Sentences with phrase «new curatorial themes»

Siren Arts will pursue different, innovative residency formats each summer, with artists working within new curatorial themes each year.

Not exact matches

Known for over 25 years as a legendary director of exhibitions at Massachusetts College of Art and Design in Boston, Jeffrey Keough's innovative curatorial vision has connected local artists in the New England region with international artists such as Xu Bing, William Wegman, Kiki Smith, Tony Oursler, and many others, while tackling diverse historical, social, and political themes ranging from the Holocaust, to AIDS, to the bombing of Hiroshima.

During this tour curatorial assistant Sarah Humphreville will explore how American artists forged new styles in the mid-twentieth century even while addressing many of the same themes as their forbearers.

For the exhibition, Blake illuminates these new and evolving forms of representation and examines the implications these developments have had on art and social action through a curatorial approach that draws on their own preoccupation with themes of interracial desire, same - sex love, and racial and sexual bigotry.

The new Advanced Certificate in Curatorial Studies builds on that tradition and the curatorial interests and ambitions of Hunter faculty and students — and our commitment to exhibitions whose themes, theses, and checklists have been developed and honed by ourCuratorial Studies builds on that tradition and the curatorial interests and ambitions of Hunter faculty and students — and our commitment to exhibitions whose themes, theses, and checklists have been developed and honed by ourcuratorial interests and ambitions of Hunter faculty and students — and our commitment to exhibitions whose themes, theses, and checklists have been developed and honed by our students.

The new Advanced Curatorial Certificate builds on that tradition and the curatorial interests and ambitions of Hunter faculty and students — and our commitment to exhibitions whose themes, theses, and checklists have been developed and honed by ourCuratorial Certificate builds on that tradition and the curatorial interests and ambitions of Hunter faculty and students — and our commitment to exhibitions whose themes, theses, and checklists have been developed and honed by ourcuratorial interests and ambitions of Hunter faculty and students — and our commitment to exhibitions whose themes, theses, and checklists have been developed and honed by our students.

Guided by several curatorial themes, P. 3's exhibitions, site - specific installations and new works address: The New Orleans Experience, Seeing Oneself in the Other, The South, Crime and Punishment, Movie going, The Carnivalesque, Abstraction, Visual Sound, and will seamlessly tie together the largesse of the show through commissions by several artists under the moniker, All Together Nnew works address: The New Orleans Experience, Seeing Oneself in the Other, The South, Crime and Punishment, Movie going, The Carnivalesque, Abstraction, Visual Sound, and will seamlessly tie together the largesse of the show through commissions by several artists under the moniker, All Together NNew Orleans Experience, Seeing Oneself in the Other, The South, Crime and Punishment, Movie going, The Carnivalesque, Abstraction, Visual Sound, and will seamlessly tie together the largesse of the show through commissions by several artists under the moniker, All Together Now.

And for the most part, their work linked with remarkable clarity to the exhibition's curatorial themes, which connected in different ways to the history, demographics, and hybrid culture of New Orleans: diasporic people, with an emphasis on African - American and Afro - Caribbean cultures; the legacies of colonialism; carnival culture; music, especially jazz; and the impact of climate change.

This installation drew thousands of people and delved into revolutionary politics past and present, a continuing theme in Fein's work.In May 2010, Fein was invited by the New York curatorial project No Longer Empty to recreate his «Remember the Upstairs Lounge» installation in a vacant Chelsea space.The exhibition, once again, drew thousands of visitors and sparked renewed interest in this piece of history.

This changeover represents the second implementation of a new curatorial programming schedule that exclusively presents seasons of artist exhibitions, all linked by a common theme.

united states is the fourth implementation of a new curatorial programming schedule that presents seasons of solo and group exhibitions, all linked by a common theme.

Guided by several curatorial themes, P. 3's exhibitions, site ‐ specific installations and new works will address: The New Orleans Experience, Seeing Oneself in the Other, The South, Crime and Punishment, Movie going, The Carnivalesque, Abstraction, Visual Sound, and will seamlessly tie together the largesse of the show through commissions by several artists under the moniker, All Together Nnew works will address: The New Orleans Experience, Seeing Oneself in the Other, The South, Crime and Punishment, Movie going, The Carnivalesque, Abstraction, Visual Sound, and will seamlessly tie together the largesse of the show through commissions by several artists under the moniker, All Together NNew Orleans Experience, Seeing Oneself in the Other, The South, Crime and Punishment, Movie going, The Carnivalesque, Abstraction, Visual Sound, and will seamlessly tie together the largesse of the show through commissions by several artists under the moniker, All Together Now.

This open - hearted and stimulating interchange was organized around three themes: the conceptual process that led up to the new installation plan and its outcomes regarding questions of narrative, chronology and mediation; the plan itself and the choices that have been made regarding possible clusters of works and themes, as well as the actual works to be displayed; and, finally, the position of the Stedelijk Museum in the contemporary debates surrounding the canon, curatorial strategies, the relationship between fine art and visual culture, and the influence of non-museological display formats on museum practice.

Each winter, the New York Academy of Art stages an exhibition of work from important contemporary figurative artists, on a particular curatorial theme.

The inaugural biennial is spectacle of thirty - four site - specific installations and performances, rivaled only by the new space itself, the curatorial theme of the show.

Sirmans has created a New Orleans - centered curatorial theme inspired by the acclaimed novel, The Moviegoer, written by Southern Existentialist Walker Percy.