Sentences with phrase «what curators»

What curators should be doing is what Soane did: bringing together things that fascinated him and displaying them.

Maybe it's a generation of entitled curators, but also, I've heard it from some very distinguished collectors, where they say, «We need to do shows that are about what curators do.»

Other personally meaningful images and what the curators call «coded references» to his life and loves as a gay man abound.

A 2008 gift from the Andy Warhol Foundation, the exhibition's 105 color and 52 black - and - white photographs hint at what the curators describe as Warhol's «compulsive use of the medium,» both as prefatory sketch and documentary vehicle.

He's a representative of what curators and collectors consider a recent golden age of Cuban art, the so - called «special period» of economic upheaval following the collapse of the Soviet Union in 1991.

What the curators and staff agree on with the three new exhibitions — Francis Bacon, Maria Lassnig and this one — is that the critical theme is «why paint?»

These projects highlight how the organization creates a truly global perspective on what curators and artists are thinking, researching, and producing today.

In that process I find that artists without an organization such as Still House have to bend and mold to accommodate what the curators, dealers, gallerists and collectors want from them.

The first traces a tradition of expressiveness, materiality, and the handmade in what the curators call the «studio - based» practice of twentieth - and twenty - first - century sculpture.

The «interactive» elements of the exhibition — suitably underdone for a publication which so often lampoons the techno - obsessed — superbly conjure up what the curator, Julius Bryant, calls «the creative mayhem in the editor's office, the Aladdin's cave of detritus».

It will be exciting to see what curator Nancy Gifford (an excellent artist in her own right) brings from this group.

Schwabsky, art critic for The Nation and an editor for international reviews at Artforum, is a practitioner of what curator James Meyer describes as «a criticism of varied interests and passionate opinions.»

The exhibition — already suggested in its title — engages with the paradoxes of «femininity» from what curator, Kate Eringer has described as a «critique from a place of confinement».

Hanson's work is fueled by what curator Michael Rooks refers to as the «New Sincerity ethos... a paradigm in which the pursuit of grand universal truths, like the virtues of love, are conditioned by an innate skepticism.

GWEN CHANZIT: Not so long ago, few people knew what a curator was.

Curating has been a key concept both in and outside the art world in the past few years, with the remit of what a curator does having changed and expanded with each new exhibition or -LSB-...]

Just look at what curator Dan Cameron and Marianne Boesky Gallery have done for society's most deeply troubled members, both with Boesky's workplace program and Cameron's long time commitment as its therapeutic advisor.

Curating has been a key concept both in and outside the art world in the past few years, with the remit of what a curator does having changed and expanded with each new exhibition or biennale.

Come hear what the curator has to say about these two shows regarding women by women artists.

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.

While shows such as the Tate's 2010 «Art and the Sublime» chose the more marketable monumental expressions of the Romantic Sublime — the huge canvases of John Martin or Francis Danby — this exhibition chooses to focus on what curator Matthew Hargraves describes as the «quiet transformation» of landscape in the late 18th and early 19th century.

They go to see what a curator has researched, to see something that is «genuinely different.»

Described by The New York Times critic Holland Cotter as one of «the half - dozen most important people for art in downtown Manhattan in the 1970s,» Wilson remains what curator Peter Dykhuis calls a «creative presence as an arts administrator and cultural operative.»

Large in scale, this work relates to Judd's interest in what curator Barbara Haskell has called his «architecturally sensitive formulation of space.»

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?]

These video collages simulate a mesmerizing encounter with each painting included within the work, balancing between what curator Luis Martin describes as a «feeling of anticipation for a pending narrative and the sensation of witnessing a pristine and eternal moment.»

Historically, the show has explored the possibilities of the biennial format in each new version, and I'm keen to see what curator Kathrin Rhomberg will do.

Anya Gallaccio 22 Jan - 1 May Palazzo delle Papesse, Siena ([phone], www.papesse.org) Review by Charles Darwent On the face of it, «post-minimalist» seems an odd way of describing Anya Gallaccio's work, although in retrospect I think I know what the curator of her show in Siena was getting at Along with two other artists, Elisa Sighicelli and Sergio Prego, Gallaccio has been invited to occupy a floor of the Palazzo delle Papesse with pieces that respond in some way to the space itself and, more generally, to an idea of Sienese - ness.

This project encapsulated what its curator Anselm Franke refers to as «undead histories»: those lacking sufficient authority to question officially sanctioned narratives, or simply without the financial support or infrastructure to be exhibited in the first place.

Updating the traditional small - town American social ritual for contemporary audiences, Robbins» Ice Cream Social shared many of the strategies of those artists associated with Relational Aesthetics, while at the same time pioneering what curator Hans Ulrich Obrist lauded as «an expanded exhibition model.»

Says critic Jerry Saltz, «When money and hype recede from the art world, one thing I won't miss will be what curator Francesco Bonami calls the «Eventocracy.»

This is precisely what curator Tyler Emerson - Dorsch did with «The Importance of Daydreams,» taking the works from the Debra and Dennis Scholl art collection.

His style, running the gamut from multiculturalism to what the curator Thelma Golden recently labeled «postblack,» seemed to hover over the much discussed «Freestyle» exhibition at the Studio Museum in Harlem last spring.

More recently, artists have conceived their work as what a curator called a «tone poem» to the city.

The show arrives from the Tate Modern in London, which has made a habit of giving what its curator Frances Morris calls «the big treatment» to artists who had previously fallen out of the mainstream, and comes five years after she signed on with the Gagosian Gallery.

On view through September 6, Now references Katz's mission to seize the «immediate present,» or what curator Michael Rooks describes as capturing the «ineffable awareness of time's passing.»

Not exact matches

A former curator of what's now the Royal Alberta Museum, Currie also helped found the Royal Tyrrell Museum in Drumheller, Alta.; in fact, the latter museum was launched in part because Currie was digging up more dinosaur bones than the Royal Alberta could store.

Customers select from four basic style options — Classic, Forward, Casual, and Mix — to give the curators an idea of what they like, then put in their sizes, and checkout.

Searching For and Finding Value» 9:00 a.m. - 9:45 a.m. Charlie Tian, Founder & Director of Research, Guru Focus Topic: «What Worked in the Market from 1998 - 2008: Undervalued Predictable Companies» 9:45 a.m. - 10:30 a.m. Robert Miles, Author & Conference Organizer & Host [USA] Topic: «Portrait of a Disciplined Investor: Beating the S&P 500 by 6.8 % Annually For 25 Years» 11:00 a.m. - 12:00 p.m. Optional Tour depart from Ayres Hotel LAX to Huntington Library 12:00 p.m. - 12:30 p.m. Briefing by the Chief Curator of Rare Books on the history of the Huntington Library and the Munger Research Center 12:30 p.m. - 1:00 p.m. Continue to Pasadena 2:00 p.m. - 5:00 p.m. Charlie Munger's Wesco Financial Annual Meeting [The Pasadena Center, 300 East Green Street, Pasadena, CA.]

They used to be the curators, and you looked to them for what you should read, what you should watch.

Don Rosen, a curator of ichthyology at the American Museum of Natural History, wryly summarized what is involved: «Darwin said that speciation occurred too slowly for us to see it.

This spring, a former Facebook worker alleged that some «news curators» — who decided on what trending topics to display across the site — would routinely suppress news that favored conservative viewpoints.

In the opinion of the Times» photography editor, the curator of a university museum «came closest to the truth when she told the prosecutor..., «It's the tension between the physical beauty of the photograph and the brutal nature of what's going on in it that gives it the particular quality that this work of art has.

The center's guide, a high - school senior and the granddaughter of the curator, offered to identify what I'd found.

As the curator later wrote: «I at first thought, what shall I do with a fish now?

The terrestrial nature of these creatures is a great indicator of how biodiversity has changed in the Bahamas and what the ideal circumstances would be for these or similar species to return, said Florida Museum ornithology curator and study co-author David Steadman.

But once again, the exhibition's curators seem unsure what to back.

«These are two of the most fragmented tropical biodiversity hotspots, so they provide vital examples of what can be achieved to prevent extinctions globally,» said lead author William Newmark, research curator and conservation biologist at the Natural History Museum of Utah.

Curators at the University of Pennsylvania Museum of Archaeology and Anthropology (Penn Museum) knew about it, but had no idea who lay buried there — or even in what long - ago era he had lived.

As Mark Norell, curator of vertebrate paleontology at the museum, puts it, dinosaur artwork «is a fantastic leap from what we know.»