Sentences with phrase «most good curators»

David doesn't necessarily want to cater to local tastes — like most good curators, he is also an educator — and his idea is to broaden the local palate to expand to international art that is, despite its foreignness, relevant to those collections.

Not exact matches

Working as a museum curator is a demanding job with many different responsibilities — and, like most jobs, some of those duties are better than others.

«Their power of observation was very acute, and they were really well educated,» says Susan Rossi - Wilcox, former curator of Harvard University's Blaschka glass flower collection (a later body of work for which the Blaschkas are now most renowned).

«This spectacular new predator, one of the largest and best preserved soft - bodied arthropods from Marble Canyon, joins the ranks of many unusual marine creatures that lived during the Cambrian Explosion, a period of rapid evolutionary change starting about half a billion years ago when most major animal groups first emerged in the fossil record,» said co-author Jean - Bernard Caron, senior curator of invertebrate paleontology at the ROM and an associate professor in the Departments of Ecology & Evolutionary Biology and Earth Sciences at U of T.

This mascara was hand - picked by the one and only Jessa Blades, the natural beauty world's best and most experienced curator.

The release includes most of the same extras from the deluxe DVD, as well as a new interview with composer Jon Brion, a new piece featuring behind - the - scenes footage of a recording session for the film's soundtrack, and a new conversation between curators Michael Connor and Lia Gangitano about the art of Jeremy Blake, used in the film.

Published on the occasion of her first exhibition at David Zwirner in fall of 2010, this beautifully designed and produced catalogue — with a text by noted curator and art historian Joachim Pissarro — features Suzan Frecon's most recent large - scale oil paintings, along with newly commissioned color photography of exhibition and studio installation views, as well as the artist's notebooks and sketches.

Gingeras is an independent curator as well as holding an adjunct curatorship at Dallas Contemporary, where she most recently curated Black Sheep Feminism: The Art of Sexual Politics, which examined the work of four radical feminist artists from the 1970s: Joan Semmel, Anita Steckel, Betty Tompkins, and Cosey Fanni Tutti.

MetLiveArts invites artists, performers, curators, and thought leaders to explore and collaborate within The Met, leading with new commissions, world premieres, and site - specific durational performances that have been named some of the most «memorable» and «best of» performances in New York City by the New York Times, New Yorker, and Broadway World.

Most recently, she held the position of Adjunct Curator of American Art at the Indianapolis Museum of Art, where she organized the major touring retrospective Hard Truths: The Art of Thornton Dial, an exhibition that Time Magazine called «triumphant» and The Wall Street Journal named one of the best shows of 2011.

While this kind of intellectual jousting is, for the most part, a relic of the macho New York art world past, curators still struggle to articulate why one Minimalist sculpture may be better than another.

This publication introduces and presents the work of a global cast of painters selected by an international panel featuring some of the most prominent names in contemporary art (including the painter Cecily Brown, curators Tony Godfrey, Yuko Hasegawa and Gregor Muir, and writer - critics Suzanne Hudson, Barry Schwabsky and Philip Tinari) offering an intelligent snapshot of the best new talent in painting from across the world, gathered through an open call for submission that drew over 4,300 entries.

«Pace's expanded presence means we can reach the global audience that converges in London — from curators to collectors — but, most importantly, it enables us to better support our artists based in Europe and to present the work of important American artists in London, in some cases for the first time in decades.»

And I realized pretty quickly that in my new role as a director - slash - fundraiser - slash - janitor of Participant, when curating solo exhibitions, most people don't even really see the curator, if you're doing a good job.

His most recent projects include being co - curator of the 2011 Encuentro Internacional de Medellín (MDE11: Museo de Antioquia, Medellín, Colombia, 2011) as well as acting as the 2012 - 2013 Curator in Residence for 18th Street Art curator of the 2011 Encuentro Internacional de Medellín (MDE11: Museo de Antioquia, Medellín, Colombia, 2011) as well as acting as the 2012 - 2013 Curator in Residence for 18th Street Art Curator in Residence for 18th Street Art Center.

In part this is the result of «Curatorial Studies» curators, «Contemporary Art» historians, and «Masters of Fine Arts» artists all reading the same books, literally and figuratively, most of which aren't particularly well written to begin with.

Our video features the artists and curators of Diverted Destruction 6 in conversation, as well as footage from our annual Artists Workshop wherein guests are guided by top artists in a creative session, making their own works from found objects and throwaway items most often destined for landfill.

The book also includes significant new texts from curator Katy Siegel and art historian Sarah Lewis, as well as a revealing interview with Bradford, offering a new understanding of the work of one of today's most influential contemporary artists.

Peter Eleey is the Curator of MoMA PS1, where he most recently organized survey exhibitions of Lara Favaretto, Henry Taylor, and George Kuchar, as well as Darren Bader's first museum show.

In Soho, Nairy Baghramian literally lifted up both spirit and body, tooth and neck, in her debut with Marian Goodman, while Whitechapel Gallery curator Lydia Yee did Mary Heilmann proud with a retrospective guaranteed to acquaint the British public with her work in the best, most enveloping way possible.

Her first book, Moving Targets 2, gives profiles of the artists, curators, collectors, critics and galleries who contribute to the «best and most challenging art that is being made in Britain».

Now, though, some of the most revelatory art on sexual themes is being made by women like Bernstein, Betty Tompkins, Juanita McNeely and Joan Semmel, best known for their paintings, and multidisciplinary artists like Schneemann and Valie Export, among others, all of whom have been producing their work for decades to little notice — if not outright persecution — from critics, curators and audiences.

In 1966 New York's Museum of Modern Art, with the British artist, Tate trustee and curator Lawrence Gowing, staged an exhibition of Turner's late paintings, including unfinished canvases discovered late in the 20th century, as well as a selection of his most freely painted watercolours (these, with their shimmering veils of colour floating freeform on otherwise unblemished paper, possessing an extra freshness and immediacy; pictured below, Turner's Bedroom in the Palazzo Giustinian, Venice, c 1840).

Well now that ArtReview has named curator Hans Ulrich Obrist the art world's most «powerful person» the Times seems to have caught on.

The audience featured an intergenerational mix of the city's most renowned artists — including Michael Craig - Martin (1970s), Anish Kapoor -LRB-»80s), Rachel Whiteread -LRB-»90s), and Jeremy Deller -LRB-» 00s)-- as well as curators, dealers, academics, critics, and directors of other local spaces.

This will be addressed through three specific case studies: Lisa Schiff (Schiff Fine Art, NY), art advisor, dedicated to building collections, many of them with important social functions such as the Leonardo DiCaprio Foundation; Pedro Barbosa (The CMB, Coleção Moraes - Barbosa, São Paulo), owner and operator of an established collection that supports two residency programs in Europe and one in São Paulo, as well as two social projects in Brasil; Ruth Estévez (LA), director and curator of REDCAT, an interdisciplinary contemporary arts center for innovative arts that introduces diverse audiences to the most influential developments in the arts from around the world through projects and publications.

Helen Molesworth, one of the exhibition's curators (along with Dieter Roelstraete and Ian Alteveer), takes such statements as evidence that Marshall's work is best seen «as a form of institutional critique, a profound querying of the museum through its most privileged object: painting.»

In speaking about the exhibition, Lisa Chalif, Museum Curator, said «Stan Brodsky has made Huntington his home for almost 50 years and during that time has been included in many group exhibitions at the Museum, as well as the subject of two solo shows, the most recent more than 20 years ago.

We encourage curators to submit their best and most realistic list of artists for the exhibition.

The book offers an intimate introduction to Steir's most recent paintings and includes a conversation between Steir and Sylvère Lotringer, the founder ofSemiotext (e), as well as three poems that Steir published in the «Schizo - Culture» issue of the magazine; «Trance Abyss,» a poem by Anne Waldman; an essay by art historian and curator Courtney J. Martin; a detailed chronology illustrated by archival images; and high - quality photographs of Lévy Gorvy's installations in both New York (currently on view), and London (2016).

«And it remains one of the most significant contemporary art events in the calendar, not just because of the scale of the event itself but because of the increasing number of people who come form all over the world, whether that is professionals, critics, curators, other artists, dealers and collectors as well as the international visitors over the following six months.»

He essentially created the model of the globe - trotting celebrity curator of which Hans - Ulrich Obrist and Klaus Biesenbach are perhaps the most recognizable heirs (for better or for worse).

Also included in the German quinquennial — considered among the most important iterative exhibitions of contemporary art globally — were the artist's paintings and site - specific performances, which took place both in Documenta's traditional home of Kassel, as well as the half of the show that curator Adam Szymczyk mounted in Athens.

Grabner, a Chicago based artist, is well known most recently for being one of three curators of the Whitney Biennial 2014.

Sherman's pivotal turn as guest curator midway through the show succeeded on several levels at once, displaying the fascinations of the human body in art as well as source material for one of our most influential artists.

This indeterminacy in her work, as well as the exquisite technical skill she puts into producing her art, has made her a favorite of some of today's most important curators, from Okwui Enwezor and Massimiliano Gioni to Ann Temkin and Bob Nickas, who have all included her in major shows.

Its only January but this show is probably going to be one of the most exciting and interesting shows of the year we really like Condo at FAD as well as this preview we have a quick Q&A with the joint curator of the show Laura Hoptman which you can read here.

For «A Story of Deception,» the first really comprehensive exhibition of Alÿs's works to date, the two curators, Mark Godfrey and Kerryn Greenberg, made sure to include the artist's most successful works as well as to give full insight into the different aspects of his multifaceted practice.

Those duties didn't prevent him, though, from participating in a dozen group and solo shows as well; curators recognise that, for the past decade, Trecartin has been — and remains — the artist who most naturally understands the Internet's restyling of human subjectivity and the changing meaning of community.

As the curator Anthony Huberman, who runs a Lower East Side alternative space in conjunction with Hunter College called the Artist's Institute, noted, major museums, as well as commercial galleries like Reena Spaulings and Alex Zachary Peter Currie, are showing much of today's most venturesome art.

It has also been able to maintain one of his most cherished projects, the new research center as well as its annual scholar - in - residence program led by figures such as Jonathan Brown, Salvatore Settis of the Scuola Normale Superiore de Pisa, and Manuela Mena, chief curator of 18th - century painting and Goya at the Prado.

«I sincerely believe that what is most important for the Prado at this stage is bringing in the best curators, conservators, educators, etc.,» Zugaza says.

In an early blog posting from 2009, Rohit Bhargava defined the content curator as «someone who continually finds, groups, organizes and shares the best and most relevant content on a specific issue online.»