Sentences with phrase «extensively on contemporary art»

Cameron has written extensively on contemporary art in various publications, including Artforum, Arts Magazine and Parkett and has contributed to numerous museum catalogues.

He has written extensively on contemporary art and artists, as well as releasing a book documenting the 90s London art scene.

He has written extensively on contemporary art, including recently on the inner workings of the contemporary art market.

Scott has written extensively on contemporary art for catalogues and journals including Parachute, Parkett, Mousse, and Canadian Art.

Grynsztejn has written, lectured, and taught extensively on contemporary art.

Amdam wrote extensively on contemporary art and theory and was an occasional collaborator with the artist Matias Faldbakken.

He has written and spoken extensively on contemporary art in China, and sits on advisory boards to institutions including the Guggenheim and Asia Society.

Jessica Morgan has published and lectured extensively on contemporary art and is a regular contributor to art journals including Parkett and Artforum.

I have published extensively on contemporary art and artists, and edited and contributed to numerous publications and art journals including Artforum, Frieze and Bidoun.

Roelstraete is an editor of Afterall and a contributing editor to A Prior Magazine, and has published extensively on contemporary art and philosophical issues in numerous catalogues and journals including Artforum, Frieze, and Mousse Magazine.

He has also written extensively on contemporary art and since 2000 has maintained a column of art criticism, El Ojo Breve, for Mexico City's Reforma newspaper.

He has written extensively on contemporary art and has published essays on Ghada Amer and Reza Farkondeh, Jennifer Bartlett, Rudy Burckhardt, Francesco Clemente, Red Grooms, Kiki Smith, Beat Streuli and Cy Twombly, among others.

Rodrigues Widholm has served as a juror and panelist for numerous organizations including the Headlands Arts Center, Creative Capital, New American Paintings, and been a visiting critic, graduate advisor, given numerous public talks, and has written extensively on contemporary art.

Medina has written extensively on contemporary art and is a former curator of contemporary art at the Museo de Arte Carrillo Gil in Mexico City.

Freiman has published extensively on contemporary art, including books on Amy Cutler (Amy Cutler, Hatje Cantz, 2006), María Magdalena Campos - Pons (María Magdalena Campos - Pons: Everything Is Separated by Water, Yale University Press, 2007), Type A (Type A, Hatje Cantz, 2010), Allora & Calzadilla (Gloria, Del Monico / Prestel, 2011), and Aziz and Cucher (Hatje Cantz, 2012).

Over the last two decades she has contributed essays to numerous exhibition catalogues, and written extensively on contemporary art for ARTnews and ArtNexus magazines.

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 others.

As a writer and critic, Gilane Tawadros has written extensively on contemporary art, most recently she edited Changing States: Contemporary Art and Ideas in an Era of Globalisation (inIVA, 2004).

Scott has written extensively on contemporary art for catalogues, books and journals and regularly lectures at arts schools and curatorial programmes throughout North America.

A former editor of Afterall and co-founder of the journal FR David, Roelstraete has published extensively on contemporary art and related philosophical issues in numerous catalogues and journals including Artforum, e-flux journal, Frieze, Metropolis M, Mousse Magazine, and Texte zur Kunst.

Medina has written extensively on contemporary art and is a former curator of contemporary art at the Museo de Arte Carrillo Gil in Mexico

Jonathan Watkins has written extensively on contemporary art.

Cuauhtémoc Medina, independent curator and art critic from Mexico City, Mexico, has written extensively on contemporary art and is a former curator of contemporary art at the Museo de Arte Carrillo Gil in Mexico CityRead more

Freiman has published extensively on contemporary art, including books on Amy Cutler (Amy Cutler, Hatje Cantz, 2006), and / María Magdalena Campos - Pons / (María Magdalena Campos - Pons: Everything Is Separated by Water, Yale University Press, 2007), and Type A (Type A, Hatje Cantz, 2010).

Not exact matches

She has published extensively on 20th century and contemporary art.

Buck has written extensively on collecting and commissioning contemporary art, and her 2012 guide Commissioning Contemporary Art, 2012, co-authored with Daniel McClean, included informed insights on the commissioning process from Nicholas Serota, Hans Ulrich Obrist, Jeff Koons, Vito Acconci, Mark Wallinger, Anish Kapoor, RoseLee Goldberg, Thomas Krens, Anne Pasternak, Barbara Gladstone, Mera Rubell and Olafcontemporary art, and her 2012 guide Commissioning Contemporary Art, 2012, co-authored with Daniel McClean, included informed insights on the commissioning process from Nicholas Serota, Hans Ulrich Obrist, Jeff Koons, Vito Acconci, Mark Wallinger, Anish Kapoor, RoseLee Goldberg, Thomas Krens, Anne Pasternak, Barbara Gladstone, Mera Rubell and Olafur Eliassart, and her 2012 guide Commissioning Contemporary Art, 2012, co-authored with Daniel McClean, included informed insights on the commissioning process from Nicholas Serota, Hans Ulrich Obrist, Jeff Koons, Vito Acconci, Mark Wallinger, Anish Kapoor, RoseLee Goldberg, Thomas Krens, Anne Pasternak, Barbara Gladstone, Mera Rubell and OlafContemporary Art, 2012, co-authored with Daniel McClean, included informed insights on the commissioning process from Nicholas Serota, Hans Ulrich Obrist, Jeff Koons, Vito Acconci, Mark Wallinger, Anish Kapoor, RoseLee Goldberg, Thomas Krens, Anne Pasternak, Barbara Gladstone, Mera Rubell and Olafur EliassArt, 2012, co-authored with Daniel McClean, included informed insights on the commissioning process from Nicholas Serota, Hans Ulrich Obrist, Jeff Koons, Vito Acconci, Mark Wallinger, Anish Kapoor, RoseLee Goldberg, Thomas Krens, Anne Pasternak, Barbara Gladstone, Mera Rubell and Olafur Eliasson.

Foster writes extensively on postwar and contemporary art.

He has written extensively on art, including catalogue essays for the Guggenheim Museum, the Museum of Modern Art, the New Museum of Contemporary Art, the Musée du Jeu de Paume, etart, including catalogue essays for the Guggenheim Museum, the Museum of Modern Art, the New Museum of Contemporary Art, the Musée du Jeu de Paume, etArt, the New Museum of Contemporary Art, the Musée du Jeu de Paume, etArt, the Musée du Jeu de Paume, etc..

He has written extensively on Conceptual and contemporary art in general, including the Survey text for Luc Tuymans, also published by Phaidon.

Moshayedi has written extensively on art and film / video in numerous publications including Artforum, Art in America, Frieze, X-TRA Contemporary Art Quarterly and Bidoun, for which he is also a contributing editart and film / video in numerous publications including Artforum, Art in America, Frieze, X-TRA Contemporary Art Quarterly and Bidoun, for which he is also a contributing editArt in America, Frieze, X-TRA Contemporary Art Quarterly and Bidoun, for which he is also a contributing editArt Quarterly and Bidoun, for which he is also a contributing editor.

Ms. Clearwater has written extensively on Modern and contemporary art and is a respected scholar of Mark Rothko.

Sims has published extensively on modern and contemporary art with a special interest in African, Native, Latin, and Asian American artists.

He has published regularly on the museum experience for Art Practical and Daily Serving, and extensively on the work of Richard Serra, including two essays that explore how SFMOMA allocates space: «Site Unseen, Time Unbound: The Double Life of Richard Serra's Gutter Corner Splash,» in June in X-TRA Contemporary Art Quarterly, and «Sequence's Travels Into Several Notions of the Museum,» which Art Practical published in April 2015.

Founded in 2001 by Toshiyuki Inoko and a group of his university friends, teamLab has exhibited extensively in Asia and is currently on view at the Museum of Contemporary Art in Tokyo.

Since the beginning of the 1970s Deacon has written extensively on his own practice and in relation to contemporary art in general.

He has written extensively on contemporary German sculpture for art journals such as Flash Art and Parkeart journals such as Flash Art and ParkeArt and Parkett.

She has shown extensively in the United States and abroad including Bad Girls (1993) at the Institute of Contemporary Arts, London, TheSeventh Wave (1994) at the University of Southampton in England, A / drift (1996) at Bard College in Annandale - on - Hudson, New York and Gender, Fucked (1996) at the Center for Contemporary Art in Seattle.

Nicole has written extensively on the intersection of food and contemporary art, earning her recognition as a leading voice on the subject.

He has lectured and published extensively on conservation and the meaning of material and process in contemporary art Tickets are required ($ 10 adults; $ 8 members, students, and seniors).

Spector has written extensively on topics in contemporary art and culture for American Craft, Artforum, Art on Paper, and New Art Examiner, among other publications, and he is currently art editor for the literary / arts magazine, decembart and culture for American Craft, Artforum, Art on Paper, and New Art Examiner, among other publications, and he is currently art editor for the literary / arts magazine, decembArt on Paper, and New Art Examiner, among other publications, and he is currently art editor for the literary / arts magazine, decembArt Examiner, among other publications, and he is currently art editor for the literary / arts magazine, decembart editor for the literary / arts magazine, december.

Rostarr has had solo exhibitions in Tokyo, Paris, Milan, New York, Los Angeles, Miami, Puerto Rico, to name a few, and has participated in group shows on both a national and international level, also extensively as part of the esteemed Beautiful Losers show which has toured museums and contemporary art centers worldwide.

Marcia E. Vetrocq is an art historian, educator, and writer who has published extensively on modern and contemporary artists, including Alighiero Boetti, Constantin Brancusi, Enrico Castellani, Dan Flavin, Jesper Just, Fernand Léger, Anthony McCall, Ugo Mulas, Judit Reigl, and Eve Sussman.

Dr. Sigg has written extensively on Chinese contemporary art and sits on the board of the M + Museum Committee and Acquisition Committee.

She has written extensively on contemporary Asian art and spoken at many international conferences.

She has written extensively on the subject and is member of the editorial boards for Yishu Journal for Contemporary Chinese Art, and Red Flag Collection, a compilation of contemporary Chinese artists» projects published iContemporary Chinese Art, and Red Flag Collection, a compilation of contemporary Chinese artists» projects published icontemporary Chinese artists» projects published in Hong Kong.

Oltmann has researched and written extensively on the use of wire in African material culture in South Africa and is deeply interested in the influence of these traditions in contemporary South African art.

She has written extensively on Peruvian Art and in 2010 she was awarded the Wattis Institute of Contemporary Arts 101 Fellowship, supporting her research for the Kadist Art Foundation.

He has written extensively for books and catalogues on modern and contemporary art and photography.

In addition to her work at The Contemporary, Deana lectures extensively, consults on various public art initiatives, contributes to cultural publications, and teaches at institutions such as Towson University and Johns Hopkins University.

She has exhibited her work extensively in the United States and abroad including recent solo shows «The Sound of It,» Jack Shainman Gallery, NYC, 2010; «Blow by Blow,» curated by Ian Berry, at the F.Y. Tang Museum at Skidmore College, Saratoga Springs, NY, (monograph); «Here and There,» Museum of Contemporary Art Denver, CO, and group exhibitions, «Seriously Funny,» Scottsdale Museum of Art, AZ, curated by Cassandra Coblentz and Claire Carter; Dirt on Delight, ICA Philadelphia, PA and the Walker Art Center, Minneapolis, MN curated by Ingrid Schaffner and Jenelle Porter (catalogue), all 2009.