Sentences with phrase «played as curators»

It examines the fundamental role that artists have played as curators.

99 with essays on Lynette Yiadom - Boakye's work, and of The Artist as Curator: An Anthology, examining the fundamental role artists have played as curators (edited by Elena Filipovic, and published by Mousse).

Publishers, he went on to say, have a key role to play as curators of content.

Publishers, Penguin Random House CEO Markus Dohle said, have a key role to play as curators of content.

Not exact matches

Jena Malone Playing museum curator Sage Ross, Malone makes a brief and memorable cameo as a narcissistic Los Angeles mom — ruthlessly concerned with her abstract clothes and baby monitor app — with zero self - awareness over how she actually comes across.

In order to ready himself to play Reynolds Woodstock, he studied the lives of designers, learnt to sew, watched archive footage of 1950s fashion shows, consulted with the Victoria & Albert Museum's curator of fashion, apprenticed for a time under the head of costumes at the New York City Ballet and created his own couture dress from scratch using his wife, Rebecca Miller, as a model.

In addition to educating the next generation, teachers today play many roles — content curator, life coach and talent scout as they juggle the demands of teaching required subjects with lessons that will help inspire leadership, tolerance and good citizenship in their students.

Our This Month in Let's Plays curator and Blogs of the Round Table co-chair Lindsey Joyce looked at Kentucky Road Zero for Haywire Magazine and saw the player's role not so much that of an actor, but as the director «Pulling The Strings» of the experience due to the necessary «thinking from a higher level order of story.»

«This image comments upon notions of idealized beach scenes with a dead - pan and subtle, but sweetly satirical play on the notion of a «view,»» said Dianne Vanderlip, esteemed curator of the ART hotel, who previously served as the founding curator of modern and contemporary art at the Denver Art Museum.

Artists kept playing catch - up as color increasingly swamped popular culture and amateur photography; many came to take their cues from both, and in 1976 Museum of Modern Art photography curator John Szarkowski gave William Eggleston a major solo exhibition for his now - iconic photos combining a snapshot aesthetic with a mastery of the dye imbibition process that «allowed Eggleston to draw attention to color without making it the subject of the photograph,» Rohrbach writes.

As Michael Auping, chief curator of the Modern Art Museum of Fort Worth writes: «the paintings represent a delicate balancing act in which presence and absence play a subtle shell game».

Six internationally renowned private collectors have been asked to act as curators and to each choose four artists who play key roles in the formation of their collections.

Life in the city was freer: people were able to play with roles, which were not so heavily based on gender and status as in the rural areas», says Anu Utriainen, the curator in charge of the exhibition project.

Dana Miller, curator of the upcoming Whitney show, says, «She was right there dealing with the same issues that Stella and Kelly played with, using the structure of the painting and the canvas edge as a formal element to riff off.

As Norte Maar continues to be a leading force in Brooklyn, many may not realize that the organization was originally founded on the shores of Lake Champlain in the summer of 2004 by curator Jason Andrew and choreographer Julia K. Gleich, playing a major role in revitalizing the arts in the North Country from 2004 - 2010.

The exhibition is accompanied by a catalogue, with essays on the interaction between Gutai and New York artists by guest curator Ming Tiampo, associate professor of art history at Carleton University in Ottawa, and on Jackson Pollock's relationship to the Gutai group by Tetsuya Oshima, curator of the Aichi Prefectural Museum of Art in Japan, as well as a new translation of the Gutai Manifesto by independent scholar Reiko Tomii and a reflection by David Kaplan, a director and Tennessee Williams scholar, on Gutai's influence on Williams» one - act play, The Day on Which a Man Dies.

During a recent conversation at the Center, our visiting scholar Kristy Edmunds and Philip Bither, Senior Curator at the Walker Art Center, discussed the role audiences play in conserving performance works — what Edmunds describes as «art forms which we can't collect, and preserve, or own.»

«It's not necessarily a faux pas to email a curator to ask for a studio visit without knowing them, but as an artist, I would make sure that my work and the ideas at play in my work resonate with the activities of the curator (exhibitions, writing, etc.) that I'm approaching.

Formerly chief curator of the Museum of Contemporary Art, Los Angeles (MOCA), and recently a co-director of the Mike Kelley Foundation for the Arts, Schimmel is credited with playing a pivotal role in establishing southern California's unique contemporary art scene as a potent force on the global cultural stage.

Institutions such as the California African American Museum and the Studio Museum still play a vital role in exhibiting and training black artists and curators.

«As our Board Chair, Andie has played an invaluable role in the continued growth of ICA and the university, including helping to endow ICA's Program Curator position in 2012.

The catalogue includes a text by Brandon as well as contributions by Nick Robins, author of The Corporation that Changed the World: How the East India Company Shaped the Modern Multinational (Pluto Press, 2012); art historian John Seyller, a specialist in miniature painting and author of Pahari Paintings in the Jagdish and Kamla Mittal Museum of Indian Art (Hyderabad, 2014); Ayad Akhtar, winner of the Pulitzer Prize for his play Disgraced (2012); Ashley Nga - sai Wu, assistant curator at Asia Society Hong Kong Center; and Hans Ulrich Obrist, Serpentine Galleries's co-director, as well as curator and author of Ways of Curating (Farber & Farber, 2014).

Lucas Knipscher uses African fabrics as the backdrop for playing cards, Ana Cardoso subjects cotton and art history to serious punishment, Wilder Alison gives tapestry as art the look of emoticons, and Mae Fatto (also the show's curator) runs riot right through the twentieth century.

Like the Kabuki jazz - dancers who led visitors from one installation to another in Kelley's retrospective as it was installed in Amsterdam's Stedelijk Museum, Charlemagne Palestine's installations in the museum's stairwell connect each of the curators» floors, to humorously unsettling effect: they consist of sad stuffed animals sitting atop speakers that play droning organ music.

Instead and pressingly, even with wild up and downs, flaws and all, the 2017 Whitney Biennial is the best of its kind in some time for the multiple ways it reveals how — selected as it is, without overdetermined political and aesthetic dogma, and curators remaining open to the exigencies of pleasure and the mysterious ways that art mutates but doesn't play catch - up — a show of artists simply at work, whether making expressionistic paintings, idiosyncratic functional constructions, casting the further shores of socially activist conceptualism, or documenting collapsing ecosystems or family dynamics — that artists are always addressing and channeling issues of the day.

Exhibitions and Productions Bow Arts (2017), «Rhino», London (solo show) Bow Arts (2016), «Desire Caught by the Tail», London (solo show) Wimbledon Space (2016), «The Golden Face Lift» (solo show) Dyson Gallery (2016), «Act Natural», London (exhibiting artist) Riverlight Gallery (2015), duo exhibition, London (exhibiting artist) The Rag Factory (2014), «Love Kills», London (as Artistic Director of LUXE / performer) The Chelsea Theatre (2014), «Love Kills», London (as Artistic Director of LUXE / performer) Floating Island Gallery (2014), group show, (exhibiting artist) Spill Festival (2013), «PORN», Ipswich (exhibiting artist) Departure Foundation (2013), group show, «Unperforming» (exhibiting artist) Testbed Gallery (2013), group show, «acts of 2», (exhibiting artist and curator) Testbed Gallery (2012), group show, «acts of», (exhibiting artist and curator) Freud Museum (2011), group show, Objects of Desire, London (exhibiting artist) Battersea Arts Centre (2010), Accidental Festival, London (exhibiting artist) Blue Print (2010), group show, In Time, London (exhibiting artist) perFORM (2009), group show, Triangle Space, London (exhibiting artist) Live Art Lectures (2009), group show, London (exhibiting artist) Disconnected (2009), web - based group show, created and uploaded in London (exhibiting artist) Tate Modern (2008), The Living Currency, London (live performance) Home Sweet Home (2008), various locales, London (co-founder and exhibiting artist, group show) Blackout (2008), group show, Chelsea Art, London (exhibiting artist) Press Play (2008), group show, Chelsea Art, London (exhibiting artist) Climate of Change (2007), group show, Southwark Art (exhibiting artist) Heiner Müller Programme (2001), Access Theatre, New York (as Artistic Director of LUXE / performer) Vengeance, Bloodlust & Afternoon Tea: Armageddon, Cupcakes & the Poisonous Love of Heiner Müller's «Quartet», «Heartpiece» & «Medeamaterial» (2005) Theatro Technis, London (as Artistic Director of LUXE / performer) EH JOE (1998), The Kraine, New York (as Artistic Director of LUXE / performer) Meditation JoJo (1996), Mabou Mines Suite, New York (director and solo performer for video) Dixon Place Funereal (1995),» Funereal», New York, (director and performer) Mabou Mines / Suite (1994), «Funereal», New York (director and performer) H.E.R.E. (1994), «HOME», New York (director and performer) Glendale Studio (1993), «HOME», Arizona (director and performer)

Showcasing Drexler's major paintings and collages as well as her captivating early sculptures, award winning plays and novels, and photographic and video documentation of the artist's wild and varied theatrical career, the exhibition is co-curated by Rose Curator - at - Large Katy Siegel and Curatorial Assistant Caitlin Julia Rubin.

This exhibition presents some fifty photographs by Lola Álvarez Bravo, who played a critical role in Mexico's modernist wave through her work as a photographer, educator, and curator.

Curator Dean Daderko, who included Merris in the Contemporary Arts Museum Houston 2013 group exhibition Outside the Lines, explains the artist's approach as follows, «Through his various experiments with painting, abstraction, nature and culture, Merris» sense of play and curiosity is palpable and contagious, arousing and satisfying our curiosity.

The Raqs Media Collective enjoys playing a plurality of roles, often appearing as artists, occasionally as curators, sometimes as philosophical agent provocateurs.

Curators play an important role in this fair as well as in our contemporary fairs, and this year we welcome Tim Marlow (Director of Artistic Programmes, Royal Acad - emy, London) who is co-curating Frieze Masters Talks, and Toby Kamps of the Menil Collection in Houston who is presenting his first edition of Spotlight.

Taking Freud's idea of the Uncanny as a starting point, artist Mike Kelley plays Sunday curator and presents work by Jasper Johns, Paul McCarthy, Jeff Koons, Tony Oursler, and others (reprinted from a 1993 catalogue), plus photos of chewing gum wrappers, postcards, record covers, and toys, all connected to ideas of youth and the Uncanny.

In today's NY Times review of the Armory Show, Karen Rosenberg described Warhol Museum director Eric Shiner «s close participation in this commercial art extravaganza as «the boundary - blurring of a museum director playing curator at an art fair (and justifying this decision with the old Warholian saw about art and business).»

As Christine Macel's quirky 2017 Venice Biennale comes to life, we talk to Hammad Nasar, the curator of the National Pavilion UAE about states of play in the Emirates, and how the pavilion fits under the wider umbrella of Macel's invigorating theme: VIVA ARTE VIVA.

First Attempts, the galleries of the exhibition will play host to a conversation between the artist and Jorge Ribalta, the show's curator, on photography as an instrument for capturing life at its most vulnerable and precarious, and as a public service and a form of institutional critique.

The Studio Museum has played a critical role as an incubator for curators, a function Golden actively cultivates.

These works, selected by Pfeiffer and the exhibition's curator, explore the theme of the artist as editor, one who plays with space and time and, in doing so, creates new narratives that blur the line between fact and fiction.

Conceiving of cultural information and materials this way allows for both a sense of reverence to the place and time in which is work is made, as well as a sense of play as he works with a specific audience and place to create new contexts as a curator.

Mark Wong (Singapore) has been active in experimental music, sonic arts and independent music practice in the last decade, playing multiple roles as organiser, programmer, artist, curator, writer, and label producer.

This can be intimidating, but it also gives artists opportunities to play different roles, such as curator.

As observed by Matthew McLendon, the museum's curator of modern and contemporary art, «Codex plays a significant role in the continued maturation of Sanford Biggers» work.

From 2014 to date he has developed the project «Aguascalientes Guggenheim Museum,» in which he has played several roles as artist, historian, anthropologist, coordinator, curator, researcher, inventor, and museographer.

A prominent New York City arts leader who served as executive director and chief curator of the Studio Museum in Harlem (1977 - 1987) played a pivotal role in sustaining and advancing the museum when the city was on a downturn.

The son of Jewish refugees from Germany and Slovakia, Norman Rosenthal has played a major role as a London - based curator, working first at the Institute of Contemporary Arts (1974 — 76) and then at the Royal Academy (1977 — 2008).

Highlights of the fair include a Conversations section that presents dialogues between paired artists, a Play section for new media and video works, such adventurous artist projects as a «fully equipped» dyke bar, a series of panel discussions with curators and editors and a juried cash prize for the best solo display.

Dr. Michael McMillan is a writer, dramatist, artist / curator and scholar of Vincentian migrant parentage whose recent play includes: a new translation of Bertolt Brecht's The Good Person of Sezuan (Trenchtown)(MAT tour 2010 & 2012) and curatorial work includes: My Hair: Black Hair Culture, Style & Politics (Origins of the Afro Comb, Museum of Archaeology & Anthropology 2013), I Miss My Mum's Cooking (Who More Sci - Fi Than Us, KAdE Kunsthal, Amersfoort, Netherlands 2012), The Waiting Room (Stories & Journeys, Gwynedd Museum & Art Gallery, Bangor, North Wales 2012), The Beauty Shop (198 Contemporary Arts & Learning 2008), The West Indian Front Room (Geffrye Museum 2005 - 06), The Front Room: Migrant Aesthetics in the Home (Black Dog Publishing 2009) www.thefrontroom.org.uk / He has an Arts Doctorate from Middlesex University 2010 and is currently an Associate Lecturer in Cultural & Historical Studies as well as Associate Researcher RAS project at London CSM / Wimbledon CSM, UAL.

As the curator explained, if one were to reach inside and play with the beige stones or ball bearings, one might uncover Samaras's visage buried under these «treasures» at the bottom of the container.

As curator Margot Norton comments: «Charlesworth's work is part of the growing consciousness in the 1980s that images are so pervasive and they play a role in establishing individual attitudes towards desire or towards sexuality and identity.

Dr. Michael McMillan is a writer, dramatist, artist / curator and scholar of Vincentian migrant parentage whose recent play includes: a new translation of Bertolt Brecht's The Good Person of Sezuan (Trenchtown)(MAT tour 2010 & 2012) and curatorial work includes: My Hair: Black Hair Culture, Style & Politics (Origins of the Afro Comb, Museum of Archaeology & Anthropology 2013), I Miss My Mum's Cooking (Who More Sci - Fi Than Us, KAdE Kunsthal, Amersfoort, Netherlands 2012), The Waiting Room (Stories & Journeys, Gwynedd Museum & Art Gallery, Bangor, North Wales 2012), The Beauty Shop (198 Contemporary Arts & Learning 2008), The West Indian Front Room (Geffrye Museum 2005 - 06), The Front Room: Migrant Aesthetics in the Home (Black Dog Publishing 2009) www.thefrontroom.org.uk / He has an Arts Doctorate from Middlesex Univ. 2010 and is currently an Associate Lecturer in Cultural & Historical Studies as well as Associate Researcher RAS project at London CSM / Wimbledon CSM, UAL.

Exhibition curator Ulrich Loock suggests that the artist is the executioner, playing on the idea that he, after all, is the one who executes the work, and that painting itself is a kind of disruption and mutilation, a negative as much as it is a positive act.