Sentences with phrase «what young curators»

In an exclusive interview with D / railed's editor - in - chief Deianira Tolema, Kohn Gallery's Josh Friedman discusses the challenges of staging an exhibition today, including the challenges, pitfalls, and what young curators should avoid when preparing for exhibitions.

Not exact matches

The breakthrough success of Lawrence van Hagen's What's Up, held in London earlier this year, underlined for its young curator the need for more global surveys of emerging and established contemporary artists.

GUTS (yellow / gold)(all works 2007), for example, her contribution to «Late Liberties» at John Connelly Presents, is a vivid and uncompromising canvas that confronted viewers with a seemingly metaphorical treatment of the titular word, ensuring that they would be hard - pressed to disagree with curator Augusto Arbizo's claim that «for a young artist to be making work at this moment in what could be called an abstract or nonrepre - sentational manner... is... a highly personal and political act.»

«What was revealing to me as a young curator was the schism that suddenly seemed to exist between my generation, of which Thelma was a definite leading light, and the generation of cosmopolitan, sophisticated, and accomplished artists who had never been properly foregrounded within American art history.

Then, in 1962, at what was then called the Pasadena Art Museum, a young genius curator named Walter Hopps organized an exhibit called «New Painting of Common Objects.»

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.

Starting point for this exhibition is what this means for a younger generation of artists and curators.

Using painting to reach what she finds spiritually and psychologically compelling, Gornik works to create an art not only of visual appeal, but one which, as she recounts in the volume's interview with curator Dede Young, engages the mind as well.

What advice do top curators and artists have for young strivers?

After all, at this point, the company, who promised free creative reign to Lew and Locks for the project, and is sponsoring not only this year's, but the next few biennials through 2021, should know what it signed up for — or at least the intentions of the biennial's youngest - ever curators, who were looking not to create extra work for the artists for the sake of a watered - down corporate sponsorship, but to instead give them a chance to expand their biennial contributions and typical artistic practice, «as if their studio has expanded exponentially to the collaboration.»

(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.

Young curators, trained to ask questions about what and how a work means rather than merely to rate it in terms of quality, have mounted sometimes exciting exhibitions that raise questions as they celebrate beauty.

This young curator from a very, very young MoMA (at the time), starts seeing these beautiful prints and he meets Tatyana and says, «You know what, we're not going to buy this.

When art and culture supposedly belong to the young, when curators look to artists in their twenties to tell us where art is going, what we actually want to see, it seems, is the work of an eighty year old painter too weak to hold a brush, who resorted to scissors in creating images of life - enhancing freedom and joie de vivre.

What follows is an oral history of the Guerrilla Girls and their big - footed leaps across the cultural world, recounted by the Girls themselves, their art - world contemporaries and younger artists they inspired, as well as curators, dealers and museum directors who were witness to their insurrection.

In an attempt to recreate these «likes,» the curators mostly featured photographs of smooth, young, and light - skinned bodies presumably because that is what people want to see; however, these works do little to offer the viewer an alternative view of what is desirable.