Sentences with phrase «past curated group»

Her past curated group exhibitions include, I am What I am Not Yet, A Survey of Brooklyn's Moment, Madelyn Jordon Fine Art, 2015; The Space Between, Paul Kolker Collection, 2014; Schiller and Dream within a Dream New Century Artists, 2014; Shrink It Pink It, 80 Artists, Cathouse FUNeral Gallery, 2014; Persona, Colleen Asper and Amy Beecher, 7 Dunham, 2013; and It's Really Normaling, Brian Belott and Eric Hibit, The Greenwich House, 2013.

Not exact matches

It looks at past articles you've liked or reacted to, as well as articles shared by your in - groups, and it specifically curates articles that it thinks you're going to like.

Past shows include, group exhibition at Marian Goodman Gallery, Paris, 2007; Last Attraction / Next Exit, curated by Neville Wakefield, Max Wigram gallery, London, 2007; Beneath the Underdog, curated by Nate Lowman and Adam McEwan, Gagosian Gallery, New York; Art Positions, Art Basel Miami Beach, Florida, 2006; and Whitney Biennial 2006, Whitney Museum of American Art, New York; Kick the Dog, Herzilya Museum of Contemporary Art, Herzilya, Israel (catalogue), 2005.

Group exhibitions include: The Encyclopedic Palace, 55th Venice Biennale, curated by Massimiliano Gioni, Venice (1 June - 24 November 2013); The American Academy in Rome (2014); everything / nothing, presented at GALLERYSKE, Bangalore (2012); Phantoms of Asia: Contemporary Awakens the Past, curated by Mami Kataoka and Allison Harding (2012); Shadow Lines - Biennale Jogja XI 2011 - Equator # 1: Indonesia meets India, Indonesia (2011); Orientations: trajectories in Indian Art, curated by Deepak Ananth, Foundation «De 11 Lijnen», Belgium (2010); Chalo!

It covers the group show I was in that was curated by Sapphire Williams this past Spring (Present Tense).

Collective Show presents «Collective Show Los Angeles 2011,» an artist - organized exhibition of contemporary art groups recently established in LA.This collaboratively curated «group show of group shows» features artist - run spaces & projects formed in the past 5 years.

Recent group exhibitions include: The Other Side, Garage, Moscow, «Infinite City», CCA Wattis Institute for Contemporary Arts, San Francisco, USA 2013, Abstract Possible, Eastside projects, Birmingham curated by Maria Lind, «Gaiety is the most outstanding feature of the Soviet Union,» Saatchi Gallery, London, 2012 - 13; «The Futures of the Past», Kunst Raum Riehen, Basel, Switzerland, 2013, «Red Mansion Prize», RA, London, 2012; «Bloomberg New Contemporaries», London, 2011 and «New Sensations», London, 2011.

In the past few years, the artist has participated in numerous group exhibitions including Landscapes, Revisited at the Olympic Sculpture Park at the Alvord Art Lab in Seattle, Blind Field at the Krannert Art Museum in Champaign, Illinois and the Broad Art Museum in Michigan, curated by Tumelo Mosaka and Irene Small as well as Ground, Materiality # 2 (Earth) at the Sorø Kunstmuseum in Denmark.

The White Album, a group exhibition curated by Gladys - Katherina Hernando, opened this past weekend at Richard Telles Fine Art in Los Angeles and features work by Christopher Badger, Kristin Beinner James, Alika Cooper, Eduardo Consuegra, Dan Finsel, Mark Hagen, Daniel Ingroff, Barry Johnston, James Krone, Max Maslansky, Dianna Molzan, Laurie Nye, Fay Ray, Amanda Ross - Ho, Kathleen -LSB-...]

Past group shows and screenings include: Rêve du Pierre, curated by Alexandra Fau, Centre Pompidou, Paris (screening)(2016); Night Walk, with Erin Shirreff, deCordova Sculpture Park and Museum, Lincoln, MA (2015); A Night of Philosophy, Ukrainian Institute of America, New York, NY (Screening)(2015); The Daily Show, Bureau, New York NY (2015); The Built Environment: Lower Side in Istanbul, Mixer, Istanbul, Turkey (2014); It Narratives: The Movement of Objects as Information, Franklin Street Works, Stamford, CT, USA (2014); A Tale of Two Islands: Beatrice Gibson with Alex Waterman, and Frank Heath, High Line Art, NY, NY (2014); Two Hours Two Minutes, The Power Plant, Toronto, Canada (2014); Kool - Aid Wino, Franklin Street Works, Stamford, CT, USA (2013); Matter Out of Place, Kitchen, NY, NY (2012); Somebody has stolen our tent, Simon Preston Gallery, NY, NY (2012); The Way Things Go (Part 3), Frutta, Rome, Italy (2012); Single Channel, Soho House, Miami, FL, USA (2011); Forcemeat, Wallspace, NY, NY (2011), and Suddenly: Where We Live Now, Cooley Gallery — Reed College, Portland, OR and Pomona College Museum of Art (2008, 2009).

Over the past 12 years he has curated and organised over 50 exhibitions and projects, including solo shows by Simon Starling, Alex Katz, Lily van der Stokker, Henri Gaudier Brzeska, Linder, Albert Oehlen, Carol Bove, Dexter Dalwood, Mark Titchner, Heimo Zobernig, Hans - Peter Feldmann, Barbara Hepworth, Adam Chodzko, Deimantas Narkevicius, Eileen Quinlan, Peter Lanyon and Lucy McKenzie, as well as a number of group exhibitions including: «The Hollows of Glamour»,» This storm is what we call progress», «Pale Carnage», «The Indiscipline of Painting», «The Dark Monarch: Magic and Modernity in British Art» and most recently «Aquatopia: The Imaginary of the Ocean Deep».

Brooks in fact appears in a group show curated by Mark Dion, who spoke of a past installation Rescue Archaeology — and all three artists could say much the same.

A former Director (2000 - 06) of CCA Wattis Institute, at California College of the Arts in San Francisco, he has curated numerous group shows at the Hayward Gallery over the past 11 years, including The Painting of Modern Life (2007), Psycho Buildings (2008), an exhibition that included interactive and immersive installations by artists such as Mike Nelson, Gelitin and Do - ho Suh; and The Infinite Mix (2016); he also has curated important retrospectives and solo exhibitions by Ed Ruschka, Jeremy Deller, Carsten Holler, Tracey Emin and George Condo.

A former Director (2000 - 06) of San Francisco's CCA Wattis Institute, he has curated numerous group shows at the Hayward Gallery over the past 11 years, including The Painting of Modern Life (2007), and Psycho Buildings (2008), an exhibition that included installations by artists such as Mike Nelson, Gelitin and Do - ho Suh.

This past weekend we stopped by Mark Moore Gallery for the opening reception of «Empty Distances» a group show curated by Caryn Coleman.

Poesia has curated a lineup of premier Urban / Graffiti Art artist who have been pivotal in the development of Graffuturism the past 5 years, or who have been closely associated with the group.

Group exhibitions include: Knife Hits, SPRING / BREAK Art Show, New York, NY; Past Tense / Future Perfect, Cameron Gallery at The Scrap Exchange, Durham, NC; Vroom Vroom, curated by John Silvis, Outlet Gallery, Brooklyn, NY; Metal Fatigue Music (1992 Toyota Previa), with Ben Vida, NADA, Miami Beach, FL; Days, Brennan & Griffin Gallery, New York, NY; and Regina Rex Pt.

Humanism and Technology, The Human Figure in Industrial Society, 600 Seoul International Art Festival, National Museum of Contemporary Art, Seoul, December 16, 1994 — January 14, 1995 (Catalogue) Prints and Process, Old Dominion University, Norfolk, Virginia, October 1994 Democratic Vistas: 150 Years of American Art from Regional Collections, University Art Museum, University at Albany, New York, September 24 — November 13, 1994 (Catalogue) Master Prints from the Collection of The Butler Institute of American Art, The Butler Institute of American Art, Youngstown, Ohio, September 9 — October 19, 1994 Visible Means of Support, Wadsworth Atheneum Museum of Art, Hartford, Connecticut, June — November 1994 Against All Odds: The Healing Powers of Art, The Ueno Royal Museum and the Hakone Open Air Museum, Japan, June 9 — July 30, 1994 A Floor in a Building in Brooklyn, Richard Anderson Gallery, New York, June 9 — July 30, 1994 (Curated by Chuck Close) The Assertive Image: Artists of the Eighties, Selections from the Eli Broad Family Foundation, UCLA, University of California, Los Angeles, June 6 — October 9, 1994 From Minimal to Conceptual Art: Works from the Dorothy and Herbert Vogel Collection, National Gallery of Art, Washington, D.C., May 29 — November 27, 1994 (Catalogue) Facing the Past: Nineteenth — Century Portrait from the Collection of the Pennsylvania Academy of the Fine Arts and Confronting the Present, The Frick Art and Historical Center, Pittsburgh, May 27 — June 24, 1994 Inaugural Group Exhibition, Off Shore Gallery, East Hampton, New York, May 14 — June 13, 1994 30 YEARS ---- Art in the Present Tense: The Aldrich's Curatorial History 1964 — 1994, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, May 15 — September 17, 1994 (Catalogue) Face - Off: The Portrait in Recent Art, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, September 9 — October 30, 1994.

I have exhibited my work over the past twenty years in many group and solo shows throughout the United States including Franconia Sculpture Park Minnesota, Brooklyn Public Library, Usdan Center Bennington College, in New York City at The USB Gallery, Lesley Heller Fine Art, Participant, White Columns, Outpost, Storefront, Norte Maar and Schema, in Los Angeles at Artist Curated Projects and LACE, Drawing Rooms in Jersey City, and Mount Airy Contemporary Artists Space in Philadelphia.

A former Director (2000 - 06) of CCA Wattis Institute, at the California College of Arts in San Francisco, he has curated numerous group shows at the Hayward Gallery over the past 11 years, including The Painting of Modern Life (2007), Psycho Buildings (2008), an exhibition that included interactive and immersive installations by artists such as Mike Nelson, Gelitin and Do - ho Suh; and The Infinite Mix (2016); he also has curated important retrospectives and solo exhibitions by Ed Ruscha, Jeremy Deller, Carsten Holler, Tracey Emin, and George Condo.

In an exhibition celebrating 10 years of his career, Mr. deCordova curated his oeuvre in groupings by theme: floral, energy - fueled abstraction, compelling immigrant narratives that explore diversity and figurative works that include pets as memory connections to childhood pasts.

Through a live performance, which was part of a group exhibition titled, Post Oriental Exhibition, curated by Mo Reda at The Mine in Dubai, UAE [2015], the artist actively experimented with the misuse of music throughout history by listening to 21 songs from past torture reports from Guantanamo Bay and Abu Ghraib; risking mental challenges that can be a product of the performance for such a cause.

Looking through the images for Warsaw's Private Settings, Art after the Internet group survey, curated by Natalia Sielewicz, it's a disorienting trip through a recent and familiar past for any fan of this kind of contemporary art.

This past weekend we stopped by New Image Art for the opening reception of «Tonight We Fight,» a group show curated by Luke Pelletier.

Brainard's CV is extensive, including fall 2003's «Kult 48 Klubhouse», a seminal takeover of Deitch Project's Brooklyn space (curated by Scott Hug), to «Heathen Fundamentalist», a group exhibition in ode to Phillip Guston at The Lodge Gallery this past summer.

I also had work in a group show called Framing Fraktur at the Free Library (curated by former ICA Director Judith Tannenbaum) this past spring.

He has curated for the Chelsea Art Museum, a group show at Prince George Gallery in the Flatiron District NYC and a solo exhibition at Pen & Brush, a Manhattan women's art & literature organization whose past members include Eleanor Roosevelt.

Her work was recently included in the group exhibition Between This Light and That and Space curated by artist Douglas Melini at the gallery this past summer.

2015 Christie's Curates: Past Perfect / Future Present, Chritstie's, King Street, London, UK When You Fall Into a Trance, group exhibition curated by Emily Wardill, Carlier Gebauer, Berlin, DE Searching for Devices, Basis, Frankfurt, DE

«Ernest C Withers and Glenn Ligon: I Am A Man Teaching Galleries One and Two,» Contemporary Art Museum St Louis, MO, January 20 — March 28, 2006 «Down by Law, curated by The Wrong Gallery,» Whitney Museum of American Art, New York, NY, January 21 — May 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 6 — September 24, 2006 «Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards,» American Academy of Arts and Letters, New York, NY, May 19 — June 12, 2006 «Legacies: Contemporary Artists Reflect on Slavery,» New - York Historical Society, New York, NY, June 16, 2006 — January 7, 2007; catalogue «The Past Made Present: Contemporary Art and Memory,» Museum of Fine Arts, Houston, TX, September 2, 2006 — January 15, 2007 «Group Dynamic: Portfolios, Series, and Sets,» Des Moines Art Center, Des Moines, IA, September 15 — December 29, 2006 «black alphabet: conTEXTS of contemporary african - american art,» Zacheta National Gallery of Art, Warsaw, Poland, September 22 — November 19, 2006 «Interstellar Low Ways,» Hyde Park Art Center, Chicago, IL, October 15, 2006 — January 14, 2007 «Process and Collaboration: Celebrating Twelve Years at 1315 Cherry Street,» The Fabric Workshop and Museum, Philadelphia, PA, December 2, 2006 — January 6, 2007 «Defamation of Character,» organized by Neville Wakefield, PS 1 Contemporary Art Center, Long Island City, New York, October 29, 2006 — January 8, 2007 «Voodoo Macbeth,» curated by David A Bailey, De La Warr Pavilion, East Sussex, UK, October 7, 2006 — January 22, 2007 «Yes Bruce Nauman,» Zwirner & Wirth, New York, NY, July 7 — September 9, 2006 «Gifts go in one direction,» curated by Alexander Nagel, apexart, New York, NY, July 5 — August 12, 2006 «SUBJECT,» Lyman Allyn Museum, New London, CT, May 13 — August 14, 2006 «Invitational Exhibition of Painting and Sculpture,» American Academy of Arts and Letters, New York, NY, March 7 — April 9, 2006 «Dark Places,» Santa Monica Museum of Modern Art, Los Angeles, CA, January 21 — April 22, 2006 «Skin Is a Language,» Whitney Museum of American Art, New York, NY, January 12 — May 21, 2006 «Portraits of Artists: A selection of photographic works from the collection,» Luhring Augustine, New York, NY, January 7 — February 11, 2006

When asked what it's like to have championed Schnabel's paintings over the past few decades while many curators were avoiding them — aside from the occasional 1980s group show — Hollein, who curated a Schnabel survey in 2004 while director of the Schirn Kunsthalle in Frankfurt, explained that it's a curator's job to «do what you believe in.»

I am curating a group show for one of the kamikaze dates later this month, featuring the work of eight artists who have all relocated to Los Angeles within the past year.

She was featured in Reverb: Past, Present, Future, a group show centered on the 10th anniversary of Hurricane Katrina curated by Isolde Briemaier at the Contemporary Arts Center.

«The idea that the present is trapped in a tension between a lost past and an anticipated future,» writes Rawan Sharaf, «forms the conceptual frame for the group exhibition Chapter 31: An Odd Piece of Research on the Many Virtues of Oriental Imagination,» at P21 Gallery, London, which was curated by Sarha collective, an interdisciplinary platform by Nadia Jaglom, a visual anthropologist, and philosopher Mai Kanaaneh.

This past February, the Rose Art Museum at Brandeis University introduced «Pretty Raw: After and Around Helen Frankenthaler,» a historical group show curated by Katy Siegel pointing to the influences Frankenthaler's work has had on subsequent movements and contemporary practices.