Sentences with phrase «developing gallery programmes»

Vicky Charnock has been Community Programmes Curator at Tate Liverpool since November 2000, specialising in developing gallery programmes for socially excluded communities, and professional development training courses for staff within the caring and health sectors.

Not exact matches

The newly developed Citi Money Gallery secondary education programme delivers financial education in a historical context through objects in the collection, emphasising the development of money in society, various cultural relationships with money and the role money has played in the creation and destruction of entities.

For ten years he worked at the London Institute, now the University of the Arts in London, where he was responsible for developing the London Institute Gallery where he built an exhibition programme showcasing the work of outstanding students alongside leading contemporary artists, designers and photographers including Julian Opie, Richard Deacon, Nicola Hicks, Mike Leigh and Tom Hunter.

The proceeds from the Whitechapel Gift support the gallery's pioneering education programmes, helping to develop the talents of the next generation of Britain's leading artists.

Before Camden Arts Centre, Jenni developed and headed up the Community Education and Public Programmes at the Whitechapel Art Gallery throughout the 1980's.

The Lisson Gallery, Milan will present four to five exhibitions a year as part of a programme developed through close collaboration between Annette Hofmann and Lisson's Curatorial Director in London, Greg Hilty.

We are looking for a curator to take over and develop the programme for our newly converted gallery space, The Old Police Gym, at our «do - it - yourself art centre» in New Cross.

The initiative, which runs from 20 January to March, 2018, is the first of its kind in the Middle East and emulates current trends for younger galleries to develop their programmes internationally through the pooling of resources.

In 2014 Rebecca was appointed Programmer for the Attic Gallery at One Thoresby Street, curating and programming a series of group shows, talks programme, social events, performances and residencies in order to further develop and explore her current concerns in: gender politics, capital, commodity, sexuality, display, experience, and interaction.

Jane Scarth is Curator: Public Programmes at Whitechapel Gallery, developing and delivering public events including talks, symposia and performances.

Its directors, Tyler Dobson and Ben Morgan - Cleveland, started their Greenpoint gallery in 2008, mostly as a place for other artist friends to show work, but the programme developed over time into something increasingly sophisticated.

In 2012 she launched the Whitechapel Gallery's young patrons group First Futures and the same year helped develop a major donor programme for the Gallery's endowment Future Fund.

Our major strategic goal is to develop a national programme of artist support through working in partnership with regional galleries and museums, which will be aided by the launch of our new website later in the year.

The programme is developed with partners Kestle Barton, Newlyn Art Gallery & The Exchange and Tate St Ives and comprises events and activities that are additional to the regular programmes of all these organisations, with many taking place beyond galleryGallery & The Exchange and Tate St Ives and comprises events and activities that are additional to the regular programmes of all these organisations, with many taking place beyond gallerygallery walls.

After working at the British Museum and the Barbican Art Gallery, she joined the Zabludowicz Collection as Curator, developing a programme of exhibitions, and initiating the Invites programme for unrepresented artists.

Since graduating from the Historical and Contemporary Photography MA at Sotheby's Institute of Art, London, he has developed exhibition programmes with national and international artists, more recently Essence of Place, a group show of three generations of Latin American artists working with photography, identity and place, for Mummery + Schnelle Gallery in London.

Researched and curated by CAUSA (Collective for Advanced and Unified Studies in the Visual Arts), this programme is being developed in association with the university of British Columbia's Morris and Helen Belkin Art Gallery.

Over a six month period Gallery 8 is open to the public as it operates as a meeting hub for six invited artists to develop and synthesise their overlapping fields of knowledge into a programme of future site specific installations to be exhibited in 2012 and 2013 at Dublin City Gallery The Hugh Lane.

Developed by staff and guest curators, this year - round programme consists of three - to - five exhibitions in the main gallery, eight exhibitions in the audio art gallery and one installation in the surround gallery.

The Gallery develops and maintains a contemporary and modern art collection, operates an international and New Zealand artist residency programme, and presents a diverse programme of exhibitions and public engagement.

The exhibition has been developed by Chilean curator Beatriz Bustos Oyanedel and Auckland Art Gallery Principal Curator and Head of Programmes, Zara Stanhope and is accompanied by a significant visitor programme.

Jane Hamlyn opened the gallery in 1989 and over the last 10 years, Frith Street Gallery has developed an international programme of painting, photography, sculpture, film and video, doubled its showing space and produced a Turner Prize nominee for the last 4 consecutive years — Callum Innes (1995), Craigie Horsfield (1996), Cornelia Parker (1997), Tacita Dean gallery in 1989 and over the last 10 years, Frith Street Gallery has developed an international programme of painting, photography, sculpture, film and video, doubled its showing space and produced a Turner Prize nominee for the last 4 consecutive years — Callum Innes (1995), Craigie Horsfield (1996), Cornelia Parker (1997), Tacita Dean Gallery has developed an international programme of painting, photography, sculpture, film and video, doubled its showing space and produced a Turner Prize nominee for the last 4 consecutive years — Callum Innes (1995), Craigie Horsfield (1996), Cornelia Parker (1997), Tacita Dean (1998).

«Adrian wanted to develop a project where he really embraces the building's contradictions, the old and the new, the future and the past, the different traditions of the building,» says Jochen Volz, head of programmes at the gallery.

In 2012 the Institute was invited to develop an exhibition at the Whitechapel Gallery, London as part of a continuing programme of displays dedicated to making archives public.

Prior to this, she was Director of Bury St Edmunds Art Gallery for 12 years, where she developed an ambitious programme with a particular focus on the fusion of concept with material and process through outreach projects, public commissions and national touring exhibitions.

There are a number of artists that are developing a relationship with the gallery, and this will naturally evolve into an exciting programme for 2011, beginning with Ben Ashton's solo show.

Since 2005 the gallery has developed a parallel programme of exhibitions in Paris and since March 2007 it has established a permanent space at 6 rue de Braque.

Running alongside the gallery's exhibition programme, collaborations with various creative industries and outside curators, Rook & Raven has developed the standard art space into an innovative nucleus that aims to advance the remit of visual culture.

Before this, she developed and led the Community Education and Public Programmes at the Whitechapel Art Gallery.

Since its inauguration in 2011, the gallery has developed a special programme around the investigation of artistic productions carried out during the Brazilian military period — more specifically from the 1970s and 1980s.

He created a highly distinctive and memorable exhibition programme, frequently touring to or developed in collaboration with major European and American galleries.