Sentences with phrase «several other curators»

Norden tried to represent Ruscha at the 2003 Venice Biennale, and she and several other curators who were passed over two years ago have modified their proposals and are waiting to hear whom, if anyone, they can resubmit them to.

Not exact matches

An allegation against Richmond, the curator of human origins at the American Museum of Natural History (AMNH) in New York City, inspired a cascade of other allegations about him and motivated several senior paleoanthropologists to do battle against sexual harassment in their field.

Reassured by his nondestructive technique, curators at the Smithsonian and several other museums agreed to let a team led by Moini sample silk objects spanning over 2000 years of history, from ancient Chinese silks and French Renaissance tapestries to a U.S. Civil War flag and silk spun last year.

As the lead content curator of Coops and Cages, and other pet - related websites, he has written several articles about the matter.

MCASB offers several artist talks each year featuring visiting and local artists, scholars, curators, and other special guests.

It is designed and developed in close collaboration, and over several years, by major European art institutions: Astrup Fearnley Museet in Oslo, Beyeler Foundation in Basel, LVHMs Foundation for Contemporary Art in Paris, and by the curator Hans Ulrich Obrist.The project «L'Europe des artistes» will result in a major exhibition bringing together artists from all over Europe, which will be presented from the year 2014 in the institutions that initiated it before travelling to other museums in Europe and the world.

While several of the works on view depict critical moments in an artist's career, others seem less representative, and one wonders how the curators made their selections.

Beside beeing a freelance art critic for the Swedish daily Aftonbladet between 1986 - 2004, Mr. Nilsson also organised several exhibitions as an independent curator, among others he was curator for The Nordic Pavilion at The Venice Biennale 1999.

«Procession: The Art of Norman Lewis» features contributions by exhibition curator Ruth Fine and essays by several other scholars.

Co-curated by Teresa A. Carbone, the museum's curator of American art and Kellie Jones, associate professor of art history at Columbia University, «Witness» assembles a refreshing mix of African American artists (Emma Amos, Benny Andrews, Elizabeth Catlett, Sam Gilliam, David Hammons, Barkley Hendricks, Jae Jarrell, Jacob Lawrence, John T. Riddle Jr., Charles White, William T. Williams) and artists of other racial and ethnic backgrounds, including several prominent white artists (Phillip Guston, Robert Indiana, Norman Rockwell, Ed Ruscha) inspired by the volatile climate of the era that would come to define a great part of America's character.

From 1995 to 2005 he was Senior Curator at the New Museum, New York, where he developed numerous group exhibitions, such as East Village USA and Living inside the Grid, and several individual shows dedicated to the artists Martin Wong, William Kentridge, Carolee Schneemann, Carroll Dunham, Doris Salcedo, José Antonio Hernández Diez, among others.

Bushwick Daily photographer Erik DuRon and I were lucky enough to be included on an exclusive «Beat Nite Party Bus» which took a few dozen reporters (including Hrag Vartanian, Mostafa Heddaya, and Jillian Steinhauer of hyperallergic, and members of the New Criterion), the event's curator James Panero, and several other friends of Norte Maar Gallery, who organized the event, on a joyride tour of all the galleries.

Several other seminal figures on the international art scene, including the art historian Hal Foster, the critic Isabelle Graw and the curator Hans Ulrich Obrist, will also be lecturing at Moderna Museet.

Supported by a catalogue essay in which the curator Catherine Lampert discusses their habits and methods and introduces previously unseen writing by the artists, the exhibition will look at the way their conversations impacted on the development of their work, demonstrating that despite their wide - ranging styles they are each linked by a desire to catch what Bacon describes as «the mystery of appearance within the mystery of making», and in doing so broke new ground in contemporary painting The exhibition includes major works by each artist, several borrowed from public collections, among them Francis Bacon's Pope I 1951 from Aberdeen Art Gallery, David Hockney's Man in a Museum 1962 from the British Council and others like Frank Auerbach's Primrose Hill, Winter Sunshine 1962 - 64 and Euan Uglow's Nude, Lady C 1959 - 60 which have not been seen in public for many years.

There is a core director's programme, overseen by Parry, a supported programme, to which Glasgow International (GI) contributes some funding (not enough, I'm told by several artists and curators) and a wealth of other initiatives whose support from GI is promotional rather than financial.

Over several years they have been in conversations with other artists who curate about the various implications of combining these roles, about some of the conflicts of interest that arise and about the way that as curators they take some part in the formation of public opinion of art and artists.

Dana Shutz was notably silent in the debate (an apology letter attributed to Shutz turned out to be a fake), but the controversy made several other art - world professionals also some of the most talked about figures of 2017: Hannah Black, the black Berlin - based artist who penned an open letter to the Whitney demanding the removal and destruction of the infamous painting, and Christopher Y. Lew and Mia Locks, the Whitney Biennial curators who included the painting in the show and defended their decision to keep it there.

«During the artist's seminal years 1982 - 83 the Schorrs acquired several of his most important paintings, but in contrast to virtually every other early collector, the Schorrs also pursued and acquired a great number of works on paper both directly from the artist and from his early dealers,» explained curator Fred Hoffman.

She previously served as senior curator of WIELS from 2009 - 2014, where she organized several large scale traveling exhibitions, devoted to Anne Teresa De Keersmaeker Mark Leckey, Alina Szapocznikow, and Franz Erhard Walther, among others.