Sentences with phrase «perhaps is a curator»

Not exact matches

Perhaps even more troubled about the bill than the anthropologists and curators are the gallery owners and antique dealers; though not directly affected, they fear that the bill, if passed, would set a precedent for future legislation that would affect private collections — and could eventually put them out of business.

Perhaps for that reason, the growth and interest in crafts since the «60s has been phenomenal in the eyes of Smith and the Renwick Gallery «s curator, Michael W. Monroe.

Perhaps they are so subtle, even the curators missed them...

Jack Horner, perhaps the most famous dinosaur expert in the world, is the curator of paleontology at the Museum of the Rockies in Bozeman, Montana.

Perhaps things are changing so fast that a pick - and - mix was the best the curators could hope for, but it leaves the show struggling to present a future it claims is «here».

Daniel Otte, the curator of entomologyat the Academy of Natural Sciences in Philadelphia, suggests the RockyMountain locust is not extinct at all but has simply refrained fromswarming in recent times, perhaps because of encroaching agriculture.Otte points out that almost no one can distinguish closely relatedgrasshopper species by sight.

«It's not the curator's job,» Harkins explains with mock gravity, or perhaps actual gravity, since he doesn't really know how to explicate the cross-stitch.

As Corvette Museum curator Derek Moore explains in the video below, perhaps the most impressive part about this car is that it's running on the original 5.7 - liter V8 engine.

Tonight's discussion was with the anonymous Data Guy, curator for the famous (or perhaps infamous!)

We heard in May that Valve were revising Steam gifting — perhaps to frustrate key resellers and marketplaces — and now devs will be able to send games directly to Curators, rather than using a key.

This will make it easy for collectors (and perhaps curators) to tell if a piece is yours.

Since then she has held Senior Curator positions at the American Federation of Arts and Location One, both in New York City, and perhaps, most famously, was the Founding Curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, where she conceived and launched the very first exhibition and public programming space in a U.S. museum devoted exclusively to feminist art.

Organized by Mari Carmen Ramírez, the Houston museum's curator of Latin American Art, and Héctor Olea, architect and independent curator and scholar, Inverted Utopias is the latest and perhaps most incisive revision of the history of Latin American avant - garde visual art.

While there are moments of insight when encountering specific works within the biennial overall, these three curators, with perhaps the exception of Comer, do little to change or even exaggerate the conversations that are occurring and laying one atop the other through various discourse - driven platforms that fuel the believed validity of contemporary art altogether.

In the first place, she (or perhaps the curators) cheats a bit and expands the definition of drawing: A number of the eighty works in this exhibition are actually watercolors.

It is intriguing to note that perhaps the most entrancing room was one that the curators decided to leave context - free, where there is no wall text and the artworks, mostly photographs, are apparently grouped intuitively.

Like my colleague Andrew Russeth noted in his Gal / erist NY review, my initial reaction when I heard about the one - floor - per - curator wheeze was dread, while on opening day my fear had subsided into mere disappointment, perhaps because the biennial's scale and wildly divergent quality made it seem pointless to have any strong view at all.

In her essay for the catalogue curator Kate Fowle describes the artist's use of this technique and its significance, «Culled from magazines, postcards, and photos, the imagery in all the recent series is reminiscent of a bygone time, perhaps because of the palette that Kabakov adopts.

Co-curated by Thelma Golden and former Associate Curator Christine Y. Kim, there are no prevailing themes in this exhibition, except perhaps an overwhelming sense of individuality.

For example, while you may be confident about the strength of your work and its presentation, perhaps you're not confident about how to promote it to exhibition venues and curators.

What I've always appreciated most is the ability for an artist to show work at a smaller scale, perhaps a project space for example, and work their way through the diverse community of curators, gallerists and collectors that are deeply interested in new artists and their work.

Rather than a straight reflection on the medium, Danish art historian and curator Lars Bang Larsen's Networks cleverly focuses on the once - hot - but - now - not topic of the fundamental and perhaps autonomous power (ie not purely assignable to or activated by human beings) of interconnected nodes or networks.

It is perhaps fitting, then, that curator Przemysław Strożek uses the work as a symbolic point of departure for an exhibition that simultaneously serves as the first large - scale retrospective of Prampolini's work since the early 1990s and as a portrait of the international character of the Polish avant - garde, the centenary of which is this

So while a video like Mathieu Kleyebe Abonnenc's An Italian Film (Africa Addio)(2012), in which a Yorkshire foundry reenacts the nineteenth - century colonial - era melting and recasting of looted Congolese copper treasures, is perhaps an obvious one to include, it nonetheless keeps the curators» narrative ticking over without, for better or worse, too many tangents for the viewer to get lost among.

The Los Angeles Times said of the upcoming exhibition,»... perhaps the most interesting through - line is the lack of any theme imposed by curators Aram Moshayedi and Hamza Walker.

Perhaps partly because of these sharp stylistic zigzags and partly because of periods when she has been extremely difficult for galleries and curators to work with, her presence in public collections, at least in the United States, has been muted.

When Arcadia Missa co-founder and THE ANGRY SHOW curator Rózsa Farkas accidentally emailed me her «secret planning pdf», I was confused by the artwork descriptions like «perhaps the goetse vid and the text she wrote on the modern phallic subject in htsf, in vinyl on the wall» for Jesse Darling's «Mouf» (2013) video.

I understand why the curator decided to let people see the most recent paintings first; Sasnal's latest work is certainly the more colourful and, perhaps, the more accessible.

Yet, she explained she was never overlooked by curators or other creatives, but by critics and press, perhaps because her work «was too complicated to talk about».

Then came the announcement that the curator of the next edition of the international confab would be Okwui Enwezor, perhaps the world's leading expert on the contemporary art of Africa.

Ai Weiwei (28/8/1957 --RRB- is an artist, architectural designer, curator, and social activist and perhaps the best - known Chinese Contemporary artist.

While Kelley was represented by Gagosian in his lifetime, this new deal is perhaps not surprising — Paul Schimmel, the former LA MoCA chief curator who is now partnering with Hauser & Wirth on a Los Angeles space, has previously been co-director and chair of the foundation.

By organizing an entire exhibition around Albers's photography of ancient Mesoamerican architecture and sculpture, the Guggenheim's curators have made a case that Mexico is significant, perhaps even essential, to our understanding of his entire career and aesthetic outlook.

«Painting is perhaps more vital today than any time since the heyday of the New York School in the late 1940s and early 1950s, and Amy Sillman is one of its most influential, contemporary practitioners,» said Helen Molesworth, Barbara Lee Chief Curator at the Institute of Contemporary Art / Boston, who organized the exhibition.

Though often light on detail, low on new gossip and lacking much insight into working methods, this chatty account is, nonetheless, a valuable record of perhaps the most significant American curator of the postwar period — and of his many lives.

And I guess that means there was a time, perhaps similar for curators, where directors could think solely about what happened inside the institution.

That's the question swirling in the art - world air following his surprise firing of MOCA's chief curator one month ago, the sudden cancellation of the museum's annual gala fundraiser and, perhaps most important, the pending expiration of Vergne's contract.

Artist, curators, and other entities within what we call an industry, have a tough time collaborating; artistic practice is, and perhaps should be, a violently lonely pursuit.

«By taking two - dimensional, geometric compositions and having them fabricated as three - dimensional painting / sculpture hybrids, Fishman is subtly and perhaps playfully subverting traditional ideas about the physical attributes of a painting,» said AEIVA Curator John Fields.

But perhaps because expectations for the current exhibition were not so high, and the curators didn't feel compelled to provide overarching definitions of feminist art, Burning Down the House is more rebellious and complicated.»

It was there that Mr. Colacello, the man perhaps known best for being a sidekick to legendary artists like Andy Warhol who he worked alongside for 12 consecutive years at Interview Magazine, leapt from writer to curator with the debut of «The Age of Ambiguity: Abstract Figuration / Figurative Abstraction,» a selection of works all tied together with a theme of abstraction rooted in tangible objects and concepts.

But, perhaps more than anything UMOCA has ever produced, do it — the newest exhibit in the Utah Museum of Contemporary Art's main gallery — calls into question everything about art: not just what art is, but the process by which it is made, who and what an artist is, and the roles of the curator and the viewer.

When asked what periods in his career have been most significant, Chabet has responded that he prefers «commas to periods,» perhaps to emphasize the fluidity between his different roles as artist, curator and teacher.

If criticism manifests most strongly in the face of what is meant to move us forward as a species, one can only imagine what curator John Cheim was expecting for the onset of his most recent exhibition, The Female Gaze, Part II: Women Look at Men.1 It might be easier, though perhaps a bit militant in this case, to look askance at a man for tackling a women - centric show, or at the canon - grounded lineup, or at the cautionary, simplified curatorial statement [Would we view these works differently if they were made by men?]

That could help draw more collectors, curators, art historians and writers to the city, who then could spread word about what they've seen, perhaps leading to requests for work from local artists to be included in exhibitions around the country.

The Hammer Museum announced the lineup for its third «Made in L.A.» biennial on Tuesday evening, and perhaps the most interesting through - line is the lack of any theme imposed by curators Aram Moshayedi and Hamza Walker.

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).

Curators and critics, however, sometimes prefer not to engage with these invigorating rival claims, perhaps because any attempt to characterize or evaluate can be dismissed as judgmental or elitist, an effort to draw distinctions at a time when what can look like the gray zone of mixed media or multimedia is embraced by an increasing number of artists.

She said she was never overlooked by curators or other artists but she was never in the press, perhaps because her work «was too complicated to talk about».

The curator explains the positing of the question of the inside as an alternative to fantasies of open untouched beaches, outer body avatar transfers and even dreams of colonising new lands like Mars that are perhaps not dreams or escapes, but traps.