Sentences with phrase «fact curator of the exhibition»

In fact curator of the exhibition, Catherine Lampert, has sat for him weekly for the past 37 years (9 October to 13 March).

Not exact matches

Much has been made of his evasiveness, of the fact that he has spent his career flouting the art world's propriety: his continual refusal to settle on a dealer; the propensity to make himself unavailable to curators even in the midst of show preparations; to stage exhibitions, performances, and installations with no prior announcement.

Matters of Fact revisits a number of key encounters from the institutional history of the Hessel Museum of Art: between collector and artist, curator and exhibition, art and art history.

So while New Image Painting may not change much in the tastes of an art market that prefers its signifiers empty and flexible, the fact remains that the exhibition's authors — its curators and, presumably, its artists — are taking the problems of the market seriously as a cultural force.

[20] In artist and curator Rasheed Araeen's «Postcript» to «The Other Story,» an exhibition of artists of African and Asian descent at the Hayward Gallery, London, 1989, Araeen writes, «[Anish] Kapoor, [Shirazeh] Houshiary and [Dhruva] Mistry, as well as Kim Lim and Veronica Ryan, were in fact invited to participate but they declined.

Matters of Fact revisits a number of key encounters from the institutional history of CCS Bard and the Marieluise Hessel Collection: between collector and artist, curator and exhibition, and art and art history.

Internationally renowned visual artist Shimon Attie discusses his evocative new monograph and concurrent exhibition, Facts on the Ground, with Norman Kleeblatt, Chief Curator, The Jewish Museum, New York, and Maya Benton, Curator at the International Center of Photography.

Susan discusses her exhibition «Social Facts» at OGR Torino (until 24 June) with curator of the exhibition, Barbara Casavecchia, and Andrea Lissoni, Senior Curator of International Art (Film), ocurator of the exhibition, Barbara Casavecchia, and Andrea Lissoni, Senior Curator of International Art (Film), oCurator of International Art (Film), on 4 May

These works, selected by Pfeiffer and the exhibition's curator, explore the theme of the artist as editor, one who plays with space and time and, in doing so, creates new narratives that blur the line between fact and fiction.

Matters of Fact Hessel Museum of Art March 18 — May 27 Matters of Fact revisits a number of key encounters from the institutional history of the Hessel Museum: between collector and artist, curator and exhibition, art and art history.

The three - day contemporary art event introduces emerging and established artists in China to an international audience of collectors, museum curators, art professionals and art lovers, while shining a light on the fact that art is often best experienced in a thoughtfully curated gallery exhibition.

According to gallery director Ralph Rugoff, curator of the exhibition, its title reflects the fact that at various points during the show visitors will be expected to make decisions, «with those choices leading to quite dramatically different experiences».

In today's museum world, where competition for exhibition space is escalating, emptying two large rooms, painting them black, and then posting a text instructing the viewer on how to perceive a black painting is an ambitious conceptual gesture — one that becomes even more commanding in view of the fact that the exhibition's curator, Stephanie Rosenthal, limited her checklist for the show to just four American male heavyweights who made black paintings between 1945 and 1965.

Demonstrating the importance of the exhibition, contemporary artist and curator of the show Varvara Shavrova (USSR / Ireland / UK) notes: «What makes The Sea is the Limit a unique exhibition is the fact that each participating artist has been engaging with migration, immigration, dispossession and rootlessness for some years... Another strength lies in the fact that most participating artists, including myself, are migrants.»

Curator Yasha Young shares, «This exhibition addresses the fact that art created by women has been historically dismissed as craft as opposed to fine art, affecting the development of women in art throughout history.

In fact, these artists can be easily located in a context which Fabo critiques (for example, it is easy to imagine any or all of these three artists in Bruce Grenville's Active Surplus exhibition at the Power Plant — Grenville being a curator Fabo explicitly criticizes).

At first, the fact that the exhibition consisted entirely of women artists seems to have been downplayed by the curators, Britta E. Buhlmann and Annette Reich.