Connie Butler is Chief Curator of Drawings at the Museum of Modern Art in New York, where she has
curated such exhibitions as «Marlene Dumas: Measuring Your Own Grave» (2008 - 09) and «Paul Sietsema Figure 3» (2009) and co-curated «On Line: Drawing Through the 20th Century» (2010 - 11).
Prior to working at the Whitney, De Salvo served for five years as a Senior Curator at Tate Modern, London, where
she curated such exhibitions as Open Systems: Rethinking Art c. 1970 (2005); Marsyas (Anish Kapoor's 2003 work commissioned by Tate Modern for its Turbine Hall); and Century City: Art and Culture in the Modern Metropolis (2001).
Not exact matches
Since 2000 she has
curated numerous
exhibitions, symposia and performance events in Europe and North America at venues
such as MUMOK Vienna, and Tate Modern.
What follows, in the
exhibition, are works by artists who have persevered in defiance of portrait fatigue,
such as Alex Katz and Chuck Close, and some creative
curating that asks us to think of 1970s Body Art, anonymous street photography, and certain still lifes as portraits.
He has
curated exhibitions such as «Into the Open,» the US representation at the Venice Biennale for Architecture; the «Perpetual Peace Project» at the International Peace Institute at the United Nations; «Mixplace Studio» with People's Emergency Center.
It is with this knowledge and artist community that Rubenstein so successfully
curates exhibitions such as Fort Greene.
Since 2005, Bojan worked closely with Ulay, writing,
curating, and producing materials for several international
exhibitions such as Ulay's first major retrospective, GEN.E.T.RATION ULTIMA RATIO, (2005), at Centro Parraga, Murcia, Spain, while contributing to his recent retrospectives at Nederlandse Fotomuseum, Rotterdam, and Schirn Kunsthalle Frankfurt.
Haddon's paintings have been included in
exhibitions such as «Theatre of the World», MONA, Tasmania (
curated by Jean - Hubert Martin), Contemporary Encounters, National Gallery of Victoria, Melbourne and Art Platform LA, 2012.
This show comes 20 years after pivotal
exhibitions such as Memorias Intimas Marcas — initiated by Fernando Alvim, in collaboration with Gavin Younge and Carlos Garaicoa, which looked at the residue of trauma caused by the Angolan Civil War — and the 2nd and last Johannesburg Biennale,
curated by Okwui Enwezor, which unusually for the international art world at the time included many artists from the Global South.
They represented Switzerland at the Venice Biennale in 1995, and were included
such Biennale
exhibitions as Utopia Station in 2003 (
curated by Hans - Ulrich Obrist, Molly Nesbit, and Rirkrit Tiravanija) and ILLUMINations in 2011,
curated by Bice Curiger.
As part of the course, students have had the opportunity to
curate exhibitions in partner institutions
such as the Korean Cultural Centre, the Government Art Collection, NHS practice, Mansion House, Mint Hotel, Rich Mix, Royal College of Psychiatrists, Valentine's Mansion, the Zabludowicz Collection in London, and the ME - Collector's Room / the Thomas Olbricht Collection, Berlin among others.
Curated by Manu Park, the solo
exhibition (22 February - 30 April 2017) includes PLAYTIME (Seven Screen Installation), 2014, which explores the dramatic and nuanced subject of capital, Kapital, 2013, a two - screen documentary, which includes the artist in conversation with leading academics
such as David Harvey and Stuart Hall, and The Leopard, 2007, which brings together baroque pageantry and metaphor in a work that, referring to journeys made across the Mediterranean by Asians and Africans trying to enter Europe by sea, experiments with notions of cultural entanglement and the dissent between aesthetics and politics.
He has
curated numerous
exhibitions of artists
such as Michael Asher, Matthew Barney, Marlene Dumas, Robert Gober, Katharina Grosse, Eberhard Havekost, Maria Lassnig, Sol LeWitt, Brice Marden, Gerhard Richter, Wilhelm Sasnal, Thomas Schu
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).
Yiadom - Boakye was recently nominated for the 2013 Turner Prize, and her work has been shown internationally, in
exhibitions such as the Gwangju Biennale in South Korea,
curated by Okwui Enwezor, and «Flow» at the Studio Museum in Harlem, both in 2008.
Curated by MOCA Director Jeffrey Deitch and Associate Curators Roger Gastman and Aaron Rose, the
exhibition will trace the development of graffiti and street art from the 1970s to the global movement it has become today, concentrating on key cities
such as New York, Los Angeles, San Francisco, London, and Sao Paulo, where a unique visual language or attitude has evolved.
The gallery has organized and
curated exhibitions that have become seminal in the Nordic context, successfully launching the careers of Scandinavian artists
such as Annika Larsson, Matts Leiderstam and Annika von Hausswolff and giving artists
such as Uta Barth, Siobhán Hapaska, Nandipha Mntambo and Xavier Veilhan their first European or Scandinavian one - person
exhibition.
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).
It has a reputation for
curating the most ambitious projects of many artist's careers, including Andy Goldsworthy and Jaume Plensa, as well as highly significant historical
exhibitions,
such as Isamu Noguchi, Barbara Hepworth and Eduardo Chillida.
Typically when artists are tapped to
curate shows,
such as Robert Gober with his presentation of Forrest Bess in the last Whitney Biennial, they are given only a moderate amount of space for
exhibitions that are viewed as creative curiosities.
The Musée d'Art moderne de la Ville de Paris presents «MEDUSA, Jewellery and Taboos», an
exhibition,,
curated by Anne Dressen, bringing together over 400 pieces of jewellery created by artists the like of Anni Albers, Man Ray, Meret Oppenheim, Alexander Calder, Salvador Dali, Louise Bourgeois, Lucio Fontana, Niki de Saint Phalle, Fabrice Gygi, Thomas Hirschhorn, Danny McDonald, Sylvie Auvray, avant - garde jewellery makers and designers
such as Betony Vernon, Elie Top, René Lalique, Suzanne Belperron, Line Vautrin, Art Smith, Tony Duquette, Bless, Nervous System, contemporary jewellery makers and also high end jewelers, as well as anonymous, more ancient or non-Western pieces.
He has
curated and produced numerous memorable
exhibitions, which included the works of Donald Judd, Anselm Kiefer, Sol LeWitt, John Chamberlain, Jean Michel Basquait, John Baldessari, Roy Litchtenstein, and Andy Warhol and has overcome
such logistical hurdles as installing a 12,000 pound indoor Richard Serra sculpture in a second floor Philadelphia space.
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.
She
curated the
exhibitions of
such Polish female artists as Ewa Partum («Musical Scores», Aleksander Bruno Gallery, Warsaw, 2015), Agnieszka Brzezanska («Ma terra», Aleksander Bruno Gallery, 2014), Marta Deskur («If you shoot one of them», MOCAK, Cracow, 2013).
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.
In the past Goodman Gallery has collaborated with independent curators
such as Simon Njami and Bettina Malcomess, who
curated the US
exhibition, part of which was shown at Goodman Gallery Projects at Arts on Main in 2009.
In 2012 she
curated exhibitions such as You, Me, We, She, an all - female
exhibition including artwork by Martha Wilson, DISBAND, Mika Rottenberg, Annika Eriksson, Johanna Billing, Corita Kent, and Justine Kurland, among others.
He has also
curated exhibition at the Blouin Foundation — «After Dark» series, featuring acclaimed artists
such as Alice Anderson.
As the founding director of the Artist's Institute in New York, Huberman has worked with artists
such as Robert Filliou, Rosemarie Trockel, Haim Steinbach, and Thomas Bayrle, and will be publishing a book about them in 2015; he will also
curate his fifth installment of Hello Goodbye Thank You, a biennial
exhibition, at castillo / corrales in Paris.
During his tenure, he
curated award winning
exhibitions such as Ryan McGinness: Studio Visit (2014); Xu Bing: Tobacco Project (2011); Sally Mann: The Flesh and The Spirit (2010); Chuck Close: People Who Matter to Me (2010); Artificial Light (2006), which appeared at VCU Anderson Gallery and MOCA at Goldman Warehouse in Miami; Robert Lazzarini (2003), recognized by the International Association of Art Critics as one of year's best
exhibitions; Outer and Inner Space: A Video
Exhibition in Three Parts (2002), recipient of an Emily Hall Tremaine
Exhibition Award; and Vanitas: Meditations on Life and Death in Contemporary Art (2000).
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).
Greene has taught and lectured at institutions
such as the University of the Arts and Drexel University and has
curated exhibitions for Chela in Baltimore, MD..
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).
Several
exhibitions I've
curated in the past have had quite poetic, allusive names,
such as «How to Endure» at the 2007 Athens Biennale, «Handsome Young Doctor» at Cubitt Gallery, and «Deceitful Moon» at the Hayward Project Space.
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.
Jointly
curated by Tony Tiger (Muscogee Creek / Seminole / Sac & Fox), Bobby Martin (Muscogee Creek), and Jace Weaver (Cherokee), the
exhibition will feature works in a variety of media
such as painting, drawing, printmaking, basketry, sculpture, and pottery.
She personally
curated a number of groundbreaking
exhibitions and wrote catalogue essays for world - renowned artists
such as Betye Saar, Sam Gilliam, and Melvin Edwards.»
Shpungin has also
curated exhibitions such as Delicatessen at Schmidt Center Gallery, Florida Atlantic University, Boca Raton, Florida.
He began working at Foksal Gallery in 1988,
curating exhibitions by
such artists as Luc Tuymans, Franz West and Douglas Gordon.
Bill has
curated numerous
exhibitions with artists
such as Mary Heilmann, Jonathan Lasker, Ken Price, Chris Martin, Marilyn Minter and Juan Usle.
IThe Hayward is shortlisted after a year in which very little was spent on its infrastructure — it is nominated instead for eclectic and experimental programming which included touring
exhibitions such as All That Is Solid Melts Into Air,
curated by Jeremy Deller and shows in its South Bank home which brought the «unknown and unexpected» to UK audiences.
Organized by Grey Art Gallery at New York University and
curated by Melissa Rachleff, clinical associate professor at NYU Steinhardt, the
exhibition includes work by artists ranging from
such well known figures as Mark di Suvero, Jim Dine, Red Grooms, Allan Kaprow, Alex Katz, Yayoi Kusama, Claes Oldenburg, and Yoko Ono to artists who deserve to be better known,
such as Ed Clark, Emilio Cruz, Lois Dodd, Rosalyn Drexler, Sally Hazelet Drummond, Jean Follett, Lester Johnson, Boris Lurie, Jan Müller, and Aldo Tambellini.
He
curated an
exhibition for the Arts Council at the Hayward Gallery in 1976, entitled «The Human Clay» (an allusion to a line by W. H. Auden), including works by 48 London artists,
such as William Roberts, Richard Carline, Colin Self and Maggi Hambling, championing the cause of figurative art at a time when abstract was dominant.
Curated and co-
curated such exhibitions as «New National Art» (Museum of Modern Art in Warsaw); «Early Years» (KW Institute for Contemporary Art, Berlin); The Sculpture Park in Bródno, (incl.
The Artist as Curator: An Anthology, born out of a series of essays originally published in Mousse, surveys seminal examples of
such artist -
curated exhibitions from the postwar to the present, examined by the world's foremost curators and illustrated with rare documents and illustrations.
During his tenure at the MCA, Molon
curated major thematic survey
exhibitions with a broad international and historical scope
such as Production Site: The Artist's Studio Inside - Out (2010) where the
exhibition addressed the pivotal role of the studio in artists» practice; and Sympathy for the Devil: Art and Rock and Roll since 1967 (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.
«We didn't anticipate that there would be
such clear links between our show and contemporary events,» said Mark Godfrey, who
curated the
exhibition with Zoe Whitley.
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.