Sentences with phrase «history as a curator»

David Driskell pioneered the field of African American art history as curator ofTwo Centuries of Black American Art for LACMA in 1976, when he was Professor and Chair of the Fisk University art department and director of Fisk's Carl Van Vechten Gallery.

As for how to characterize his history as a curator, «basically I'm a complete amateur,» he said.

You have a long history as a curator, a writer, a scholar, and a teacher.

Not exact matches

«This exhibit was one we intentionally made very broad, because it covered the 230 - year history of music and politics in the US,» says the exhibition's guest curator Daniel Cavicchi, who also serves as an associate professor of American Studies at the Rhode Island School of Design.

For three of the species, «we immediately identified them as new species,» said Glaw, a veteran herpetologist and curator at the Museum of Natural History in Munich.

As a curator in entomology at the Natural History Museum in London, Erica McAlister is responsible for everything from maintaining collections to fieldwork.

«We expected to find similar trends across all primate radiations — that is, that the faces of highly social species would have more complex patterning,» said Santana, who conducted the research as a postdoctoral fellow with the UCLA Department of Ecology and Evolutionary Biology and UCLA's Institute for Society and Genetics and who is now an assistant professor at the University of Washington and curator of mammals at the Burke Museum of Natural History and Culture.

«As more freshwater flows into the Arctic Ocean due to global warming, I think we are going to see it become more brackish,» said Eberle, also curator of fossil vertebrates at the University of Colorado Museum of Natural History.

As a curator at the Field Museum of Natural History, Chicago, he notes he felt very fortunate to make a living doing something he enjoyed and still finds fascinating.

Wheeler, as the school's curator (in addition to being on its advisory committee), encourages teachers interested in starting a similar program to collaborate with their state or local historical society (see «How To: Breathe Life into History»).

As Curator of Transportation History, Moore was responsible for researching the history of automobiles and aviation of CleveHistory, Moore was responsible for researching the history of automobiles and aviation of Clevehistory of automobiles and aviation of Cleveland...

Kris is a professor of biological sciences at the University of Adelaide and has served as curator of mammals at the Smithsonian Institution's National Museum of Natural History.

We preserve extensive natural history collections of approximately 3.5 million objects used for research by a staff of 12 curators as well as visiting scientists from around the world.

Marshall has done this «from the ground up,» as Metropolitan Museum curator Ian Alteveer put it, working through historical styles and genres, including Rococo love scenes, large - scale history paintings, and Impressionist plein air fetes.

There is also the natural cycle of art history, as MoMA curator Laura Hoptman (who co-organized the Benglis retrospective at the New Museum) points out.

Apsara DiQuinzio, our Curator of Modern and Contemporary Art, and Phyllis C. Wattis, MATRIX Curator, has a number of wonderful small - scale MATRIX shows in the works, and we are doing several borrowed solo exhibitions that are emblematic of the kind of art that we love, such as a survey of Ana Mendieta's films [Covered in Time and History: The Films of Ana Mendieta, on view November 9, 2016, through February 12, 2017].

Executive Director and Chief Curator of Slought Foundation, as well as Senior Lecturer in the Departments of History of Art and English at the University of Pennsylvania.

Curator Gary Garrels discusses the history of the Atrium as a space for new art commissions and the impact that Julie Mehretu's monumental works, HOWL, eon (I, II), will have on the museum and its community.

According to art historian and curator Ellen Tani, Rythm Mastr «powerfully advances Marshall's larger project as a site of engagement with art history.»

Over 30 lavishly illustrated pages, Crimp weaves together a sequence of stories and analysis that includes memories of his work as a junior curator at the institution, a close reading of Daniel Buren's work and particularly the controversial removal of his enormous Painting - Sculpture from the Guggenheim in 1971, and a history of how green and magenta have been juxtaposed in various cultural forms.

Three contemporary artists with their own distinctive attitudes to history and art history — William Kentridge, Phyllida Barlow and Edmund de Waal — will be interviewed by different museum curators as part of the fair's talks programme, organised by Jasper Sharp of the Kunsthistorisches Museum, Vienna.

The catalogue includes essays by Katy Siegel and Kelly Baum; as well as contributions from Kwame Anthony Appiah, Professor of Philosophy and Law at New York University; Kellie Jones, Associate Professor of Art History and African American Studies at Columbia University; Courtney J. Martin, Deputy Director and Chief Curator of Dia Art Foundation; and Richard Shiff, University of Texas at Austin's Cain Chair in Art History.

AS - AP makes available online several oral history interviews with the founders, current and former directors, and curators of significant alternative art spaces in the United States.

Lubaina Himid's career as an artist, curator and scholar has been central to rethinking the Western canon of art history and museological practices over the past 30 years.

As part of its mission to document the history of alternative art spaces, AS - AP has been commissioning the production of oral history interviews with the founders, former and current directors, and curators of significant alternative art spaces throughout the United States: http://as-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationAs part of its mission to document the history of alternative art spaces, AS - AP has been commissioning the production of oral history interviews with the founders, former and current directors, and curators of significant alternative art spaces throughout the United States: http://as-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationAs part of its mission to document the history of alternative art spaces, AS - AP has been commissioning the production of oral history interviews with the founders, former and current directors, and curators of significant alternative art spaces throughout the United States: http://as-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationAS - AP has been commissioning the production of oral history interviews with the founders, former and current directors, and curators of significant alternative art spaces throughout the United States: http://as-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationAS - AP has been commissioning the production of oral history interviews with the founders, former and current directors, and curators of significant alternative art spaces throughout the United States: http://as-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationas-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationas-ap.org/oral-histories Oral and video history interviews have been used as key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationas key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationas key research and documentation tools within art history and its related disciplines as a means of capturing first - person accounts of specific events, individuals, institutions and organizationas a means of capturing first - person accounts of specific events, individuals, institutions and organizationas a means of capturing first - person accounts of specific events, individuals, institutions and organizations.

«With the 25th anniversary of Robert Mapplethorpe's exhibition, we wanted to revisit the past as it is the basis of history; it reminds us of where we come from and who we have become,» says FotoFocus Artistic Director and Curator, Kevin Moore.

A Universal History of Infamy is presented as part of the Getty - led Pacific Standard Time: LA / LA initiative, and curated by Rita Gonzalez, curator and acting department head of contemporary art at LACMA; José Luis Blondet, curator of special initiatives at LACMA; and Pilar Tompkins Rivas, director of the Vincent Price Art Museum.

As part of AS - AP's mission to preserve, present, and protect the archival heritage of living and defunct for - and not - for - profit art spaces, AS - AP has partnered with Exit Art to make available online dozens of significant interviews conducted by Herb Tam, Associate Curator — Exit Art, and Lauren Rosati, Assistant Curator — Exit Art, as part of the curatorial research conducted for the 2010 exhibition, Alternative HistorieAs part of AS - AP's mission to preserve, present, and protect the archival heritage of living and defunct for - and not - for - profit art spaces, AS - AP has partnered with Exit Art to make available online dozens of significant interviews conducted by Herb Tam, Associate Curator — Exit Art, and Lauren Rosati, Assistant Curator — Exit Art, as part of the curatorial research conducted for the 2010 exhibition, Alternative HistorieAs part of AS - AP's mission to preserve, present, and protect the archival heritage of living and defunct for - and not - for - profit art spaces, AS - AP has partnered with Exit Art to make available online dozens of significant interviews conducted by Herb Tam, Associate Curator — Exit Art, and Lauren Rosati, Assistant Curator — Exit Art, as part of the curatorial research conducted for the 2010 exhibition, Alternative HistorieAS - AP's mission to preserve, present, and protect the archival heritage of living and defunct for - and not - for - profit art spaces, AS - AP has partnered with Exit Art to make available online dozens of significant interviews conducted by Herb Tam, Associate Curator — Exit Art, and Lauren Rosati, Assistant Curator — Exit Art, as part of the curatorial research conducted for the 2010 exhibition, Alternative HistorieAS - AP's mission to preserve, present, and protect the archival heritage of living and defunct for - and not - for - profit art spaces, AS - AP has partnered with Exit Art to make available online dozens of significant interviews conducted by Herb Tam, Associate Curator — Exit Art, and Lauren Rosati, Assistant Curator — Exit Art, as part of the curatorial research conducted for the 2010 exhibition, Alternative HistorieAS - AP has partnered with Exit Art to make available online dozens of significant interviews conducted by Herb Tam, Associate Curator — Exit Art, and Lauren Rosati, Assistant Curator — Exit Art, as part of the curatorial research conducted for the 2010 exhibition, Alternative HistorieAS - AP has partnered with Exit Art to make available online dozens of significant interviews conducted by Herb Tam, Associate Curator — Exit Art, and Lauren Rosati, Assistant Curator — Exit Art, as part of the curatorial research conducted for the 2010 exhibition, Alternative Historieas part of the curatorial research conducted for the 2010 exhibition, Alternative Historieas part of the curatorial research conducted for the 2010 exhibition, Alternative Histories.

As Kirk Varnedoe, former Chief Curator of Painting and Sculpture at MoMA once said about this period in art history, never before has there been another time that so fundamentally changed the way we create, experience and see art.

AS - AP makes available online several oral history interviews with the founders, current and former directors, and curators of

Dr. Tsai, the curator of the exhibition, will discuss the selection and presentation of nearly 60 works, including sculpture, stained - glass panels and oil paintings which together, as a whole, alter the narrative of art history.

Pendleton and Rainer are paired by Performa Curator Adrienne Edwards as counterpoints to or varying entrees into the history, legacy, and influence of Dada in an effort to complicate and reimagine what we think we know about this art movement.

«The purpose really is to show how dolls empowered African Americans throughout history as a way to see yourself, to empower yourself,» said Jennifer Evans, the assistant curator at the Wright Museum.

Having studied Art History and German Literature and Linguistics at the University of Hamburg, Germany, Herrmann worked as Curator at the Scottish National Gallery of Modern Art, Edinburgh, Scotland, before joining the Whitechapel Gallery in 2010.

Inside the issue, curator Courtney J. Martin writes about the Smithsonian's National Museum of African American History and Culture, and artist Derrick Adams muses about the influences works and actions by David Hammons had on him as a student at the Pratt Institute in the mid-1990s.

As an associate curator, she co-curated Dress Codes (1993) and Boston School (1995) for The Institute of Contemporary Art, Boston, and edited the publications New Histories (with Steven Nelson, ICA Boston, 1997) and Boston School (ICA Boston, 1995).

With this week's opening of the 2017 Whitney Biennial within a politically tumultuous moment in history (or what the 2017 curators describe as a «turbulent society»), we reflect back on the show that altered the way institutions address identity and the politics of race.

The exhibition is accompanied by a catalogue, with essays on the interaction between Gutai and New York artists by guest curator Ming Tiampo, associate professor of art history at Carleton University in Ottawa, and on Jackson Pollock's relationship to the Gutai group by Tetsuya Oshima, curator of the Aichi Prefectural Museum of Art in Japan, as well as a new translation of the Gutai Manifesto by independent scholar Reiko Tomii and a reflection by David Kaplan, a director and Tennessee Williams scholar, on Gutai's influence on Williams» one - act play, The Day on Which a Man Dies.

CAC Curator Steven Matijcio and Research and Program assistant Chris Perbix share some history about the CAC as it celebrates its 75th year.

A prolific curator and writer outside of his artistic practice, Cattelan is seen by many as one of Duchamp's greatest contemporary heirs, enacting morbidly humorous transformations on objects and history alike.

«Art Critic Estelle Lovatt FRSA has the experience of being on both sides of the canvas; having trained as a painter, read art history and as a gallery exhibition curator, Estelle is able to teach, judge and talk about works of art, from Cave Art to Banksy, with expert opinion.»

That comparison says much about his own range as a curator, simultaneously engaging with the grand history of the KHM and working closely with living artists.

«As a curator, my focus has often been on what has passed, but the students from Pratt, all emerging talents, are part of an exciting and evolving fashion history in the making, a creative future that I look forward to seeing unfold,» he noted.

Under the supervision of Mark Dion and the museum curators, fine arts students will «capture» the museum's collections: The students will choose objects from the departments of art, archeology, natural history and ethnology as examples of collections and collecting showing how the construction and presentation of science and nature can be portrayed.

Lucas Knipscher uses African fabrics as the backdrop for playing cards, Ana Cardoso subjects cotton and art history to serious punishment, Wilder Alison gives tapestry as art the look of emoticons, and Mae Fatto (also the show's curator) runs riot right through the twentieth century.

Craft, technique, and awareness of the history of materials are very much in evidence in Simone Leigh's work, which takes up subjects cast as inherently abject by the cultural mainstream for the fact of their unapologetic Blackness, but appeals on a technical and material level to curators and audiences who might otherwise marginalize the work and its message.

«At certain critical junctures in American history, artists have come together to protest injustice and craft counter-narratives to the prevailing voices in government,» wrote Nancy Spector, the Guggenheim's artistic director and chief curator, characterizing the artists» posters as the latest in a long line of protest art, stretching back through the AIDS Crisis, demonstrations against the Vietnam War, and the Civil Rights Movement.

As part of the 13th Annual Open House New York weekend, the Museum will offer curator led tours of Museum of Stones, the first exhibition in the Museum's history to insert the work of contemporary artists into the original Noguchi installation.

«What was revealing to me as a young curator was the schism that suddenly seemed to exist between my generation, of which Thelma was a definite leading light, and the generation of cosmopolitan, sophisticated, and accomplished artists who had never been properly foregrounded within American art history.

«As I went through the show, I began to own a history in a way I never had before,» says Laura Hoptman, curator of painting and sculpture at MoMA.