Sentences with phrase «organizing curator for»

The organizing curator for the Beyeler is Ulf Küster.

The organizing curator for the Neue Galerie is Jill Lloyd, a distinguished scholar who has assembled several important shows for the museum, including «Van Gogh and Expressionism».

VMFA's Associate Curator of Modern and Contemporary Art, Sarah Eckhardt, PhD., is the organizing curator for VMFA.

Trevor Schoonmaker, the organizing curator for Hendricks» traveling exhibition Barkley L. Hendricks: Birth of the Cool said, «His bold portrayal of his subject's attitude and style elevates the common person to celebrity status.

Barry Shifman, VMFA's Sydney and Frances Lewis Family Curator of Decorative Arts, 1890 to the present, is the organizing curator for VMFA.

Not exact matches

A New Orleans based cultural organizer, philanthropy strategist, and curator with 13 years experience at the forefront of the arts and culture sector, her organizing and advocacy is focused on building spaces for the most marginalized to create work, and redirecting resources to communities of color as a matter of justice.

We began thinking about the task with a museum metaphor: a relatively large number of works would be collected and stored in the basement, with a small subset of them selected for public exhibit in various galleries, by various curators, organized by grade level, core content, media type, etc..

Teachers will be invited to see their role as that of a curator, intentionally selecting, organizing and presenting information, strategies for teaching and learning as well as presenting evidence of student understanding.

Friday night at NeueHouse, after slinking past a seemly - looking Powerpoint presentation on the first floor, I headed towards the basement where far more titillating images were on view for the opening of the explicit B - side of «In Your Dreams,» organized by curator Marina T. Schindler for the Spring / Break art fair.

The 2018 New Museum triennial will be organized by Gary Carrion - Murayari, who is a curator at the museum, and Alex Gartenfeld, the deputy director and chief curator of the Institute for Contemporary Art in Miami, the New York Times reported... Read More

Julia White, our senior curator for Asian art, is organizing three consecutive exhibitions beginning in July — one focusing on historical Chinese painting, one focusing on historical Japanese art, and another on historical Indian art.

«Jettisoning the silence that has been imposed on women of all races and religions and classes and sexual orientations is important for all of these artists,» said Deborah Frizzell, an independent curator who organized the exhibition with guest curator Harry J. Weil, and Wave Hill's senior curator Jennifer McGregor and curator of visual arts Gabriel de Guzman.

Blues for Smoke is organized by The Museum of Contemporary Art, Los Angeles, and Curator Bennett Simpson.

The on - site installations program IN / SITU, selected by a major international curator, and EXPO Projects organized by the fair Directors, feature large - scale suspended sculptures and site - specific works within the exhibition hall, alongside EXPO VIDEO, featuring a dynamic curated screening program for film, video, and new media works, and Special Exhibitions booths highlighting non-profit organizations.

Scott Rothkopf, the Whitney's chief curator and deputy director for programs, who is organizing the show in close collaboration with Ms. Owens, described her as «a central figure in the growing debate about contemporary painting.»

Alexandra Terry is Associate Curator at the Museum of Contemporary Art Santa Barbara (MCASB), where she is responsible for planning, organizing, and implementing exhibitions.

This show is a selection from a larger exhibition organized by Miami Art Museum and curated by Assistant Director for Programs / Senior Curator Peter Boswell.

Curated by Margaret Miller, Director, USF Institute for Research in Art, and Megan Voeller, Associate Curator of Education, USF Contemporary Art Museum; organized by USF Contemporary Art Museum.

Paperworks, organized for the Craft & Folk Art Museum by independent curator Howard N. Fox, is on view from September 27, 2015 through January 3, 2016.

In March 2014, the gallery reopened in an expanded bi-level space at 170 Suffolk Street, allowing our artists the opportunity to evolve their practices to a larger scale while working in a more flexible environment, and for the gallery to host a greater number of organized shows, curated both in - house and by guest curators.

Previously an independent curator, Morris organized, among other projects, Decoys, Complexes and Triggers: Women and Land Art in the 1970s at SculptureCenter, New York; 9 Evenings Reconsidered: Art, Theatre and Engineering, 1966 for the List Visual Arts Center, MIT, Cambridge, Massachusetts; and two exhibitions, Gloria: Another Look at Feminist Art of the 1970s and Food at White Columns, New York.

Traveled to Fondation Deutsch, Lausanne, Switzerland (September 17 — November 8); Musée Bab Rouah, Rabat, Morocco (December 11, 1992 — January 31, 1993; Casablanca, Morocco (February — March 1993); Fondation FISA, Séville, Spain (April — May 1993); Italy (summer 1993); Museum Sankt, Saint - Ingbert, Germany (September 19 — November 21, 1993); and Paris (December 1993 — January 1994) Painting, Self Evident: Evolutions in Abstraction, concurrently at Halsey Gallery, College of Charleston; The Meddin Building; and the Gibbes Museum of Art, Charleston, South Carolina (May 21 — June 28) Summer group exhibition, Ginny Williams Gallery, Denver (May 14 — June 30) From America's Studio: Twelve Contemporary Masters — Works by Alumni of the School of the Art Institute of Chicago / One Hundred Twenty - fifth Anniversary Celebration, Art Institute of Chicago (May 10 — June 14) 15th Anniversary Exhibition, Rhona Hoffman Gallery, Chicago (May 8 — June 13) Slow Art: Painting in New York Now, P.S. 1 Museum, Institute for Contemporary Art, Long Island City, New York (April 26 — June 21) Play Between Fear and Desire, Germans van Eck Gallery, New York (April 24 — May 23) Alumni Exhibition, School of the Art Institute of Chicago (April 20 — June 15) An Exhibition for Satyajit Ray, Philippe Briet Gallery, New York (April 11 — May 16) Paint, Edward Thorp Gallery, New York (April 4 — May 9) Paths to Discovery: The New York School — Works on Paper from the 1950s and 1960s, curated by Ellen Russotto, Sidney Mishkin Gallery, Baruch College, City University of New York (March 20 — April 17) American Art 1930 — 1970 (organized by FIAT with the assistance of Independent Curators, New York), Lingotto Fiere, Turin, Italy (January 8 — March 21) A Permanent Collection: Art From the 19th Century to the Present, Castellani Art Museum, Niagara University, New York

An independent curator and scholar, she is known for organizing processional performances that explore the «political aesthetics of walking, marching, second lining, masquerading and parading,» which she has presented in public spaces from Miami and New Orleans to Gwangju, Cape Town, Venice, and the Tate Modern in London.

Prior to this position, Gule was Curator of Contemporary Collections at the Johannesburg Art Gallery, where he organized a number of significant exhibitions including: Meschac Gaba's «Tresses and Other Projects» (2007), Kay Hassan's «Urbanation» (2008), and Tracey Rose's «Waiting for God» (at Johannesburg Art Gallery [2011] and the Bildmuseet, Umeå, Sweden [2011 — 12]-RRB-.

The exhibition is curated by Ann Goldstein, Director, Stedelijk Museum, Amsterdam; in cooperation with the Mike Kelley Foundation for the Arts; and organized at MoMA PS1 by Connie Butler, formerly The Robert Lehman Foundation Chief Curator of Drawings at The Museum of Modern Art, now Chief Curator, Hammer Museum, Los Angeles; and Peter Eleey, Curator and Associate Director of Exhibitions and Programs, MoMA PS1.

As curator at the Delaware Center for the Contemporary Arts in 2008 - 09, she organized numerous group and solo exhibitions.

Recent shows include Death's Boutique at the Yerba Buena Center for the Arts, San Francisco; Mixed Signals, a traveling exhibition organized by ICI (Independent Curators International); This is Killing Me, a group exhibition at MASS MoCA; a solo show at Simon Preston Gallery, New York; and most recently, Despair Beyond Despair, a solo project at LAXART, Los Angeles.

At the Prada Foundation, celebrated curator Germano Celant (best known for ushering Arte Povera to international renown) has organized a fascinating show together with artist Thomas Demand and architect Rem Koolhaas that lovers of art history can't miss: an artwork - by - artwork restaging of curator Harald Szeemann's legendary 1969 show «When Attitudes Become Form» at the Bern Kunsthalle, which redefined the possibilities of what curating can and should be.

She also acted as founding Curator for the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, where she organized the acclaimed Global Feminisms exhibition in 2007.

Douglas Fogle, an independent curator who organized the «Butterfly» exhibition for Blum & Poe, calls this series Mr. Grotjahn's breakthrough work.

Ruba Katrib is SculptureCenter's Curator and is responsible for organizing exhibitions, educational and public programs, publications and for coordinating all aspects of program presentation.

The exhibition is organized by Carolyn Peter, director at the Laband Art Gallery, Loyola Marymount University and former associate curator at the Grunwald Center for the Graphic Arts, Hammer Museum.

The exhibition is organized by the AFA and curated by independent curator Laurence Madeline.It is generously supported by the National Endowment for the Arts.

Alien She is organized by the Miller Gallery at Carnegie Mellon University (CMU), and is curated by Astria Suparak, independent curator and former director of the Miller Gallery, and Ceci Moss, assistant curator for the Yerba Buena Center for the Arts — both of whom possess deep roots in the Riot Grrrl movement.

This exhibition was organized by Carolyn Peter, associate curator for the Grunwald Center.

The exhibition is organized by Cynthia Burlingham, director and senior curator of the Grunwald Center for the Graphic Arts, and deputy director of collections of the Hammer Museum.

She is one of a team of curators responsible for» ˜Made in L.A. 2012», organized by the Hammer Museum in collaboration with LAXART, which is on until 2 September 2012.

Anthony Elms (Associate Curator at the Institute of Contemporary Art in Philadelphia) organized his curatorial vision as an answer to the question architect Marcel Breuer posed in his notes for the plans for the Whitney Museum on Madison Avenue: «What should a museum look like, a museum in Manhattan?»

Curator and writer Marvin Heiferman organizes projects about photography and visual culture for institutions including the - Museum of Modern Art, Smithsonian Institution, International Center of Photography, Whitney Museum of American Art, and the New Museum.

Jointly organized by Safdie Architects and UQAM's Centre de Design with curatorial direction from independent curator Donald Albrecht, the exhibition opens with archival images and objects from the project's origins with conceptual drawings, models, bringing them together with plans for unbuilt iterations of Habitat that Safdie designed soon after for New York, Puerto Rico, and Israel.

Caroline Bourgeois is the curator of the Pinault Collection in Paris and has organized numerous exhibitions around the world, such as Passage du temps (2007) at Lille's Tripostal, Un certain état du monde (2009) at the Garage Center for Contemporary Culture in Moscow, Qui a peur des artistes?

A major five - decade retrospective organized by Michael Auping, chief curator of the Modern Art Museum of Fort Worth, TX, is planned for 2013.

Joyce Pensato: I KILLED KENNY is organized by Jeffrey Uslip, Curator - at - Large for the Santa Monica Museum of Art.

Since that time, Thompson has organized such major projects as the annual Creative Time Summit, Kara Walker's A Subtlety (2014), the group show Living as Form (2011), Paul Ramirez Jonas's Key to the City (2010), Jeremy Deller's It Is What It Is (with New Museum curators Laura Hoptman and Amy Mackie; 2009), Democracy in America: The National Campaign (multiple artists, 2008), Paul Chan's acclaimed Waiting for Godot in New Orleans (2007), and Mike Nelson's A Psychic Vacuum, with curator Peter Eleey.

Double Crescent is organized by guest curator Dan Cameron, founder and artistic director of the U.S. Biennial (which organizes Prospect New Orleans) and artistic director for the 8th Annual Istanbul Biennial (2003).

Legacy: The Emily Fisher Landau Collection is organized by Donna De Salvo, the Whitney Museum of American Art's Chief Curator and Deputy Director for Programs, and David Kiehl, the Museum's Curator of Prints and Special Collections.

Join ArtTable for an exclusive curator - led tour of The Long Run at the Museum of Modern Art, with Paulina Pobocha, associate curator, and Cara Manes, assistant curator, who organized this collection exhibition in consultation with their department head, Ann Temkin, chief curator of painting and sculpture.

2005 «From the Studio: Wish You Were Here...», Co-dependent: Artists, Artist / Curators, & Curators Select Artists @ The Living Room, Miami, FL, organized by Franklin Sirmans Remnants and Relics: Reinterpretations in African American Art, Jamaica Center for Arts and Learning, Queens, NY, organized by Heng - Gil Han (with catalog) Divine, The Cathedral of St. John the Divine and LeRoy Neiman Gallery, Columbia University, New York, NY, organized by Bruce W. Ferguson and Milena Honigsberg James E Lewis Museum of Art, Morgan State University, Baltimore, MD) Watershed Kiln Gods, Gallery 1448, Baltimore, MD)(with catalog)

Art outside the color spectrum fills the first exhibition organized by new Senior Curator Michael Goodson for the Wexner Center for the Arts

With the push for recognizing heretofore undervalued black artists animating museums these days, this exhibition — organized by Ruth Fine, a former curator at the National Gallery of Art, in Washington — offers an excellent occasion not only to assess the significance of Mr. Lewis and his art.