooklyn Fire Proof, Loft 594 and LaunchPad, all in Brooklyn or New York City.

Having taught on numerous curatorial and visual arts programs in Europe, O'Neill is one of the most widely published authors in the field, most recently with The Culture of Curating, the Curating of Culture (s), published by MIT Press in 2012.

In addition to essays for catalogues and books published in conjunction with the exhibitions she has curated, Katz - Freiman has written numerous articles, essays, and reviews addressing various issues in contemporary art.

Between 1976 and 1988, Serota was Director of the Whitechapel Art Gallery where he curated numerous exhibitions including Robert Ryman (1977), Carl Andre (1978), Gerhard Richter (1979), Eva Hesse (1979), Max Beckmann: The Triptychs (1980), Anselm Kiefer (1980), Philip Guston (1982), Georg Baselitz (1980 and 1983), Bruce Nauman (1987).

Ramírez has curated numerous exhibitions of Latin American art including Carlos Cruz - Diez: Color in Space and Time (2011); Joaquín Torres - García: Constructing Abstraction with Wood (2009 - 10); North Looks South: Building the Latin American Collection (2009); Dimensions of Constructive Art in Brazil: The Adolpho Leirner Collection (2007); Hélio Oiticica: The Body of Color (2006 - 07); Gego: Between Transparency and the Invisible (2005 - 07); Heterotopías: medio siglo sin lugar: 1918 - 1968 (with Héctor Olea, 2000); Global Conceptualism: Points of Origin (199art including Carlos Cruz - Diez: Color in Space and Time (2011); Joaquín Torres - García: Constructing Abstraction with Wood (2009 - 10); North Looks South: Building the Latin American Collection (2009); Dimensions of Constructive Art in Brazil: The Adolpho Leirner Collection (2007); Hélio Oiticica: The Body of Color (2006 - 07); Gego: Between Transparency and the Invisible (2005 - 07); Heterotopías: medio siglo sin lugar: 1918 - 1968 (with Héctor Olea, 2000); Global Conceptualism: Points of Origin (199Art in Brazil: The Adolpho Leirner Collection (2007); Hélio Oiticica: The Body of Color (2006 - 07); Gego: Between Transparency and the Invisible (2005 - 07); Heterotopías: medio siglo sin lugar: 1918 - 1968 (with Héctor Olea, 2000); Global Conceptualism: Points of Origin (1999).

His work has also featured in numerous group exhibitions and biennials including «Roberto Burle Marx: Brazilian Modernist», Jewish Museum, New York, USA; «United States of Latin America», Museum of Contemporary Art, Detroit, Michigan, USA (2015); «The insides are on the outside», curated by Hans - Ulrich Obrist, Casa de Vidrio, Sao Paulo, Brazil (2013); the Aichi Triennial, Nagoya, Japan (2010), Museu de Arte Moderna de São Paulo, São Paulo (2009); the Sharjah Biennial, United Arab Emirates (2009); the Mercosul Biennial, Porto Alegre, Brazil (2007); the São Paulo Biennial (2006); the San Diego Museum of Art (2005) and the American National Society, New York (2005).

Jensen has been featured in numerous important international group exhibitions including Documenta (1964, 1968, 1972), the Venice Biennale (1964), Biennial of São Paulo (1977), and Post Painterly Abstraction, a landmark travelling exhibition curated by Clement Greenberg for the Los Angeles County Museum of Art (1964).

She has curated numerous media art exhibitions at international institutions.

Her w ork has featured in numerous group exhibitions, including «L'Almanach 14», Le Consortium, Dijon, France (2014); «Performance Now: The First Decade of the New Century», curated by Rose Lee Goldberg, various venues, USA (2012 - 14); Göteborg, InternationalBiennial for Contemporary Art, Göteborg, Sweden (2013); «Performa13», New York (2013); «Aquatopia», Nottingham Contemporary, Nottingham, UK; Tate St Ives, St Ives, UK (2013); «Turner Prize», Tate Britain, London (2012); «Topsyturvy», de Appel, Amsterdam (2012); «British Art Show 7: In the Days of the Comet», various venues, UK (2010 - 11).

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.

In addition to his writing and commentary, he has curated numerous exhibitions, including #TheSocialGraph, which was the first exploration of the evolving landscape of social media art back in 2010, and The Arch of my Eye's Orbit at BAM in 2016.

Javier has curated exhibitions and related public programs in Spain and the US, and his writings have been published in numerous exhibition catalogs and art publications.

Zuckerman Jacobson has lectured extensively on contemporary art, independently curated exhibitions internationally, and served in numerous advisory capacities at The Louis Comfort Tiffany Foundation, The MacArthur Foundation, The Joan Mitchell Foundation, Creative Capital, and The Art Council, among otheart, independently curated exhibitions internationally, and served in numerous advisory capacities at The Louis Comfort Tiffany Foundation, The MacArthur Foundation, The Joan Mitchell Foundation, Creative Capital, and The Art Council, among otheArt Council, among others.

She has curated and co-curated numerous exhibitions on modern and contemporary art that include Marta Minujín, Carlos Cruz - Diez, Gordon Matta - Clark, Arturo Herrera, Paula Trope, and Alejandro Xul Solar.

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.