Sentences with phrase «where other curators»

But we also want to be open to some international contexts where other curators, including Hans Ulrich [Obrist] and others, may consider curating a show here and there.

Not exact matches

For one thing, she's noticed that HFA students are more comfortable with adults, in part because they eat in the employee lunchroom, where they mingle with curators and other museum staff.

From 1995 to 2006, Cameron was Senior Curator at the New Museum, where he developed numerous group exhibitions including East Village USA and Living Inside the Grid, as well as retrospectives of Carolee Schneemann, Eugenio Dittborn, William Kentridge, Martin Wong, Paul McCarthy, Cildo Meireles, Carroll Dunham, Faith Ringgold, Marcel Odenbach Jose Antonio Hernandez - Diez, and David Wojnarowicz amongst others.

Prior to this position, Gule was Curator of Contemporary Collections at the Johannesburg Art Gallery, where he organized a number of significant exhibitions including: Meschac Gaba's «Tresses and Other Projects» (2007), Kay Hassan's «Urbanation» (2008), and Tracey Rose's «Waiting for God» (at Johannesburg Art Gallery [2011] and the Bildmuseet, Umeå, Sweden [2011 — 12]-RRB-.

From 2012 until 2015 he was the Manilow Senior Curator at the Museum of Contemporary Art Chicago where he curated and co-curated, among other shows: Kerry James Marshall: Mastry (2016), The Freedom Principle: Experiments in Art and Music, 1965 to Now (2015), Simon Starling: Metamorphology (2014), and The Way of the Shovel: Art and Archaeology (2013).

Their donation of $ 3 million will endow the Chief Curator position held by Anthony Elms, who joined ICA in 2011 from Performa where he was part of the organizational team behind the 2011 visual art performance biennial in New York, along with other independent curatorial projects.

The curator, Kellie Jones of Columbia University, stresses the community itself, where artists simply exhibited each other — way ahead of the DIY of Brooklyn now.

From 2003 until 2011 he was a curator at the Antwerp Museum of Contemporary Art (MuHKA), where he organized large - scale group exhibitions as well as monographic shows, including Emotion Pictures (2005); Intertidal, a survey show of contemporary art from Vancouver (2005); The Order of Things (2008); Auguste Orts: Correspondence (2010); Liam Gillick and Lawrence Weiner — A Syntax of Dependency (2011); A Rua: The Spirit of Rio de Janeiro (2011); Chantal Akerman: Too Close, Too Far (2012) and the collaborative projects Academy: Learning from Art (2006), The Projection Project (2007), All That Is Solid Melts Into Air (2009), and Kerry James Marshall: Paintings and Other Stuff (2013).

Joo served as commissioner of the Korean Pavilion at the 53rd Venice Biennale, where she presented Condensation: Haegue Yang (2009) and was founding director and curator of the Gallery at REDCAT, Los Angeles (2003 — 2007), where she developed residencies and exhibitions with Mark Bradford, Damián Ortega, Apichatpong Weerasethakul, Kara Walker, Yin Xiuzhen, and others.

Prior to his appointment with the National Gallery of Victoria, Baker was the curator of contemporary art at the Pennsylvania Academy of the Fine Arts and associate curator at the Institute of Contemporary Art, Philadelphia, where he organized exhibitions with artists including Robert Ryman, Ellen Harvey, Barry McGee, Chris Johanson, Margaret Kilgallen, and Laylah Ali, among others.

In a setting where all strategic plans and arguments reside in conjecture, this publication not only aims to introduce a set of critical responses to the most recent support structures in the arts, but also imagines alternative possibilities for how these structures might be built and influence the practice of artists, curators, and other cultural producers.

As well as co-organizer for Co-dependent, in Miami, Florida, involving 12 curators and 80 artists, where lead participants each choose other potential participants.

She was previously a curator at The Drawing Center in New York City, where she co-directed Open Sessions, a two - year residency / exhibition hybrid program organized with local, national, and international artists, supporting drawing practices in relation to film, architecture, sculpture, music, and other fields.

An artist who was also one of the three curators of the past Whitney Biennial, where she packed her floor of the museum with extraordinary women painters, Michelle Grabner creates worked - over canvases that use obsessively rendered geometric patterns — often lifted from home textiles and other distaff sources — to enormously powerful effect.

Prior to joining Artpace, Kanjo served as the Curator of Contemporary Art at the Portland Art Museum (1996 - 1999) where she managed a lively contemporary art program within the city's general museum, and secured selected acquisitions by such artists as Robert Irwin, Michael Lazarus, Claes Oldenburg, Diana Thater, among others.

Co-organized by the Amon Carter Museum of Art, Fort Worth, and the Saint Louis Art Museum, where it previously appeared, and adapted for the Met by museum curator Elizabeth Mankin Kornhauser and assistant curator Stephanie L. Herdrich, the exhibition also contains some 50 related drawings and works on paper by Bingham, archival materials, plus examples of works by his Hudson River School contemporaries, and other pieces that help underscore his unique achievement.

I'm participating in a group show where curators Susan Cross and Carla Herrera - Prats will feature my Communist Party USA portraits, among others, at MASS MoCA.

The awards are intended to enable curators to make use of the resources and collections of the Center, and other Yale holdings where relevant, in order to advance research on their curatorial projects and collections.

She previously worked as founding curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum where she organized, among other exhibitions, the critically acclaimed Global Feminisms: New Directions in Contemporary Art (2007), co-curated with Linda Nochlin.

At this year's Whitney Biennial, the museum broke new ground by giving three different curators one floor each, where they could organize their own exhibitions of contemporary art without reference or corresponding to the others.

He has written about the work of Andrea Bowers, Mark Bradford, Glenn Ligon, Sharon Hayes, and Wangechi Mutu, among others, and has organized exhibitions including: «Quadruple - Consciousness» at Vox Populi, Philadelphia, «Fade: African American Artists in Los Angeles,» for the city of Los Angeles, numerous exhibitions and programs for LAXART, Los Angeles, where he served as Curator, and «Made in L.A., 2012,» the first Los Angeles biennial, co-organized by a curatorial team from the Hammer Museum and LAXART.

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.

From 1995 to 2005, he was Senior Curator at the New Museum, New York, where he developed group exhibitions and individual shows dedicated to the artists David Wojnarowicz, Xu Bing, Los Carpinteros, William Kentridge, Carolee Schneemann, Christian Marclay, Doris Salcedo, José Antonio Hernández Diez and others.

She has also served as Curator at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut, working with artists such as KAWS, Hope Gangloff, Brazilian troupe Chelpa Ferro, Andrea Dezso, Brody Condon and others; Assistant Curator of architecture and design at the Solomon R. Guggenheim Museum, New York, where she worked on groundbreaking exhibitions such as «Cai Guo - Qiang: I Want to Believe», «Zaha Hadid», and «Restoring a Masterpiece: Frank Lloyd Wright «s Guggenheim Museum»; Curator of Collections and Public Programs at the Price Tower Arts Center in Bartlesville, Oklahoma, a facility housed in Frank Lloyd Wright's idiosyncratic tower and now a World Heritage Site; Director of Community Outreach of the Queens Theatre in the Park in New York City, a premier performing arts venue that serves the most ethnically diverse county in the nation; and as Project Coordinator for the Mexico Now Festival, New York City's first — and only — annual festival of contemporary Mexican art and culture.

Stevens was formerly the curator and head of programs of San Francisco's CCA Wattis Institute for Contemporary Art, where he curated shows devoted to work by Josephine Pryde, Carissa Rodriguez, and Ellen Cantor, among others.

«The exhibitions committee meetings at ICP,» Wallis recalled with a laugh, «would come in the late afternoons, and there would be a business meeting where the curators would present their ideas like at other museums, but then we'd go to an artist's studio, spend a couple of hours there, and then we'd go out for a three - or four - hour dinner.»

Devrim Bayar is curator at WIELS Contemporary Art Center, where she recently organized the exhibitions of Daan van Golden, Thomas Bayrle, Allen Ruppersberg and Robert Heinecken, among other projects.

Riley is also active as a teacher and guest critic (Harvard Graduate School of Design, Indiana University, Pratt Institute, MICA, Columbia and Yale, among others), a curator and a writer for Artcritical, the New York Sun and the Brooklyn Rail, where our paths first crossed six or seven years ago.

Curator Michael Klein, who has been studying and assembling a small exhibition of Hartigan's works from the early 1960s, thinks a new examination of Hartigan's achievement is overdue, and he asks a powerful question: just where where does her art, and the art of other pioneering women artists of the 1950s and 60s fit into the «canon» of American painting?

RITA GONZALEZ is Curator and Acting Department Head in Contemporary Art at the Los Angeles County Museum of Art (LACMA) where she has curated «Phantom Sightings: Art after the Chicano Movement»; «Asco: Elite of the Obscure» (during the Getty's Pacific Standard Time festival); «Lost Line: Contemporary Art from the Collection»; and «Agnès Varda in Californialand», among other exhibitions and programs.

In the Van Gogh Museum he worked as collection curator and later as exhibition curator, where he organized exhibitions among others about Barcelona around 1900 and Max Beckmann during World War II.

Durham was a committed advocate for other artists as executive director of the Foundation of the Community of Artists, where he helped edit the newspaper Art and Artists, and as a curator and writer.

He is the Chairperson of the Department of Painting & Printmaking at Virginia Commonwealth University, and is also one of the founding curators of the Yerba Buena Center for the Arts where over a ten year period he curated solo exhibitions for Mark Dion, Laylah Ali, Ellen Gallagher, Martin Kersels, and Matmos, among others.

Founded in 2015, the goal of the program is to provide short - term studio space where artists based outside the NYC area can invite curators, other artists, and gallerists to view and discuss their work.

Among her curated exhibitions are Postwar: Art Between the Pacific and the Atlantic, 1945 - 1965, with Okwui Enwezor and Ulrich Wilmes at the Haus der Kunst, Munich; Light Years: Jack Whitten, 1971 - 1974, Painting Paintings (David Reed) 1975, co-curated with Christopher Wool, and many other shows at the Rose Art Museum at Brandeis University, where she was Curator at Large; and High Times Hard Times: New York Painting, 1967 - 75, which toured internationally.

Given the fact that he hasn't shown any substantial amount of work in the States for about two decades — aside from a few group shows, art fairs, and his inclusion in the famously identity - politics - focused 1993 Whitney Biennial, where he showed a series of weapon - like wall sculptures (dealing with notions of surveillance, the police state, militarization) that were pieced together with vintage gun parts, carved branches, and coyote bone among other sundry items — «At the Center of the World» was a rare treat for countless artists, curators, and critics who could only follow Durham from afar while his work continually appeared abroad at august venues like the Venice Biennale, Documenta, and galleries and museums across Europe and Latin America.

Katya Min is curator of public programs at Yerba Buena Center for the Arts (YBCA), where she directs and curates the Room for Big Ideas projects, a free public project space within YBCA, the ConVerge Series, and other public programs.

The residency program's at Two Coats provides a short - term space where artists based outside the NYC area can hang work and have studio visits with curators, other artists, and gallerists.

Jessica Morgan was previously Chief Curator at the Institute of Contemporary Art, Boston where she organised exhibitions of work by, among others, Carsten Höller, Ellen Gallagher, Olafur Eliasson, Rineke Dijkstra, Marlene Dumas and Cornelia Parker.

In 2009, he was the Curator for the Art of Ideas in Birmingham and he appeared on Antony Gormley's, One & Other project at Trafalgar Square in August 2009 where he collaborated with Bob and Roberta Smith on realising an art work for the fourth plinth.

She is the former Curator of Exhibitions and Projects at Modern Art Oxford where she curated exhibitions by Barbara Kruger, Josh Kline, Lynn Hershman Leeson and Christian Boltanski, among many others.

Previously, he worked as a curator at Tate Modern in London between 2004 to 2007 where he developed exhibitions and projects with Pierre Huyghe, Jeff Wall, Louise Bourgeois, Hans Haacke and Catherine Sullivan, among others.

Previously, Hockley was assistant curator of contemporary art at the Brooklyn Museum, where she co-curated Crossing Brooklyn: Art from Bushwick, Bed - Stuy, and Beyond (2014) with Eugenie Tsai, and was closely involved in exhibitions highlighting the permanent collection as well as artists LaToya Ruby Frazier, The Bruce High Quality Foundation, Kehinde Wiley, Tom Sachs, and others.

She spent a year at the Fogg Art Museum, working on an exhibition of Eli Broad's collections; moved on to become an assistant curator at Chicago's Museum of Contemporary Art; then landed a job as chief curator at the ICA in Boston, where she put on a dizzying number of exhibitions, including the first American museum shows of non-American (and non-British) artists Olafur Eliasson, Carsten Höller, Marlene Dumas, and others.

Like all biennales and visual art extravaganzas these days, no matter where they are staged, there are strong works by wonderful artists, and others, well, it's hard to imagine why the curators selected them.

From 2001 - 2007 she was Assistant Curator, Contemporary Asian Art, Queensland Art Gallery, Brisbane, Australia where she assisted in the development of the Asia - Pacific Triennial of Contemporary Art (APT); key acquisitions for the Contemporary Asian art collection, and other associated gallery programs.

She is a curator for Kunsthaus Zürich, where she has curated many exhibitions, including Aleksandra Mir: Switzerland and Other Islands (2006), Shifting Identities (2008), and Motion Picture (s)(2010).

Between 2001 and 2004, he was curator of Portikus Frankfurt am Main, where he organized individual exhibitions with Cildo Meireles, Dominique Gonzalez - Foerster, Gilbert & George, Janet Cardiff, Jason Rhoades, Pascale Marthine Tayou, Philippe Parreno, Renée Green, Rirkrit Tiravanija, Rivane Neuenschwander and Simon Starling, amongst others.

«The challenge was to find works that speak to each other, where one could imagine the three artists conversing across centuries, questioning, cajoling, applauding, critiquing and challenging each other as though each were present in the same room at the same time», says curator Jeremy Lewison.

From 2003 - 2006 he was Curator at the New Museum of Contemporary Art in New York City where, among other projects he co-curated the widely acclaimed exhibition Andrea Zittel: Critical Space and presented a major survey of the work of Brian Jungen.