Sentences with phrase «international curatorial practice»

100 % of the proceeds from sales will support ICI's diverse exhibitions, free events, and educational programs centered on international curatorial practice.

WHW / What, How & for Whom are a critically acclaimed curatorial collective from Zagreb, Croatia, with a decade of international curatorial practice behind them, including the curatorship of the 2009 Istanbul Biennial.

Not exact matches

2009 100 Years, PS1 / MoMA, Queens, NY Reflections on the Electric Mirror: New Feminist Video, Brooklyn Museum of Art, NY Party at Chris's House, Janet Kurnatowski Gallery, Brooklyn, NY Supergirl, Nexus Foundation for Arts, Philadelphia, PA One Minute More, The Kitchen, New York, NY Pink Panther, Kumukumu Gallery, New York, NY Night Gallery Rosslyn, Arlington Arts, Arlington, VA Tell Me Everything, As You Remember It», Creative Research Lab, The University of Texas at Austin, TX Chewing Color: Patty Chang, Kate Gilmore, Marilyn Minter, Creative Time, Times Square, NY City Garden, Contemporary Art Museum, St. Louis, MO East Coast Video, Ramis Barquet, New York, NY I am a Video, Good Children Gallery, New Orleans, LA No Longer Empty, The Chelsea Hotel, New York, NY Practice, Practice, Practice, Lora Reynolds Gallery, Austin, TX Sixty Minutes, University of South Florida Contemporary Art Museum, Tampa, FL Feel the Force, Cafe Gallery London, London, England It's You, Not Me, San Jose Institute of Contemporary Art, San Jose, CA Theoretical Practice, International Studio and Curatorial Program, Brooklyn, NY Our Great Show: Selections from the Jefferson Godard Collection, Nice & Fit, Berlin, Germany

The new series of discussions with curators at the New York at fair held in March is envisioned as a «unique opportunity to facilitate dialogue among international thought leaders in the curatorial profession» and further develop the Armory Show's «role as an incubator for new ideas and practices among the world's top curators.»

Founded in 2013 by art critic and curator iLiana Fokianaki and based in the neighbourhood of Koukaki at the centre of Athens, it is an independent platform aiming to foster the appreciation for local and international contemporary art and the growth of artistic and curatorial practice.

Previously she was the inaugural international curator at the Ullens Center for Contemporary Art in Beijing (2007 - 08) and chair of the Master's Program in Curatorial Practice, which she co-founded in 2002 for California College of the Arts in San Francisco.

The program: The Summer School in Curatorial Practice will take place during the International Architecture Biennale of Venice.

Indira Allegra, artist indiraallegra.com Beth Bird, documentary filmmaker and PhD candidate in the Department of Film and Media at the University of California, Berkeley Robin Clark, Director of the Artist Initiative, San Francisco Museum of Modern Art Gregory G. Geiger, artist gregorygeiger.net Maria Elena González, artist and associate professor, Sculpture and New Genres at the San Francisco Art Institute Tim Hyde, artist and assistant professor, Department of Art and Art History, University of California, Davis timhyde.info Amanda Hunter Johnson, conservator, San Francisco Museum of Modern Art Tomoko Kanamitsu, program associate, Higher and Continuing Education, Education and Public Practice, San Francisco Museum of Modern Art Emily Liebert, associate curator of Contemporary Art, Cleveland Museum of Art Peggy Phelan, Ann O'Day Maples Chair in the Arts, Professor of Theater & Performance Studies and English, Stanford University Sarah Roberts, Andrew W. Mellon Associate Curator of Painting and Sculpture, San Francisco Museum of Modern Art Kaeleigh Thorp, graduate student in Museum Studies at the University of San Francisco Meredith George Van Dyke, curatorial assistant, Painting and Sculpture, San Francisco Museum of Modern Art John Zarobell, associate professor and undergraduate director of International Studies at the University of San Francisco

Indira Allegra, artist Beth Bird, documentary filmmaker and Ph.D candidate in the Department of Film and Media at the University of California, Berkeley Robin Clark, director of the Artist Initiative, San Francisco Museum of Modern Art Gregory G. Geiger, artist Maria Elena González, artist and associate professor, Sculpture and New Genres, at the San Francisco Art Institute Tim Hyde, artist and assistant professor, Department of Art and Art History, University of California, Davis Amanda Hunter Johnson, conservator, San Francisco Museum of Modern Art Tomoko Kanamitsu, program associate, Higher and Continuing Education, Education and Public Practice, San Francisco Museum of Modern Art Emily Liebert, associate curator of Contemporary Art, Cleveland Museum of Art Peggy Phelan, Ann O'Day Maples Chair in the Arts, Professor of Theater & Performance Studies and English, Stanford University Sarah Roberts, Andrew W. Mellon Associate Curator of Painting and Sculpture, San Francisco Museum of Modern Art Kaeleigh Thorp, graduate student in Museum Studies at the University of San Francisco Meredith George Van Dyke, curatorial assistant, Painting and Sculpture, San Francisco Museum of Modern Art John Zarobell, associate professor and undergraduate director of International Studies at the University of San Francisco

This fall, a group highly acclaimed curators will variously take up questions of international curating, the evolution of global biennials, as well as more particular topics relating to artistic and curatorial practices in Asia.

The Wattis serves as a forum for the presentation and discussion of international contemporary art and curatorial practice.

The main collection includes extensive holdings of international exhibition catalogs, artists» monographs, and over 60 current subscriptions to international art journals and periodicals covering the contemporary arts and curatorial practices.

Introduction by Steven Henry Madoff, Chair, MA Curatorial Practice, School of Visual Arts Followed by a conversation with Maya Benton, Curator at the International Center of Photography and the artist.

Monash University Museum of Art (MUMA) in association with the Institute of Modern Art (IMA), Brisbane and Curatorial Practice at Monash Art Design and Architecture (MADA) are pleased to present a special illustrated lecture by visiting international artist, Céline Condorelli.

It practices an intellectually rigorous curatorial stance through a carefully selected group of art professionals, and it continues to cover national and international exhibitions worldwide.

She lectures frequently on critical and curatorial practices and sits on the board of several non-profit art institutions and organizations including AICA / USA (the International Association of Art Critics), Bowery Arts & Sciences, and Art Omi International.

Meanwhile she is extending her curatorial practice in many international projects including 9th Gwangju Biennale (2012) in South Korea as Co-Artistic Director, Phantoms of Asia: Contemporary Awakens the Past (2012) at Asian Art Museum in San Francisco as guest curator, and Ai Weiwei: According to What?

Previously, she was executive director of ICI (2009 - 13), the inaugural international curator at the Ullens Center for Contemporary Art in Beijing (2007 - 08) and chair of the Master's Program in Curatorial Practice, which she co-founded in 2002 for California College of the Arts in San Francisco.

ICI's Kate Fowle will be conducting research on what «international» means for curatorial practice today.

Marsh has delivered over 15 invited and curatorial talks and chaired panels and presented scholarship at 25 national and international conferences for art and art history, Asian studies and religious practice, and museum and curatorial issues and has published on these subjects.

Early this Fall, Independent Curators International (ICI) was in residence at the South London Gallery (SLG) which created an open forum for reflection on current curatorial practices by inviting curators from its network to collaborate on research into what it means to be working internationally today.

This program, focusing on regional networks, brings together emerging curators from across the American South and around the world for the opportunity to exchange ideas, develop their curatorial practice, and explore Prospect.3: Notes for Now, the international biennial curated by Franklin Sirmans.

Education: Doctor of Philosophy (Ph.D) Art History, 2017 Complutense University of Madrid (Madrid, Spain); International Curator Course (Summer 2012) Gwangju Biennale Foundation (Gwangju, South Korea); Contemporary Curatorial Practice (Summer 2012) ICI - Independent Curators International (New York, USA).

Ellen Blumenstein's curatorial practice is international in scope and often involves collaborating with visual artists and other curators to develop monographic and thematic exhibitions that explore the possibilities and limitations of contemporary art.

I am collaborating with a couple of partners to launch an international program for curatorial research as well as to initiate a new international art prize celebrating cultural sustainability of artistic practices.

Aside from the view of the «international», it is aimed to nurture the growth of the «local» which is a strong thrust in her curatorial practice.

Since its inception, the course has provided an open platform for collaborative education and expansion of curatorial practice as well as an opportunity for young curators to build an international network.

The book concludes with an interview with seven international curators and suggested readings for further consideration of the history of curatorial practice.

Featuring a series of individual initiatives between the curators and twenty international artists, «The Dictionary of Received Ideas» celebrates the independent and diverse practices of the Goldsmiths Curating Programme and has abandoned an overarching thematic agenda to encourage an array of curatorial approaches and ideas.

Associate curator for the 10th Gwangju Biennale in South Korea, her authorial and curatorial practice encompasses different media, such as photography, video, installation, sculpture, performance and painting, always with an international outlook.

Artsonje Center is dedicated to encourage experimental artistic practices by providing interdisciplinary cultural programs, consisting of exhibitions, lounge projects, lectures, workshops, symposia, screenings and education programs, through its curatorial that reflects contemporaneity and international perspectives.

It serves as a forum for the presentation and discussion of international contemporary art and curatorial practice.

A discussion with Alessio Antoniolli (Director of Gasworks), Tanya Barson (Curator of International Art at Tate Modern) & Kiki Mazzucchelli (independent curator and writer) focuses on how Latin American art is represented through art institutional and curatorial practices, addressing the possibilities and limitations of internationaInternational Art at Tate Modern) & Kiki Mazzucchelli (independent curator and writer) focuses on how Latin American art is represented through art institutional and curatorial practices, addressing the possibilities and limitations of internationalinternational visibility.

The new combined facility of the Govett - Brewster and Len Lye Centre will offer a unique and independent curatorial voice given its dual focus on both contemporary international art practice, and the Len Lye Collection and Archive as a significant Modernist single - artist collection.

Even before her time in New York her career was solidified by becoming the inaugural International Curator of the Ullens Center for Contemporary Art in Beijing followed in 2002 and 2007 by becoming Chair of the Master's Program in Curatorial Practice at California College of the Arts, San Francisco, which she co-founded with Ralph Rugoff.

Meyer - Hermann gives talks and lectures on topics related to curatorial practice as well as on the work of specific artists (national and international venues to date have included de ateliers, Amsterdam; Stichting De Appel / University of Amsterdam; HfG Karlsruhe; Wexner Center, Columbus, Ohio; FU Berlin; Chinati Foundation, Marfa, Texas).

Developed by Independent Curators International (ICI) in collaboration with the Bag Factory Artists» Studios, the Curatorial Intensive: Contemporary Curatorial Practice will examine the pragmatics of organizing exhibitions, while addressing the specificities of curating in the African context.

As part of ICI's Curator's Perspective — an itinerant public discussion series featuring international curators — Valerie Cassel Oliver will speak about her curatorial practice.

Banff International Curatorial Institute: Dedicated to advancing curatorial practice with an emphasis on contemporary art and culture, Banff Centre for Arts and Creativity's Banff International Curatorial Institute (BICI) offers ongoing professional development and complement degree granting curatorial programs for curators, artists, researchers, writers, critics, philosophers, and other cultural producers at various stages of theiCuratorial Institute: Dedicated to advancing curatorial practice with an emphasis on contemporary art and culture, Banff Centre for Arts and Creativity's Banff International Curatorial Institute (BICI) offers ongoing professional development and complement degree granting curatorial programs for curators, artists, researchers, writers, critics, philosophers, and other cultural producers at various stages of theicuratorial practice with an emphasis on contemporary art and culture, Banff Centre for Arts and Creativity's Banff International Curatorial Institute (BICI) offers ongoing professional development and complement degree granting curatorial programs for curators, artists, researchers, writers, critics, philosophers, and other cultural producers at various stages of theiCuratorial Institute (BICI) offers ongoing professional development and complement degree granting curatorial programs for curators, artists, researchers, writers, critics, philosophers, and other cultural producers at various stages of theicuratorial programs for curators, artists, researchers, writers, critics, philosophers, and other cultural producers at various stages of their careers.

«Independent Curators International (ICI), New York, and Instituto Inhotim, Minas Gerais, Brazil, are now accepting applications from curators working internationally to participate in a short - course training program.Organized from April 22 — 29, 2012, the Curatorial Intensive will employ Instituto Inhotim as a case study to explore how curatorial practices negotiate issues of commissioning and adaptation of site - specific works; interpretation and recreation of lost and unrealized projects; and concepts of the expanded museum and exhibition, such as curating through collection building; the spatial expansion of the institution; and new forms of outreach and audience deCuratorial Intensive will employ Instituto Inhotim as a case study to explore how curatorial practices negotiate issues of commissioning and adaptation of site - specific works; interpretation and recreation of lost and unrealized projects; and concepts of the expanded museum and exhibition, such as curating through collection building; the spatial expansion of the institution; and new forms of outreach and audience decuratorial practices negotiate issues of commissioning and adaptation of site - specific works; interpretation and recreation of lost and unrealized projects; and concepts of the expanded museum and exhibition, such as curating through collection building; the spatial expansion of the institution; and new forms of outreach and audience development.

Meanwhile she is extending her curatorial practice in many international projects including 9th Gwangju Biennale (2012) in South Korea as the Joint Artistic Director, Phantoms of Asia: Contemporary Awakens the Past (2012) at Asian Art Museum in San Francisco as guest curator, and Ai Weiwei: According to What?

A jury of international curators and directors noted that «history is so important to curatorial practice, and the range of galleries revisiting important artists was striking, both at the fair and in the Sex Work section Alison M. Gingeras curated on radical feminist artists.

Her curatorial experience has involved research, curating and co-curating exhibitions and writing for several art publications and journals on emerging Indian, Asian and international artists and art practices; in India as well as internationally.

This is a unique initiative between the Artnow International Foundation, the Wattis Institute, and CCA's Graduate Program in Curatorial Practice.

Its curatorial practice shapes a culture of bold new discourse in the form of conversations, performances, and exhibitions, inviting local and international communities to an open inclusive exchange of ideas.

There she organized the 2011 triennial The Ungovernables, which presented international contemporary art to North American audiences, and she spearheaded the Museum as Hub, an experimental art initiative that forged international museum partnerships to explore artistic, curatorial and institutional practice.

In 2011, we implemented two year school program, which was designed on the basis of several years» research on various curatorial programs, analysis of curatorial practices, consultations with relevant national and international experts, and an evaluation of the past program and consideration of effective models of education in the field of contemporary visual arts and theories.

The program, now wrapping up its second year, is a collaboration with ArtNow International Foundation, CCA's Graduate Program in Curatorial Practice, and the Wattis Institute.

ICF is a network that meets to discuss emerging issues of curatorial practice in the context of key events in the international arts calendar.

Many Places at Once: The thesis exhibition of California College of the Arts» Graduate Curatorial Practice program, this group show gathers work by international artists, including Rana Hamadeh, Li Ran and William Powhida, who have built upon the «post-studio» performances and other activities of artists from the turn of the 1970s.