Sentences with phrase «curator of a lot of work»

Not exact matches

«I wouldn't go so far as to say it's a pervasive theme,» curator Alex Glauber told Gallerist about his inspiration for the show, «but over the last year and a half, I've noticed the Rorschach image in a lot of contemporary work I've been seeing — works by Donald Moffett, Louise Despont, Blake Raynes.»

The Whitney owns a lot of work by Nicole Eisenman, who has been in two of the museum's Biennials, but the curators wanted something brand - new for this special occasion.

The departure was short - lived, however, ending when Hoptman returned to the city as a senior curator at the New Museum, bringing in works by painters like Elizabeth Peyton, George Condo, and Tomma Abts while also organizing seminal exhibitions including «Unmonumental: The Object in the 21st Century» — the influential show of provisional - looking sculpture that famously included a lot of paint — and «Younger than Jesus,» the first iteration of the museum's Triennial.

Highlights among the 171 lots include 47 works from the collection of late scholar and curator Richard A. Long of Atlanta, a nude torso by Augusta Savage, a Hughie Lee - Smith shore scene, «Singing Head» by Elizabeth Catlett, and a carved wood panel by Nancy Elizabeth Prophet.

«She's an artist who has a lot of images in her head and imagines the work to be in dialog with the whole history of western image production,» says Moca curator Helen Molesworth, who teamed up with Hammer curator Connie Butler to make the Opie double - bill possible.

Elbaz said he and his team had put in a lot of work ahead of the fair connecting with the curators and collectors who would be in attendance (their names were provided by the fair).

Of course that entails doing a lot of talking to people and working with Tobias Ostrander, our chief curator, and thinking through those thingOf course that entails doing a lot of talking to people and working with Tobias Ostrander, our chief curator, and thinking through those thingof talking to people and working with Tobias Ostrander, our chief curator, and thinking through those things.

«I thought it was a really interesting engagement with a lot of issues around nature, the environment, landscape traditions, Romanticism, melancholia — some of Pierre's big subjects,» says Lynne Cooke, who organized a 2002 show of Huyghe's work at the Dia Art Foundation in New York and is now senior curator for special projects in modern art at the National Gallery of Art in Washington, D.C.

«It's a work that was made at a time when he had moved down to (Sarasota, Fla.) from New York and had a lot of space to work with,» says Franklin Sirmans, Menil curator of modern and contemporary art, who organized the exhibition.

«I think a lot of curators and historians know who she is and how to place her work, but this platform has appropriated contextualized the importance of her work while introducing her to a whole new demographic of collectors and art enthusiasts,» Coghlan says.

«There is a lot of material to work with and you know what to expect,» said Francesco Bonami, an Italian art critic and curator.

This Jane is not a great one for receiving visitors, but I have travelled here with Chris Stephens, the curator of Tate Britain's forthcoming exhibition about Kenneth Clark, of whom she is clearly fond (Stephens has been up and down to Kent a lot lately, in search of photographs, newspaper cuttings and other bits and pieces that will work in the context of the show), and she has even made shortbread to welcome us.

I'd argue that it's less interesting to see a Gerhard Richter painting paired with another Richter painting (abstract or figurative), or hung with a work from the same period made by an artist on the other side of the Atlantic (which is what lots of curators and collectors do now).

There's a lot of work that goes into cementing an artist's importance with curators, collectors and cultural historians.

Observing that some of the fiercer debates surrounding works by van Gogh can assume the tenor of «religious wars,» Douglas Druick, Searle Curator of European Paintings at the Art Institute of Chicago, says, «Van Gogh is almost a religion, and there are a lot of high priests.»

There are a lot of things to love about this show — the exquisite placement of works, the perfectly proportioned galleries, the knowing title taken from a review of Stephen Mueller by Carrie Moyer, the amount of talent, intelligence and thoughtfulness invested by artists and curator alike — as well as the pleasure of revisiting works seminal to artistic development in the»80s.

The curator said that «a lot of the works have a certain vulnerability to them that feels manifested in how they were made in a funny way formally, but also in the content, the personal content that they were willing to share.»