Sentences with phrase «modern and contemporary art history»

Betsy Johnson is a specialist in modern and contemporary art history and theory with expertise in curatorial practice, community engagement, museum education, and public programming.

In 2013 Lopez completed dual Masters at the School of the Art Institute of Chicago in Modern and Contemporary Art History, Theory, and Criticism and Arts Administration and Policy; her graduate thesis examined anthropology, museology, and performance in work by Guillermo Gómez - Peña and Coco Fusco.

She holds a M.A. in modern and contemporary art history from the Institute of Fine Arts, NYU and a B.A. in art history from Bard College.

The publication offers three newly commissioned scholarly essays by John C. Welchman, Professor of Modern and Contemporary Art History and Theory at the University of California, San Diego and co-director of the Mike Kelley Foundation for the Arts; Branden W. Joseph, Assistant Professor of Art History at Columbia University; and George Baker, Associate Professor of Modern and Contemporary Art, University of California at Los Angeles.

Art, at least how we perceive and understand it in terms of modern and contemporary art history, is political.

Fifty Years of Latin American Art: Selections from the Neuberger Museum of Art was organized by the Neuberger Museum of Art, Purchase College, SUNY, and was curated for 1285 Avenue of the Americas Gallery by Patrice Giasson, Associate Curator of Art of the Americas, and Annabel Rhodeen, a candidate in the Masters Program in Modern and Contemporary Art History, Criticism, and Theory and a Neuberger Curatorial Fellow.

Ultimately, his efforts towards validating Abstraction as a genuine creative expression is Kelly's greatest contribution to modern and contemporary art history [1].

Participants include Andrea Geyer, artist and Associate Professor, New Genres, Parsons The New School for Design; Elizabeth Otto, Executive Director, Humanities Institute, and Associate Professor of Modern and Contemporary Art History, The State University of New York at Buffalo; Jorge Macchi, visual artist; and Veronica Tell, scholar of Latin American photography.

They are artists, curators and writers with backgrounds in Anthropology, Caribbean Studies, Comparative Literature, Curatorial Studies, Modern and Contemporary Art History, Dance, Media Studies and Studio Art.

On view from September 9, 2011 to February 12, 2012, this contemporary art exhibition was curated by Bradley Bailey, assistant professor of modern and contemporary art history at Saint Louis University, It featured artworks that consider chess both at the formal level and at the level of actual play.

Christa - Maria Lerm Hayes is Professor and Chair of Modern and Contemporary Art History at the University of Amsterdam.

Kovach holds a BFA (cum laude) in painting from Miami University and a MA and PhD in modern and contemporary art history from Washington University in St. Louis.

Lucy Bradnock, Lecturer, Modern and Contemporary Art History, University of Nottingham, Nottingham

She holds an MA in Modern and Contemporary Art History, Theory, and Criticism from the School of the Art Institute of Chicago; an MS Ed in Urban Special Education from Long Island University in Brooklyn, NY; and a BA in Fine Arts from Hampshire College in Amherst, MA.

Editor John C. Welchman is professor of modern and contemporary art history and theory at the University of California, San Diego, and the editor of the most recent title in this series, Institutional Critique and After.

Tremblay holds an MA in Modern and Contemporary Art History, Theory, and Criticism from the School of the Art Institute of Chicago; an MS Ed in Urban Special Education from Long Island University in Brooklyn, NY; and a BA in Fine Arts from Hampshire College in Amherst, MA.

Dr. Freiman earned her doctorate and master's degrees in modern and contemporary art history from Emory University and holds a bachelor's degree in art history from Oberlin College.

This course introduces key concepts, terms, and methodologies in modern and contemporary art history, analyzing discursive and cultural shifts while focusing on artworks, exhibitions, and presentation models.

Her research focus is transnational futurism, combining media studies, theory of globalization, and critical race discourse with modern and contemporary art history.

In Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America, Copeland focuses on the work of Renée Green, Glenn Ligon, Lorna Simpson, and Fred Wilson, and considers how slavery shaped American art in the last decades of the twentieth century in order to argue for a reorientation of modern and contemporary art history where the subject of race is concerned.

If you've ever taken a course about modern and contemporary art history, chances are you know that Minimalist sculptor Donald Judd wrote the lively essay «Specific Objects» in 1965.

While Johnson's works are grounded in a dialogue with modern and contemporary art history, specifically abstraction and appropriation, they also give voice to an Afro - futurist narrative in which the artist commingles references to experimental musician Sun Ra, jazz great Miles Davis, and rap group Public Enemy, to name just a few, with various symbols including that of Sigma Pi Phi (also known as the Boulé), the first African American Greek - letter organization, and writings by civil rights activist W. E. B. Du Bois, among others.

Not exact matches

A spectacular blend of Golden Era glamour and modern luxury, Fontainebleau Miami Beach merges striking design, contemporary art, music, fashion and history into a vibrant guest experience.

Catharina Manchanda, the museum's curator of modern and contemporary art, said she began thinking about the ideas of history and representation in art during the Obama administration.

Recent exhibitions include «Construire, Déconstruire, Reconstruire: Le Corps Utopique,» a solo show at the Musée d'Art Moderne de la Ville de Paris, Documenta 13 in Kassel, Germany, «Performing Histories (1)» at MoMA, New York, «10 ans du Projet pour l'Art Contemporain,» Centre Pompidou, Paris, the 4th Moscow Biennial, Moscow, «The Global Contemporary Art World after 1989,» ZKM, Karlsruhe, Germany, and «Contested Terrains,» Tate Modern, London.

«The Hirshhorn is acquiring works that enable broader, deeper narratives of the history of modern and contemporary art,» Chiu said in a press release when the acquisitions were announced.

Selected group exhibitions include The Forever Now: Contemporary Painting in an Atemporal World, the Museum of Modern Art, New York (2014 — 2015); 30 Americans, organized by the Rubell Family Collection, Miami, traveling to Contemporary Arts Center, New Orleans (2014), Frist Center for the Visual Arts, Nashville (2013 — 2014), Milwaukee Art Museum (2012), Chrysler Museum of Art, Norfolk, Virginia (2012), Corcoran Gallery of Art, Washington D.C. (2011 — 2012), North Carolina Museum of Art, Raleigh (2011), and Rubell Family Collection, Miami (2008 — 2009); Variations: Conversations in and Around Contemporary Painting, Los Angeles County Museum of Art (2014); Body Doubles, Museum of Contemporary Art, Chicago (2014); Angel of History, Beaux - arts de Paris: L'école nationale supérieure (2013); and In the Holocene, MIT List Visual Arts Center, Cambridge, MA (20Arts Center, New Orleans (2014), Frist Center for the Visual Arts, Nashville (2013 — 2014), Milwaukee Art Museum (2012), Chrysler Museum of Art, Norfolk, Virginia (2012), Corcoran Gallery of Art, Washington D.C. (2011 — 2012), North Carolina Museum of Art, Raleigh (2011), and Rubell Family Collection, Miami (2008 — 2009); Variations: Conversations in and Around Contemporary Painting, Los Angeles County Museum of Art (2014); Body Doubles, Museum of Contemporary Art, Chicago (2014); Angel of History, Beaux - arts de Paris: L'école nationale supérieure (2013); and In the Holocene, MIT List Visual Arts Center, Cambridge, MA (20Arts, Nashville (2013 — 2014), Milwaukee Art Museum (2012), Chrysler Museum of Art, Norfolk, Virginia (2012), Corcoran Gallery of Art, Washington D.C. (2011 — 2012), North Carolina Museum of Art, Raleigh (2011), and Rubell Family Collection, Miami (2008 — 2009); Variations: Conversations in and Around Contemporary Painting, Los Angeles County Museum of Art (2014); Body Doubles, Museum of Contemporary Art, Chicago (2014); Angel of History, Beaux - arts de Paris: L'école nationale supérieure (2013); and In the Holocene, MIT List Visual Arts Center, Cambridge, MA (20arts de Paris: L'école nationale supérieure (2013); and In the Holocene, MIT List Visual Arts Center, Cambridge, MA (20Arts Center, Cambridge, MA (2012).

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, 201Art, 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, 201art 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].

It brings together painting, sculpture, and photography by iconic modern and contemporary artists whose work and ideas have changed the course of art history.

Agnes Martin (b. 1912, Macklin, Saskatchewan, Canada; d. 2004, Taos, New Mexico), one of the most influential painters of her generation, left an indelible mark on the history of modern and contemporary art.

His years - long mantra, that in order to push the Western canon of art history in a more diverse and representational direction images of black people and the black experience should hang in museums alongside the so - called «masters,» dovetailed with a promising moment for a select group of African American modern and contemporary artists.

Moderated by Julia Robinson, associate professor of Art History, NYU, with speakers Claire Bishop, professor of Contemporary Art, The Graduate Center, CUNY; Sabine Breitwieser, director, Museum der Moderne Salzburg; Branden W. Joseph, Frank Gallipoli Professor of Modern and Contemporary Art, Columbia University; and Midori Yoshimoto, professor of Art History and gallery director, New Jersey City -LSB-...]

Drawn entirely from the permanent collection and spanning the nine collecting areas of Phoenix Art Museum - American, Asian, Contemporary, European, Fashion, Latin American, Modern, Photography, and Western American - these works reveal the loosely defined typology of portraiture, and provide a broad dialogue of art history, perception, and popular cultuArt Museum - American, Asian, Contemporary, European, Fashion, Latin American, Modern, Photography, and Western American - these works reveal the loosely defined typology of portraiture, and provide a broad dialogue of art history, perception, and popular cultuart history, perception, and popular culture.

In addition to overseeing the museum's acquisitions of modern and contemporary art, is other projects included solo exhibitions of work by Cathy Wilkes, Ragnar Kjartansson, and James Lee Byars, and the group shows Reanimation, Ordinary Madness, and Natural History.

She specializes in Modern and Contemporary Art and the representation of histories of violence and radical resistance.

In planning Tate Gallery St Ives from 1991, I was sharply aware of how it had to combine respect for the history and tradition of modern art in Cornwall with fostering contemporary practice.

Curated by artist Michelle Grabner, Anthony Elms, associate curator at the Institute of Contemporary Art in Philadelphia, and Stuart Comer, curator of media and performance art at the Museum of Modern Art, this is the first time in the Biennial's history that each curator has been given their own floArt in Philadelphia, and Stuart Comer, curator of media and performance art at the Museum of Modern Art, this is the first time in the Biennial's history that each curator has been given their own floart at the Museum of Modern Art, this is the first time in the Biennial's history that each curator has been given their own floArt, this is the first time in the Biennial's history that each curator has been given their own floor.

The Museum is home to one of the finest collections of modern and contemporary art in the United States and has an astonishing exhibition history, having played host to artists such as Karla Black, Matt Mullican, Cady Noland, Bridget Riley and Robert Rauschenberg.

Keith was chosen from among these nominations by review committee members assembled by the High: Dr. Kellie Jones, the inaugural Driskell Prize recipient and associate professor and director of undergraduate studies in the department of art history and archaeology at Columbia University; Valerie Cassel Oliver, the 2011 Driskell Prize recipient and senior curator of the Contemporary Arts Museum Houston; and the High's Wieland Family Curator of Modern and Contemporary Art, Michael Rooart history and archaeology at Columbia University; Valerie Cassel Oliver, the 2011 Driskell Prize recipient and senior curator of the Contemporary Arts Museum Houston; and the High's Wieland Family Curator of Modern and Contemporary Art, Michael RooArt, Michael Rooks.

It suggests continuity with the Modern's past view of art history, culminating in 1960s formalism, but also renewed attention to women artists and contemporary art's free play.

Art & Vinyl is an exhilarating new look into the history of the vinyl record as a medium for modern and contemporary visual aArt & Vinyl is an exhilarating new look into the history of the vinyl record as a medium for modern and contemporary visual artart.

She is known for her work to dismantle the sexist, racist and homophobic structure of the art world, and seeks to elaborate a queer, anti-racist, feminist history and theory of modern and contemporary Euro - American visual arts.

1971 6th Guggenheim International Exhibition, Solomon R. Guggenheim Museum, New York, USA Words and Image, Pinnar Gallery, Tokyo, Japan Chronicle of Post-War Art, The Museum of Modern Art Kamakura & Hayama, Japan Tokyo Gallery Exhibition 1971, Tokyo Gallery, Tokyo ／ Pinnar Gallery, Tokyo ／ Saikodo Gallery, Tokyo, Japan The 10th Contemporary Art Exhibition of Japan: Humans and Nature, Tokyo Metropolitan Art Museum, Japan Kyoto Municipal Museum of Art, Japan Aichi Cultural Hall, Japan Miyazaki Prefectural Museum of Nature and History, Japan Sasebo Central Citizens Hall, Nagasaki, Japan Fukuoka Prefectural Culture Hall, Japan Beaupin Exhibition, Pinnar Gallery, Tokyo, Japan The 1st Anniversary Exhibition & 100th Anniversary of Mainichi Shimbun, Today's 100 People, Hyogo Prefectural Museum of Art, Japan Contemporary Japanese Prints, Yokohama Civic Art Gallery, Kanagawa, Japan Contemporary Japanese Art, Staempfi Gallery, New York, USA The 5th Japan Art Festival, Solomon R. Guggenheim Museum, New York, USA The 7th International Biennial Exhibition of Prints in Tokyo, The National Museum of Modern Art, Tokyo, Japan The National Museum of Modern Art, Kyoto, Japan The 5th Japan Art Festival, Solomon R. Guggenheim Museum, New York, USA Contemporary Japanese Art, Staempfi Gallery, New York, USA The 5th Japan Art Festival, Solomon R. Guggenheim Museum, New York, USA The 7th International Biennial Exhibition of Prints in Tokyo, The National Museum of Modern Art, Tokyo, Japan The National Museum of Modern Art, Kyoto, February 20 － March 21 The 5th Japan Art Festival, Solomon R. Guggenheim Museum, New York, USA

Jennie Goldstein, a Joan Tisch Teaching Fellow at the Whitney Museum since 2011, is currently a Ph.D. candidate in art history at Stony Brook University where she studies late modern and contemporary art.

She also secured one of the largest gifts in the museum's history, a major collection of postwar modern art and a $ 1 million leadership gift that formed the basis of a campaign for an additional gallery dedicated to modern and contemporary art.

With an anticipated 2016 M.A. in Art History, Modern & Contemporary Art from CCNY, her primary focus is on installation art and contemporary art in the public spheArt History, Modern & Contemporary Art from CCNY, her primary focus is on installation art and contemporary art in the puContemporary Art from CCNY, her primary focus is on installation art and contemporary art in the public spheArt from CCNY, her primary focus is on installation art and contemporary art in the public spheart and contemporary art in the pucontemporary art in the public spheart in the public sphere.

Lesson Plan: An Artistic Tribute Essay: American History and Its Art After World War II Museum Guide: Self - Guide: Modern and Contemporary Art at the Art Institute Detail: Blotting

Noticeably inspired by western art history and the great painters of the modern era, Orchard's works take cues from the past while also steadfastly looking to contemporary painting.

Senior Curator, American Indian Cultural Center & Museum, OKC, OK Rachel Cook, Artistic Director, On the Boards, Seattle, WA Rebecca Hart, Curator of Modern and Contemporary Art, Denver Art Museum, Denver, CO Orit Gat, Editor for art - agenda, London and NYC, NY Lauren Haynes, Curator of Contemporary Art, Crystal Bridges, Bentonville, AR Zoe Larkins, Assistant Curator, Museum of Contemporary Art, Denver, CO Sharon Louden, Artist, Advocate for Artists, and Editor, New York City, NY Michael W. Maizels, Assistant Professor of Art History University of Arkansas, Fayetteville, AR Kirsten Olds, Ph.Art, Denver Art Museum, Denver, CO Orit Gat, Editor for art - agenda, London and NYC, NY Lauren Haynes, Curator of Contemporary Art, Crystal Bridges, Bentonville, AR Zoe Larkins, Assistant Curator, Museum of Contemporary Art, Denver, CO Sharon Louden, Artist, Advocate for Artists, and Editor, New York City, NY Michael W. Maizels, Assistant Professor of Art History University of Arkansas, Fayetteville, AR Kirsten Olds, Ph.Art Museum, Denver, CO Orit Gat, Editor for art - agenda, London and NYC, NY Lauren Haynes, Curator of Contemporary Art, Crystal Bridges, Bentonville, AR Zoe Larkins, Assistant Curator, Museum of Contemporary Art, Denver, CO Sharon Louden, Artist, Advocate for Artists, and Editor, New York City, NY Michael W. Maizels, Assistant Professor of Art History University of Arkansas, Fayetteville, AR Kirsten Olds, Ph.art - agenda, London and NYC, NY Lauren Haynes, Curator of Contemporary Art, Crystal Bridges, Bentonville, AR Zoe Larkins, Assistant Curator, Museum of Contemporary Art, Denver, CO Sharon Louden, Artist, Advocate for Artists, and Editor, New York City, NY Michael W. Maizels, Assistant Professor of Art History University of Arkansas, Fayetteville, AR Kirsten Olds, Ph.Art, Crystal Bridges, Bentonville, AR Zoe Larkins, Assistant Curator, Museum of Contemporary Art, Denver, CO Sharon Louden, Artist, Advocate for Artists, and Editor, New York City, NY Michael W. Maizels, Assistant Professor of Art History University of Arkansas, Fayetteville, AR Kirsten Olds, Ph.Art, Denver, CO Sharon Louden, Artist, Advocate for Artists, and Editor, New York City, NY Michael W. Maizels, Assistant Professor of Art History University of Arkansas, Fayetteville, AR Kirsten Olds, Ph.Art History University of Arkansas, Fayetteville, AR Kirsten Olds, Ph.D..

He has exhibited at venues such as the Tate Gallery, the British Museum of Natural History, the Oceanographic Museum of Monaco, Museum of Modern Art, Miami Art Museum, and the Aldrich Contemporary Art Museum.