Sentences with phrase «what contemporary art curators»

Victoria Siddall, the fair's director, said Frieze prided itself on reflecting what contemporary art curators and museums are talking about.

Not exact matches

The story of a contemporary art museum curator is maddening and meandering, at times obscuring what it is trying to say.

With over 4,000 objects representing more than two dozen collectors, including contemporary artists making art conceived by collecting, Massimiliano Gioni, the museum's artistic director, and his team of curators have mounted a remarkable series of object lessons about what it means to «keep,» the relationship of possession to loss, the madness inherent in love, and the undeniable importance of the individual's voice in recording and interpreting history and its sweep.

The book, edited by Trevor Schoonmaker, Curator of Contemporary Art at the Nasher, brilliantly presents a masterful look at the figurative painting, a selection of which can be seen in the next iteration of Soul of a Nation, which opened earlier this month at the Crystal Bridges Museum of American Art in Bentonville, Arkansas, as well as in the exhibition catalogue, available from the Tate, which features Hendricks» painting «What's Going On» (1974) on the cover.

«Ruby Green Contemporary Arts Center set a precedent for what can be done here, with a lot of sweat equity and not a lot of capital,» says Adrienne Outlaw, artist and founder of Seed Space, a lab for writers, curators, and artists.

Anthony Elms (Associate Curator at the Institute of Contemporary Art in Philadelphia) organized his curatorial vision as an answer to the question architect Marcel Breuer posed in his notes for the plans for the Whitney Museum on Madison Avenue: «What should a museum look like, a museum in Manhattan?»

Tate's curator of modern and contemporary British art, Clarrie Wallis explains what makes her work so special.

«What I appreciate in what Natalie is doing is that we need more complex feminist stories in this #MeToo era,» says Veronica Roberts, curator of modern and contemporary art at the Blanton Museum at the University of Texas, Austin, which showed the Grimm series after the Drawing CenWhat I appreciate in what Natalie is doing is that we need more complex feminist stories in this #MeToo era,» says Veronica Roberts, curator of modern and contemporary art at the Blanton Museum at the University of Texas, Austin, which showed the Grimm series after the Drawing Cenwhat Natalie is doing is that we need more complex feminist stories in this #MeToo era,» says Veronica Roberts, curator of modern and contemporary art at the Blanton Museum at the University of Texas, Austin, which showed the Grimm series after the Drawing Center.

Juror, Lisa D. Freiman, Senior Curator and Chair of the Department of Contemporary Art, Indianapolis Museum of Art, Indianapolis, IN, mentions in her essay that, «Most of the works by Midwest artists chosen... challenge traditional definitions of painting or sculpture and instead explore a hybrid state that incorporates aspects of both...» We hope you will pick - up a copy and let us know what you think!

Beth Finch, Lunder Curator of American Art at the Colby College Museum of Art, speaks about what Marsden Hartley's Maine can tell us about how we understand historical legacy and scholarship can shape the contemporary art worArt at the Colby College Museum of Art, speaks about what Marsden Hartley's Maine can tell us about how we understand historical legacy and scholarship can shape the contemporary art worArt, speaks about what Marsden Hartley's Maine can tell us about how we understand historical legacy and scholarship can shape the contemporary art worart world.

Carlos Basualdo, the Keith L. and Katherine Sachs Curator of Contemporary Art, stands before Jasper Johns» painting According to What (1964) in Dancing around the Bride.

with Julie Thomson, curator of What Is Love Thursday, May 3, 2007 University Museum of Contemporary Art free and open to the public, 5:30 pm to 6:30 pm

Dr Omar Kholeif, Manilow Senior Curator at the Museum of Contemporary Art Chicago, enthused: «Frieze 2016 presented me as a curator with a wonderful opportunity to not only get a snapshot of what was happening in art globally but also to see different kinds of experimentation happening at the edges of film and performance, which were so evocatively provoked through the Frieze Live and Film progCurator at the Museum of Contemporary Art Chicago, enthused: «Frieze 2016 presented me as a curator with a wonderful opportunity to not only get a snapshot of what was happening in art globally but also to see different kinds of experimentation happening at the edges of film and performance, which were so evocatively provoked through the Frieze Live and Film programmArt Chicago, enthused: «Frieze 2016 presented me as a curator with a wonderful opportunity to not only get a snapshot of what was happening in art globally but also to see different kinds of experimentation happening at the edges of film and performance, which were so evocatively provoked through the Frieze Live and Film progcurator with a wonderful opportunity to not only get a snapshot of what was happening in art globally but also to see different kinds of experimentation happening at the edges of film and performance, which were so evocatively provoked through the Frieze Live and Film programmart globally but also to see different kinds of experimentation happening at the edges of film and performance, which were so evocatively provoked through the Frieze Live and Film programmes.

You Should've Heard Just What I Seen explores how music shapes the experience of making and looking at art, with original contributions from over 50 leading contemporary artists, curators and gallerists.

The fifth instalment in our yearlong, monthly survey in which artists, curators and cultural commentators explore the question of what African art (of the contemporary flavour) does or can do within various local contexts across the continent.

In over fifty short essays, this compendium offers advice to a new generation of curators from veterans of contemporary art exhibitions who, over the past 25 years, have played a crucial role in shaping what we see today, and how we see it.

In the dead center of NEXT «s layout at Merchandise Mart this weekend, in what would otherwise be prime real estate for galleries willing to shell out big bucks for sprawling, centrally - located booths, is instead the Art Chicago NEXT Talk Shop, the site of CONVERGE Chicago: Contemporary Curators Forum, a 4 - day series of public panels and talks with major national and international figures from the art worArt Chicago NEXT Talk Shop, the site of CONVERGE Chicago: Contemporary Curators Forum, a 4 - day series of public panels and talks with major national and international figures from the art worart world.

In What I See When I Look at Sound at Perth Institute of Contemporary Arts, curator Leigh Robb has presented five works by artists whose practices collectively traverse the visual, sonic, and performative.

With «Imagine Brazil» the curators wants to showcase a diverse picture of what is happening in Brazilian contemporary art. 14 young artists are selected for what they perceive as important representatives of the emerging art scene in Brazil, but also in terms of their international significance.

Spring / Break is known for presenting contemporary work that's hand - selected by a team of curators resulting in a show that reveals insider views of what's happening in art right now.

This panel considers the contemporary way curators are using language in experimental ways to expand visual art practices, and what effects the crossover of these fields has had on each.

Curated by Latika Gupta, «Homelands» offers a unique take on contemporary British art by an Indian curator, and asks what, in the 21st century, «home» really means.

Over the following years, these included presentations by artists such as Matthew Barney and Elizabeth Peyton, as well as curators like Catherine David and Okwui Enwezor, giving informal takes on practice and theory and the goings - on in the contemporary art scene: what Eccles calls ««what's - on - your - mind» kind of talks.»

Dedicated to providing readers with an informed and expert view of New York's contemporary arts, our lively conversations and reporting highlight current perspectives on contemporary art and provide an insight into what artists, curators and galleries are creating and thinking about.

The first instalment in our yearlong survey in which artists, curators and cultural commentators explore the question of what African art (of the contemporary flavour) does or can do within various local contexts across the continent.

Jonathan T. D. Neil on why he's leaving New York for Los Angeles; Jonathan Grossmalerman finds out how the artworld works; Maria Lind, curator and director of Gwangju Biennale 2016, on Nazgol Ansarina and life in contemporary Teheran; Sam Jacob argues that the idea of home should really be a generator of social change; Dan Udy looks at the history and legacy of what has been called «AIDS art» for artists today; and J.J. Charlesworth on Wolfgang Tillmans's anti-Brexit campaign.

Special guest and co-hosts include Serge Lasvignes, President of the Centre Pompidou, and Christine Macel, Curator of the 57th Venice biennale, who have been specially invited and hosted by the Leridon's in order to supplement the opening of what many, arguably, call the most important contemporary art venue of the century to open on the continent.

The late 1950s, blurring into the»60s, are to contemporary art what the 1910s and»20s were to modernism: a fertile era that is still being revisited by curators and dealers.

«Marcaccio and Ritchie are right down the middle of the road of what we expect painters to do today,» says Dan Cameron, senior curator at New York's New Museum of Contemporary Art.

Meanwhile she is extending her curatorial practice in many international projects including 9th Gwangju Biennale (2012) in South Korea as Co-Artistic Director, Phantoms of Asia: Contemporary Awakens the Past (2012) at Asian Art Museum in San Francisco as guest curator, and Ai Weiwei: According to What?

This project borrows its title from Long's work in order to reflect on what it presently means for a contemporary art institution to commit to critical modes of working with artists and curators.

His curated contemporary art exhibitions include People Like Us: The Gossip of Colin Campbell (2008), Where I Lived, and What I Lived For (2012 — 13), Kelly Jazvac: PARK (2013) and Sonny Assu: Possession (2013 — 14) for Oakville Galleries, where he is Associate Curator, as well as Ryan Trecartin: Any Ever (2010, co-curator), To What Earth Does This Sweet Cold Belong?

«These feminist artists broke down the hierarchies of what is considered acceptable in the world of sculpture, whether it's the use of wire or cloth or yarns or foam or fiberglass,» said Paul Schimmel, the former chief curator of the Museum of Contemporary Art in Los Angeles, who organized the gallery's show.

(Quebec, Canada) «What you will see is a constellation of works by young artists, our view on emerging Brazilian contemporary art», affirm the Curators Gunnar B. Kvaran, Hans - Ulrich Obrist and Thierry Raspail.

Howardena Pindell: What Remains To Be Seen is organized by the Museum of Contemporary Art Chicago and cocurated by Naomi Beckwith, Marilyn and Larry Fields Curator at the MCA, and Valerie Cassel Oliver, Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts.

Gwen Chanzit, the museum's curator of modern and contemporary art, didn't set out to produce an all - women show: «I wanted to broaden the parameters of what we know about abstract expressionism — and destroy some myths,» she tells Maclean's.

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 viewArt'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 viewart: 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 viewart is, but the process by which it is made, who and what an artist is, and the roles of the curator and the viewer.

Howardena Pindell: What Remains To Be Seen is co-curated by MCA Curator Naomi Beckwith and Valerie Cassel Oliver, Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts, and is on view from February 24 to May 20, 2018.

Howardena Pindell, the artist whose work will comprise What Remains To Be Seen, the Museum of Contemporary Art's next big show, «provides another history of American art,» says curator Naomi BeckwiArt's next big show, «provides another history of American art,» says curator Naomi Beckwiart,» says curator Naomi Beckwith.

For those interested in the Art Alliance's tours, The Contemporary Austin Senior Curator, Heather Pesanti, Brian Willey of Tiny Park, and independent curator Troy Campa have each picked five of what they consider the most compellingCurator, Heather Pesanti, Brian Willey of Tiny Park, and independent curator Troy Campa have each picked five of what they consider the most compellingcurator Troy Campa have each picked five of what they consider the most compelling stops.

In Nigeria, Bisi Silva, Curator of the Centre for Contemporary Arts (CCA) in Lagos, brought the portable exhibition on cartography and mapping that Johanna Løgstrup had curated in Copenhagen to the cca in March 2009 and invited curators from Tate to see for themselves what was happening in the Nigerian capital.

Shattering preconceived notions about what contemporary African art may look like or be concerned with, The Armory Show 2016 will present eight special projects curated by Julia Grosse and Yvette Mutumba, who are also the curators for the 2016 Focus Section of The Armory Show: African Perspectives.

Howardena Pindell: What Remains To Be Seen is cocurated by Naomi Beckwith, Marilyn and Larry Fields Curator at the MCA, and Valerie Cassel Oliver, Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts.

Selected Exhibitions 2009 Zenith Gallery, Washington, DC, For Real, group exhibit 2008 Zenith Gallery, Washington, DC, What Remains: The American Landscape Portfolio Edition, solo exhibit Zenith Gallery, Washington, DC, Trees of Life, 30th Anniversary Show, group exhibit 2007 Zenith Gallery, Washington, DC, What Remains: The American Landscape, solo exhibit 2006 Zenith Gallery, Washington, DC, 28th Anniversary Exhibition, group exhibit 2005 Zenith Gallery, Washington, DC, Into the Minds of Nine, group exhibit Zenith Gallery, Washington, DC, La vie quotidienne: Scenes from Paris to Provence, solo exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 22nd Annual Portrait Show 2004 Land Trust of Virginia, Middleburg, VA, Vanishing Landscapes 2004, group exhibit Parker Gallery, Washington, DC, Beyond Brittany: 1977 - 1979, group exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 21st Annual Portrait Show Zenith Gallery, Washington, DC, Zenith Style: Art & Craft for Home & Office, group exhibit Zenith Gallery, Washington, DC, This Land is Your Land, This Land is My Land, group exhibit 2003 Bermuda National Gallery, Hamilton, Bermuda, Inside & Out, House & Home, group exhibit Zenith Gallery, Washington, DC, Near and Far: Recent Landscape Paintings, solo exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 20th Annual Portrait Show 2002 Land Trust of Virginia, Middleburg, VA, Vanishing Landscapes Zenith Gallery, Washington, DC, The Dog Days of Summer Zenith Gallery, Washington, DC, New Artists... New Space, Summer Show 2002 2002 Hilligoss Galleries, Chicago, IL, Oil Painters of America, Eleventh Annual National Juried Exhibition of Traditional Oils Francesca Anderson Fine Art, Portraits North, Lexington, MA, 19th Annual Portrait Show 2001 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour Northern Virginia Fine Arts Association, Alexandria, VA, Contemporary Realism: A Survey of Washington Area Artists Zantman Art Galleries, Palm Desert, CA, Oil Painters of America, Tenth Annual National Juried Exhibition of Traditional Oils Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Francesca Anderson Fine Art, Portraits North, Lexington, MA, 18th Annual Portrait Show 2000 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour Rock Creek Gallery, Washington, DC, Studio 310 Reunion Francesca Anderson Fine Art, Portraits North, Lexington, MA, 17th Annual Portrait Show Spectrum Gallery, Washington, DC, Spectrum Plus Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Zenith Gallery, Washington, DC, Zenith Gallery at 22 1999 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour, recipient of the Steven L. Aschenbrenner Collector's Award Zenith Gallery, Washington, DC, New Works for the Millenium Francesca Anderson Fine Art, Portraits North, Lexington, MA, 16th Annual Portrait Show Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape 1998 Byrne Gallery, Middleburg, VA, Lightmotifs, solo exhibit Mystic Maritime Gallery, Mystic, CT, 19th Annual International Marine Art Exhibition Francesca Anderson Fine Art, Portraits North, Lexington, MA, 15th Annual Portrait Show Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape 1997 Arts Club of Washington, Washington DC, Luminous Journeys, solo exhibit Ballantyne & Douglass Fine Art Gallery, Cannon Beach, OR, featured artist The Artists» Museum, Washington, DC Francesca Anderson Fine Art, Portraits North, Lexington, MA, 14th Annual Portrait Show Morgan Peyton Fine Arts, Charleston, WVA, Journeys through the Virginias, solo exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit Howard / Mandville Gallery, Edmonds, WA, Paintings of the American Landscape 1996 Howard / Mandville Gallery, Kirkland, WA, Pleasures of the Garden Francesca Anderson Fine Art, Portraits North, Lexington, MA, 13th Annual Portrait Show Howard / Mandville Gallery, Edmonds, WA, 2nd Annual Paintings of the American Landscape Gallery 4, Alexandria, VA, Landscapes Cudahy Gallery, Richmond, VA, 15th Anniversary Celebration Charles County Community College, La Plata, MD, Landscapes, solo exhibit 1995 Cudahy Gallery, Richmond, VA, Landscapes 1994 Hollis Taggart Gallery, Washington, DC, Portraits Montgomery County College, Rockville, MD, George Washington Faculty Exhibit DeMatteis Gallery, Annapolis MD, The Figure Fine Arts Gallery, Georgetown University, Washington, DC, Portraiture, co-curator 1993 Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1992 Fine Arts Gallery, Georgetown University, Washington, DC, faculty exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1991 Fine Arts Gallery, Georgetown University, Washington, DC Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1989 Plum Gallery, Kensington, MD, Capital Image 1989 Cudahy Gallery, Richmond, VA, National Portrait Exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1988 Fine Arts Gallery, Georgetown University, Washington, DC, Images of Georgetown, A Bicentennial Celebration 1986 Dimock Gallery, George Washington University, Washington, DC, Alumni Juried Exhibition 1985 Gallery 4, Alexandria, VA, Washington Landscapes Plum Gallery, Kensington, MD, The Capitol Image Today 1985 The Times Journal Co., Springfield, VA, In and Around Washington 1984 St. Petersburg Historical Society, St. Petersburg, FL 1984 Dimock Gallery, George Washington University, Washington, DC, Alumni Juried Exhibition Strathmore Hall, Rockville, MD, Metro Art Fairfax County Council of the Arts, Fairfax, VA, juried exhibit curated by Michael Botwinick, director, Corcoran Gallery of Art, Washington, DC World Bank Art Society, Washington, DC 1983 Arlington Arts Center, Arlington, VA, Areawide Painting Exhibition, juried by Frederick Brandt, curator, Virginia Museum of Fine Arts, Richmond, VA American Artists Professional League, New York, NY, Juried Grand National Exhibition Twentieth Century Gallery, Williamsburg, VA

Elisabeth Sussman and Jay Sanders — the Whitney curators who put together the highly praised 2012 edition — will act as advisers overseeing the giant survey, which runs from March 7 through May 25 and takes the pulse of what's happening in contemporary art today.

Past group exhibitions and international biennials for TPG include: Islands, Constellations, and Galapagos, Yokohama Trienniale, Japan (2017); After Darkness: Southeast Asian Art in the Wake of History, Asia Society, New York, NY (2017); Prospect.3: Notes for Now, New Orleans, LA (2014); Residual: Disrupted Choreographies, Carre d'Art, France (2014); No Country: Contemporary Art for South and Southeast Asia, Solomon R. Guggenheim Museum, NY (2013); 7th Asia Pacific Triennial of Contemporary Art, Queensland Gallery of Modern Art, Brisbane, Australia; The Unseen, Guangzhou Triennial, Guangdong Museum of Art, China; Six Lines Of Flight, San Francisco Museum of Modern Art, CA; Made In LA, Los Angeles Biennial, Hammer Museum, CA; The Ungovernables, New Museum, NY (2012); Project 35, Independent Curators International, Pratt Manhattan Gallery, NY; (2011); Projects 93, Museum of Modern Art, NY; 8th Shanghai Biennale, in collaboration with Superflex, China (2010); What's the Big Idea?

The Petty Biennial is an «effort to decolonize the canon of, and what is valued in, contemporary art,» the curators explain, following the legacy of artists like Fred Wilson and Andrea Fraser whose practices are concerned with institutional critique.

(Olso, Norway) With the exhibition the curators wants to showcase a diverse picture of what is happening in Brazilian contemporary art.

Meanwhile she is extending her curatorial practice in many international projects including 9th Gwangju Biennale (2012) in South Korea as the Joint Artistic Director, Phantoms of Asia: Contemporary Awakens the Past (2012) at Asian Art Museum in San Francisco as guest curator, and Ai Weiwei: According to What?

She was a curator of contemporary art at what is now the Smithsonian American Art Museum, chief curator at the Corcoran Gallery of Art, and is currently chief curator at the National Museum of African American History and Cultuart at what is now the Smithsonian American Art Museum, chief curator at the Corcoran Gallery of Art, and is currently chief curator at the National Museum of African American History and CultuArt Museum, chief curator at the Corcoran Gallery of Art, and is currently chief curator at the National Museum of African American History and CultuArt, and is currently chief curator at the National Museum of African American History and Culture.