Sentences with phrase «public art moving»

The chair is a mobile work of public art moving into and out of public space throughout the summer, shifting from the Carpenter Center to the Cambridge Common for workshops and performances during select evenings and weekends.

Not exact matches

This wasn't the work of activists or a public arts campaign, but a move by the suits at advertising agency McCann New York.

When I moved to the Ozark Mountains in 1997, I decided to share these formulas with the public, and Essential Arts was born.

The critically - acclaimed, record - breaking Alexander McQueen retrospective at the Metropolitan Museum of Art's Costume Institute is closed to the public, but it appears that the exhibit might be moving across the pond.

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Faces Places is quite a moving film, and speaks to a particular cultural mindset that knits art into the fabric of public life.

Professionally, Stevan's educational career began as a College Instructor teaching MIS courses at East Mississippi Community College - CAFB, in Columbus, MS.. Then he began teaching Social Studies, Theater Arts, and Public Speaking at Columbus High School in Columbus, MS, before moving to Florida joining Pinellas Mycroschool.

However, inspired by her work in after - school art programs in Detroit's public schools, she decided to move to New York and learn more about teaching.

Two years later, after earning her Master of Arts in Teaching English, she moved to South Brooklyn to join the founding team at Coney Island Prep Charter Public School.

«This will allow us to move to a state - of - the - art system,» said Windsor Public Library chairman Peter Frise.

Allison Schulnik, Arin Rungjang, art fair, artist studio, Australian Centre for the Moving Image, Boyd Webb, Callum Innes, Charles Lim, collectors, commercial, contemporary art, creativity, culture, Digital Art, discussions, exhibition, fair, Future Perfect, Galeria AFA, galleries, gender, Gene Sherman, global, Google Creative Lab, Ian Hamilton Finlay, Ingleby Gallery, installation, Joachim Bandau, Joana Vasconcelos, Jonathan Owen, Josh Azzarella, Katie Paterson, Mark Moore Gallery, Moving Image, Pearl Lam Galleries, performance, Peter Liversidge, post internet, public program, Qin Yufen, Richard Forster, Sandra Vasquez de la Horra, studio visits, Su Xiaobai, Sydney Art Week, Sydney Contemporary, Tim Etchells, Two Rooms, video art, Yinka Shonibare Mbe, Zhu Jinart fair, artist studio, Australian Centre for the Moving Image, Boyd Webb, Callum Innes, Charles Lim, collectors, commercial, contemporary art, creativity, culture, Digital Art, discussions, exhibition, fair, Future Perfect, Galeria AFA, galleries, gender, Gene Sherman, global, Google Creative Lab, Ian Hamilton Finlay, Ingleby Gallery, installation, Joachim Bandau, Joana Vasconcelos, Jonathan Owen, Josh Azzarella, Katie Paterson, Mark Moore Gallery, Moving Image, Pearl Lam Galleries, performance, Peter Liversidge, post internet, public program, Qin Yufen, Richard Forster, Sandra Vasquez de la Horra, studio visits, Su Xiaobai, Sydney Art Week, Sydney Contemporary, Tim Etchells, Two Rooms, video art, Yinka Shonibare Mbe, Zhu Jinart, creativity, culture, Digital Art, discussions, exhibition, fair, Future Perfect, Galeria AFA, galleries, gender, Gene Sherman, global, Google Creative Lab, Ian Hamilton Finlay, Ingleby Gallery, installation, Joachim Bandau, Joana Vasconcelos, Jonathan Owen, Josh Azzarella, Katie Paterson, Mark Moore Gallery, Moving Image, Pearl Lam Galleries, performance, Peter Liversidge, post internet, public program, Qin Yufen, Richard Forster, Sandra Vasquez de la Horra, studio visits, Su Xiaobai, Sydney Art Week, Sydney Contemporary, Tim Etchells, Two Rooms, video art, Yinka Shonibare Mbe, Zhu JinArt, discussions, exhibition, fair, Future Perfect, Galeria AFA, galleries, gender, Gene Sherman, global, Google Creative Lab, Ian Hamilton Finlay, Ingleby Gallery, installation, Joachim Bandau, Joana Vasconcelos, Jonathan Owen, Josh Azzarella, Katie Paterson, Mark Moore Gallery, Moving Image, Pearl Lam Galleries, performance, Peter Liversidge, post internet, public program, Qin Yufen, Richard Forster, Sandra Vasquez de la Horra, studio visits, Su Xiaobai, Sydney Art Week, Sydney Contemporary, Tim Etchells, Two Rooms, video art, Yinka Shonibare Mbe, Zhu JinArt Week, Sydney Contemporary, Tim Etchells, Two Rooms, video art, Yinka Shonibare Mbe, Zhu Jinart, Yinka Shonibare Mbe, Zhu Jinshi

Her current projects (in collaboration with Angel Nevarez, artist and MFA faculty member, School of Visual Arts, New York) investigate contemporary music, dissent, and public fora, while moving between the spatial simultaneity of performance and enunciation, and reflecting upon the projection of political agency through transmission and song.

Like Japan's Gutai Bijutsu Ky!kai (Gutai Art Association, 1954 - 72), a group that sought to move away from museums, galleries, and other institutional settings, Takamatsu created public interventions, or activities outside the confines of exhibitions.

In a surprise move, the gallery has removed the acres of explanatory wall text, allowing the public to enjoy the art works for the sake of it.

In the late 1980's, after eleven years of public policy work for the California Arts Council, where Purifoy initiated programs such as Artists in Social Institutions, bringing art into the state prison system, Purifoy moved his practice to the Mojave desert.

At a Dec. 12 public meeting of the San Antonio Arts Commission's Arts Funding Committee, leaders of several arts organizations said the process is moving too quickly, with its terms not yet clearly defiArts Commission's Arts Funding Committee, leaders of several arts organizations said the process is moving too quickly, with its terms not yet clearly defiArts Funding Committee, leaders of several arts organizations said the process is moving too quickly, with its terms not yet clearly defiarts organizations said the process is moving too quickly, with its terms not yet clearly defined.

Soon, however, he moved to Boston, where he became interested in Egyptian and Aztec artifacts, which he saw at the Boston Public Library and the Museum of Fine Arts.

After one year in grad school, in 1959, McShine was hired in the Museum of Modern Art (MoMA)'s public information department, then moved to its department of circulating exhibitions, organizing a traveling exhibit of work by Robert Motherwell.

«Flux Night, Atlanta's festive night of free outdoor public art, will make a move to Grant Park this year as part of a total reconceptualization of the event.

J.B. Blunk: Curriculum Vitae Chronology 1926 Born August 28, Kansas City, MO 1946 Moved to California 1949 B.A. University of California, Los Angeles 1949 — 1950 Drafted, Korean War 1952 — 1954 Lived and worked in Japan as potter's apprentice 1954 — 1955 Artist in Residence at Palos Verdes College 1955 Moved to Northern California 1957 — 1962 Built house in Inverness, California 1962 Began working with wood 1969 — 1970 Travel to Mexico and Peru 1971 Apprenticeship Grant from Louis Comfort Tiffany Foundation 1979 Cultural Exchange Travel Grant to Indonesia, U.S.I.C.A. 1983 Travel to Japan 1986 California State Art in Public Places Program competition award for sculpture 1999 Lectured at California College of the Arts, San Francisco, CA 1990 Art Consultant to Land Studio Landscape Architects and MW Steele Group 2002 Died June 15, Inverness, CA

«Flux Night, Atlanta's festive night of free outdoor public art, will make a move to Grant Park this year as part of a total reconceptualization... more»

1933 The name of the Museum was changed from the Free Public Art Gallery of Dallas to the Dallas Museum of Fine Arts (DMFA) on January 13, 1933, and subsequently moved to the ninth floor of the Dallas Power and Light Company building.

It is a simple, yet radical, move that upends the often closed systems within which the public encounters art within the context of the museum.

The artist became an academic to support himself and taught at the private Minneapolis College of Art beginning around 1955 and then moved to the public University of Minnesota as a professor from 1968 to 1984.

Propositions on the Permanent Collection, Studio Museum in Harlem, New York, NY, 2009 Cinema Remixed and Reloaded: Black Women Artists and the Moving Image Since 1970, Spelman College of Art, Atlanta, GA, 2007 and Contemporary Arts Museum Houston, Houston, TX 2008 - 2009 Horizon, EFA Gallery, Curated by David Humphrey, New York, NY, 2007 Black Alphabet, conTEXTS of Contemporary African American Art, Zacheta National Gallery of Art, Warsaw, Poland, 2006 - 2007 Turn the Beat Around, Sikkema Jenkins & Co., New York, NY, 2006 The Manhattan Project, Fred Snitzer Gallery, Miami, FL, 2006 Frequency, Studio Museum in Harlem, New York, NY, 2005 - 2006 MFA Thesis Exhibition, Columbia University, Curated by Jeffery Uslip, New York, NY, 2005 Recess: Images & Objects in Formation, Rush Gallery, Curated by Derek Adams, New York, NY, 2005 Past Perfect, Kantor / Feuer Gallery, New York, NY, 2004 - 2005 After Goya, Leroy Neiman Gallery, Columbia University, Curated by Tomas Vu Daniel, New York, NY, 2004 Hungry Eyes, Columbia University, Ira D Wallach Gallery, New York, NY, 2004 Signs, Public Art Installation, Chicago, IL, 2002 Brat (Wurst), A show of Chicago Artists, Vox Populi, Philadelphia, PA, 2001 Young Love, Mapreed Gallery, Los Angeles, CA, 2000 Art in St. Louis, Honorable Mention, Curated By Jerry Saltz, Art St. Louis Gallery, St. Louis, MO, 1997

PARINAZ MOGADASSI — A new chapter of your life is beginning: you're closing the gallery and making a move to the public sector, as Director of the Los Angeles Museum of Contemporary Art.

As biennales proliferate, with them comes an increasing willingness to appropriate other kinds of space, with artists being given the opportunity to move back into the kinds of historic spaces once devoted to art — the palazzi and grand houses, the urban squares and public walkways.

The archive and art museum moved from its original home to a new location on Center Street; the museum opened to the public in January 2016.

Curated by Alexandria Contemporary Arts Forum, Chamber of Public Secrets and Tranzit.org, Manifesta 8 unpacks the very idea of Europe as it moves into the twenty - first century, focusing on the continent's geographic boundaries and in particular its relationship to the Maghreb region of North Africa.

Shirley's work was also featured in group exhibitions including: Chance Ecologies, Queens Museum (2016); The Luminous Surface, Salisbury University, Maryland, USA (2015); Magnetic North: Artists of The Arctic Circle, UBS Art Gallery, New York, NY (2014); Sandnes 2160, Museum of Moving Image, New York (2013); Free City, Public At installation for The Flint Public Art Project, Flint, Michigan (2013); [PAM] Cyland Festival, Hermitage Museum, St. Petersburg, Russia (2009); Drift, National Center for Contemporary Art, Moscow, Russia (2008); Video Art in The Age of the Internet, Chelsea Art Museum, New York, NY (2007); Video As Urban Condition, Museum of Modern Art Linz, Linz, Austria (2007).

Also on view in the Project Room are Simón Vega: Sub-Tropical Social Sculptures and Ron Terada's public art commission Art on the Move, curated by Dominic Molart commission Art on the Move, curated by Dominic MolArt on the Move, curated by Dominic Molon.

When Pace had a solo exhibition in 1954 at Artists Gallery, the poet and art critic Frank O'Hara stated in Art News: «He doesn't cultivate a «look»; some paintings have a delicate breathy surface with ominous dry light behind, others are more outgoing in their organization and move in a public, rhetorical manner.&raqart critic Frank O'Hara stated in Art News: «He doesn't cultivate a «look»; some paintings have a delicate breathy surface with ominous dry light behind, others are more outgoing in their organization and move in a public, rhetorical manner.&raqArt News: «He doesn't cultivate a «look»; some paintings have a delicate breathy surface with ominous dry light behind, others are more outgoing in their organization and move in a public, rhetorical manner.»

After eight years with the public art program of Atlanta's Office of Cultural Affairs, Dorian McDuffie has moved to Fulton County Arts and Culture.

The prize is being staged at Baltic, a move that draws attention to the prominence of the north - east in contemporary public art while diffusing some of the London chatter around the event.

Although still offering a fuller programme for paid members and relying on members» support to fulfil its charitable mission, the Contemporary Art Society's move to become more public - facing is set against a backdrop of recent cuts to arts funding in the UK and intends to provide greater advocacy and support for the visual arts nationally, especially at a regional level.

Sonnier has had twenty important public commissions since 1981, including Motordom in the Caltrans District 7 Building in 2004, one of the largest public art installations in Los Angeles, and Lichtweg (or Lightway) at the New International Airport, Munich (1989 - 1992), a major commission that spans the 1,000 meter walkway of moving sidewalks, linking terminals and orienting passengers in a pathway of light.

2010 3 minute wonder series, Broadcast commission, Channel 4 (27,28,29,30 Sept; 18, 19, 20, 21 Oct) 06.2010 Persistence of Vision, FACT, Liverpool, UK 05.2010 Steps into the arcane, Kunstmuseum Thurgau, Switzerland 05.2010 It has to be this way ², National Gallery of Denmark, Copenhagen [commissioned solo show] 03.2010 Hands on, (curated by John Hilliard) Galerie Raum Mit Licht, Vienna, Austria 02.2010 Depatterrn, Galleri Erik Steen, Oslo, Norway 10.2009 Performance, Film Weekend: The Jarman Award at KunstHalle, Zurich, Switzerland 09.2009 Performance, Whitechapel Gallery, London, UK06.2009 Mostravideo, Itau Cultural Institute, Sao Paulo, Brazil 02.2009 Altermodern, Fourth Tate Triennial, Tate Britain, UK 01.2009 It has to be this way, Matt's Gallery, London [commissiond solo show] 12.2008 Performance, Event Horizon, Royal Academy of Art [commissioned solo show] 06.2008 Performance, Happy Hand, British Film Institute, London, UK 10.2007 Cinemart, The Auditorium, Rome, Italy 09.2007 Foreign Bodies, White Box, New York, USA 07.2007 Swallowing Black Maria, Smart Project Space, Amsterdam [commissioned solo show] 02.2007 The Believers, Touring show to five cities in Norway, with performances in Stavanger, Forde and Bergen 09.2006 The truth was always there, The Collection, Lincoln [commissioned solo show] 07.2006 UBS Opening, Tate Modern (with Laurie Simmons, Guerilla Girls etc), UK 05.2006 Performance, Human Camera, Mali Salon, Rijeka, Croatia (solo show) 05.2006 I can't tell you, Grundy Gallery, Blackpool [commissioned solo show] 04.2006 Metropolis Rise, CQL Design Centre, Shanghai; DIAF 2006 @ 798 Space, Beijing, China 04.2006 Performance, Inside, Great Eastern Hotel, Masonic Temple, London, UK 03.2006 Performance, Don't Look Through Me, Y Theatre, Leicester, UK 03.2006 Don't look through me, City Gallery Leicester [commissioned solo show] 03.2006 Performance, Screening at Witte de With / Tent, Rotterdam, Holland 03.2006 John Skies or Sally Swims, UKS Gallery, Oslo, Norway 02.2006 Wandering Rocks, Gimpel Fils Gallery, London 11.2005 Image in Me, Market Gallery, Glasgow (solo show) 10.2005 Eyes of Others, Gallery of Photography, Dublin [commissioned solo show] 10.2005 Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK 09.2005 I saw the light, Gasworks Gallery, London [commissioned solo show] 09.2004 Adam, Smart Projects, Amsterdam, Holland 11.2004 Mind the Gap, La Friche, Triangle, Marseille, France 08.2004 Shattered Love, Keith Talent Gallery, London 04.2004 Eating at Another's Table, Metropole Galleries, Folkestone (performance / exhibition) 04.2004 Tonight, Studio Voltaire, London (curated by Paul O'Neill) 03.2004 Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard) 03.2004 Mesmer, Temporarycontemporary, London 02.2004 Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson / Craighead, S Mark Gubb) 09.2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt) 09.2003 Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum) 09.2003 You said that without moving your lips, Limerick City Gallery, Ireland (solo show) 08.2003 Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show) 04.2003 A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass) 01.2003 The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths) 09.2002 History Revision, Plymouth Arts Centre (including Terry Atkinson) 06.2002 Nausea: encounters with ugliness, London Print Studio 04.2002 Dramatic Events, Kent Institute of Art and Design 03.2002 Photoscoptocus, Camden Lock / Henley - on - Thames (Public commission) 03.2002 Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson) 08.2001 Trinity College, Zwemmer Gallery, London 05.2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, «Lindsay Seers, Artist's Eye», Rory Logsdail) 03.2001 For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show] 02.2001 Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith) 09.2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown) 10.2000 Assembly, Stepney City, London 07.2000 A Shot In The Head, Lisson Gallery, London 07.2000 Unfound, Chisenhale Gallery, London 06.2000 City Projects, Artomatic, London (with Jemima Brown, Marcel Price) 05.2000 The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher) 05.2000 On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson) 09.1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall) 07.1999 Quotidian, Paper Bag Factory (curated by Julia Lancaster) 06.1999 Autocannibal, Laure Genillard Gallery, London (solo show) 04.1999 Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean) 10.1998 Multiples, Temple Bar Gallery, Dublin 09.1998 Cannibal, Old Museum Art Centre, Belfast (solo show) 08.1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin 11.1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London 10.1996 Ghost, ACAVA Open Studios, Denmark St, London 09.1996 Ad Hoc, London Artforms.

The neighborhood will come together for the public mural «How Does Food Unite People,» Hybrid Theatre Works will present an evening of performance art, Bossa Nova Civic Club will host a late - night Electronic Music Showcase, Brooklyn Fireproof East will be home to the Moving Forward concert, 3rd Ward will exhibit the group show «Walking into the Dashboard» (compiled from the World's First Tumblr Art Symposium), CinemaSunday will include screenings followed by Q&A s with the filmmakers, and Community Day in Maria Hernandez Park features arts & crafts, live music, family - friendly activities, yoga, and moart, Bossa Nova Civic Club will host a late - night Electronic Music Showcase, Brooklyn Fireproof East will be home to the Moving Forward concert, 3rd Ward will exhibit the group show «Walking into the Dashboard» (compiled from the World's First Tumblr Art Symposium), CinemaSunday will include screenings followed by Q&A s with the filmmakers, and Community Day in Maria Hernandez Park features arts & crafts, live music, family - friendly activities, yoga, and moArt Symposium), CinemaSunday will include screenings followed by Q&A s with the filmmakers, and Community Day in Maria Hernandez Park features arts & crafts, live music, family - friendly activities, yoga, and more.

Before moving to the Bay area I worked on exhibitions and public programs at Artis and Foundation for Contemporary Arts in New York.

Gretchen Hasse is a storyteller working in comics, collage, public art, and moving images.

Once the BCVA was solidly established, Karen moved on to become Director of Cultural Programming at the Boulder Public Library, where she curated memorable art exhibitions, as well as marvelous programs in the library's new auditorium.

Special thanks to the Association for Public Art Board of Trustees, staff, and members; Martin Puryear, Jeanne Englert, and his Studio; Matthew Marks Gallery; Brooke Kamin Rapaport, Keats Myer, Tom Reidy, and Julia Friedman, Madison Square Park Conservancy; Aparna Palentino, Barry Bessler, and Gerald McFeely, Philadelphia Parks and Recreation; Creative Philadelphia; Philadelphia Museum of Art; The Print Center; Deidra McClintock, Diversified Lighting Associates; Mark Gisi, David Wolf, John Feuerstein, and Brian Huddleston, Eastern Standard; Sharon Erwin; Sharon McCullough, Expert Events; Doug Gordon; Aaron Igler and Matthew Suib, Greenhouse Media; Robert Glick, Kelly / Maiello Architects and Planners; Bill Montesi and Angelo Mariano, Mariano Brothers Specialty Moving; Thomas Friese, Linda Douthwaite, and Matthew Kensil, Pennoni; Tatti Art Conservation; Thornton Tomasetti; Liz Ruff, Urban Sign; and Alisa Vignalo.

His videos, prints, and interactive digital environments have been exhibited at numerous venues including 319 Scholes, New York; bubblebyte.org; Public Works, Chicago; the Museum of Contemporary Art, Chicago; and the Museum of the Moving Image, New York.

When he moved to upstate New York in 1970, Kelly began creating large - scale outdoor sculptures and public art works that appear in museum collections around the world and in public spaces in cities such as Chicago (Curve XXII, also called I Will [1981]-RRB- and Berlin (Berlin Totem [2008]-RRB-.

The structure was designed to be visible to commuters and pedestrians moving north and south along North Fair Oaks Avenue, offering a friendly encounter with art along a public thoroughfare.

The series investigates the ways that artists, cultural producers, and institutions are redefining disability and accessibility in contemporary art by destabilizing our notions of neutral public spaces and arts organizations, and moving towards inclusive body politics and social infrastructures.

Nordland speaks about his birthplace and childhood home; parent's occupations; interests as a child; beginning interest in art history; first visits to the Los Angeles County Museum; relationship with Lincoln Kirstein; move to Yale; his book on Gaston Lachaise; attending the University of Southern California; meeting Man Ray; German sculpture; being drafted; first meeting with Richard Diebenkorn and working with Diebenkorn on a book; getting out of the Army; first paintings purchased; writing for «Frontier» magazine; the invitation to work at the Chouinard Art Institute; Institute teachers such as Richard Ruben, Robert Irwin, Don Graham; the founding of the California Institute of Arts (CalArts); classes and professors at CalArts; move to San Francisco in 1966; shows curated by Nordland on Gaston Lachaise, Fred Sommer, Peter Voulkos, Richard Diebenkorn, Burri, Caro, «African Art in Motion,» Fritz Gardner, Jack Jefferson, Ed Moses, Controversial Public Art; meeting and marrying Paula Prokopoff; and other job offerings from Florida, Georgia, and Californart history; first visits to the Los Angeles County Museum; relationship with Lincoln Kirstein; move to Yale; his book on Gaston Lachaise; attending the University of Southern California; meeting Man Ray; German sculpture; being drafted; first meeting with Richard Diebenkorn and working with Diebenkorn on a book; getting out of the Army; first paintings purchased; writing for «Frontier» magazine; the invitation to work at the Chouinard Art Institute; Institute teachers such as Richard Ruben, Robert Irwin, Don Graham; the founding of the California Institute of Arts (CalArts); classes and professors at CalArts; move to San Francisco in 1966; shows curated by Nordland on Gaston Lachaise, Fred Sommer, Peter Voulkos, Richard Diebenkorn, Burri, Caro, «African Art in Motion,» Fritz Gardner, Jack Jefferson, Ed Moses, Controversial Public Art; meeting and marrying Paula Prokopoff; and other job offerings from Florida, Georgia, and CalifornArt Institute; Institute teachers such as Richard Ruben, Robert Irwin, Don Graham; the founding of the California Institute of Arts (CalArts); classes and professors at CalArts; move to San Francisco in 1966; shows curated by Nordland on Gaston Lachaise, Fred Sommer, Peter Voulkos, Richard Diebenkorn, Burri, Caro, «African Art in Motion,» Fritz Gardner, Jack Jefferson, Ed Moses, Controversial Public Art; meeting and marrying Paula Prokopoff; and other job offerings from Florida, Georgia, and CalifornArt in Motion,» Fritz Gardner, Jack Jefferson, Ed Moses, Controversial Public Art; meeting and marrying Paula Prokopoff; and other job offerings from Florida, Georgia, and CalifornArt; meeting and marrying Paula Prokopoff; and other job offerings from Florida, Georgia, and California.

After an interesting experiment with two - dimensional accumulations (Dadaist stamp prints dubbed «cachets») which he showed at a solo exhibition staged at Paris's trendy Galerie Iris Clert in 1958, Arman moved on to his «Coupes» and «Coleres» accumulations of objects which he cut into thin strips before smashing them to pieces in public, in a sort of action - packed performance art.

Born in 1958, Chicago, IL Recent locations include Los Angeles; New Orleans; Baja California, Mexico; San Juan Islands, British Columbia and Portland SOLO EXHIBITIONS 2011 Loose Lips Do Sink Ships, Laurel Gitlen, New York Sorry We're Closed, Brussels, Belgium (forthcoming) 2010 Timothy Taylor Gallery, London 2009 Galerie Laurent Godin, Paris Laurel Gitlen, New York Sorry We're Closed, Brussels, Belgium 2008 State of the Union, Small A Projects, Portland, OR 2007 White Columns, New York SELECTED GROUP EXHIBITIONS 2011 Sex Drive, Haverford College, Haverford, PA (curated by Stuart Horodner) 2010 Bienniale de Belleville, Paris 2009 Sign of the Times, Monique Meloche Gallery, Chicago Diabolique, Dunlop Art Gallery, Regina, Saskatchewan, Canada; Galerie de L'UQAM, Montreal, Canada; Military Museums, Calgary, Canada (curated by Amanda Cachia) Salvador Diaz Gallery, Madrid (curated by Rikrit Tiravanija) 2008 Say Goodbye To..., Clifford Gallery, Colgate University, Hamilton, NY 2008 Altoids Award, The New Museum of Contemporary Art, New York Ambivalent Figuration, Samson Projects, Boston, MA 2007 Memorial to the Iraq War, ICA London (with Harrell Fletcher) BIBLIOGRAPHY Free Speech Zone: Michael Patterson - Carver, monograph edited by Harrell Fletcher, with contributions by Fletcher, Matthew Higgs, and an introduction by Michael Patterson - Carver, (London: Four Corners Books, 2010) Cachia, Amanda, Diabolique, exhibition catalogue, (Dunlop Art Gallery, 2009) Dexter, Emma, «Michael Patterson - Carver» in 60: Innovators Shaping Our Creative Future, edited by Lucas Dietrich, (London: Thames and Hudson, 2009) «Michael Patterson - Carver,» (review) The New Yorker, October 19, 2009 Anne Doran, «Michael Patterson - Carver,» (review) Time Out New York issue 732, October 8 - 14, 2009 Sanders, Gabriel, «Trader Joe's Treasure,» The Forward, July 2008 Yim, Su - jin, «Political Artist Moves in Higher Circles» (Michael Patterson - Carver), The Oregonian, April 2008 Vogel, Carol, «Inside Art: Altoids Award» (Michael Patterson - Carver), New York Times, March 2008 Yim, Su - jin, «An Artist, Discovered» (Michael Patterson - Carver), The Oregonian, August 2007 PUBLIC COLLECTIONS American Folk Art Museum, New York City of Paris Permanent Collection FRAC Bretagne, Châteaugiron, France Museum of Everything, London

Veterans of the program tend to speak highly of their time here, telling us that they were alternately excited, moved, and inspired by directly engaging the public with art.