Sentences with phrase «working in commercial galleries»

«I was far too idealistic and knew nothing really about working in commercial galleries.

While working in commercial galleries, she was director of the artist - run Wallis Gallery, and also curated performance events for the Barbican Art Gallery, Royal Academy of Arts and Serpentine Gallery.

ABN: How does working for a nonprofit such as the museum school differ from working in a commercial gallery?

Reese has worked in commercial galleries since 2006 and was most recently the assistant director of Fleisher / Ollman Gallery in Philadelphia from 2010 to 2012.

• You are working in a commercial gallery and want to learn how to create museum - quality exhibitions

After completing a master's degree in curatorial practice at the California College of the Arts in San Francisco, followed by several years working in a commercial gallery, she held a series of academic residencies.

He left Pace Gallery and has refused to show his work in a commercial gallery until now.

AF We should also remember that a lot of former curatorial students go to work in commercial galleries.

Starting in 1972, he worked in commercial galleries in New York and Philadelphia (two in the American Art Dealers Association).

«I think it's going to be quite different in the respect that it will be done on a larger scale, have fewer exhibitions and a combination of selling and non-selling exhibitions,» said Schimmel, who served as MOCA's chief curator from 1990 until his controversial resignation last summer and has never before worked in a commercial gallery setting.

Although he has been included in the Whitney Biennial, the Venice Biennale, and many other important group exhibitions, he has not had a solo show of new works in a commercial gallery in almost 20 years.

This is Roysdon's first exhibition with Higher Pictures and marks the first time she is showing her work in a commercial gallery context after nearly a decade of exhibiting internationally.

For the young filmmaker this marked a turning point in his career: forty years on a presentation encompassing the last fifty years of his work at Richard Saltoun Gallery marks another - the first solo exhibition of his work in a commercial gallery.

Though Wright did not exhibit his work in a commercial gallery until he was 40 years old, he steadily thereafter won favour with the international art establishment.

Not exact matches

Following exhibits in Connecticut, Montana, Seattle, San Francisco, New York, and, most recently, in Santa Barbara's Patty Look Lewis Gallery, Michael Armour — award - winning writer / director of documentaries and commercials, author of two best selling children's books and the soon - to - be-published novel «Creek» — will finally be showing his work in his home town of Santa Barbara again.

This would probably work best for an English - speaking artist in North America who is interested in public or commercial gallery exhibition.

Just remember that your success isn't limited by «commercial viability», by what gallery you're not in, or by where you live and work.

I show in galleries, work with several art consultants for commercial installation and do a 3 month show once a year.

Comfortable in an advertising campaign, on a concert stage, or in a gallery, their work can be regarded as sculpture, design, and product — a confluence that is unconcerned with differences of commercial enterprise and nonprofit, the varying demands of function and aesthetics, and distinctions between consumer and connoisseur.

She has worked at the Museum of Modern Art, in commercial galleries, as Robert Motherwell's secretary - cum - curator, and as a freelancer for Harry N. Abrams, Inc., Publishers and the Metropolitan Museum of Art.

«Unlike most of the other contenders on this list, David Hammons — much of whose work reflects his devotion to Civil Rights and the Black Power movement — has kept the art world at arm's length for most of his career, in part by refusing to join a commercial gallery.»

Diena Georgetti (b. 1966, lives and works in Kooralbyn, Australia) has exhibited widely in Australia and New Zealand at commercial venues such as Darren Knight Gallery, Sydney; Hamish McKay Gallery, Wellington; Michael Lett Gallery, Auckland; and Sarah Cottier Gallery, Sydney.

While the Green Gallery was not a commercial success, it was distinguished by Bellamy's wide - ranging taste and his presentation of artists working in directions that soon became recognized as vital trends.

Showing in a commercial London gallery for the first time, Pasquali has created a large - scale, colourful, plastic cloud in Peckham's MOCA London, and filled Mayfair's Tornabuoni Art with a cross-section of her works, from her best - known pieces made with drinking straws, to a carpet of broom bristles, on which we sit to talk, during a break from installation.

I was able to meet with the Director of VAN HORN, Daniela Steinfeld, during her brief stay in Chicago the week before last — below is a redacted text of our conversation; on her transition from being a gallery artist to a commercial gallerist, the differences between American vs. European attitudes on market and gender, and the rare, but special chance of encountering unknown, or yet undiscovered work.

Her work has been included in numerous group shows in museums, commercial galleries, university galleries, and alternative spaces.

Locks Gallery is honored to announce that The Body in Spirals has been nominate for «Best Exhibition in a Commercial Space Nationally» by the International Association of Art Critics for the 2014 exhibition of the late Philadelphia artist Thomas Chimes work.

Kelly Schroer holds a BA in Art History and MA in Contemporary Art, and has worked in the visual art world for over ten years in both non profit organizations and commercials galleries.

Since the late 1970s she has worked primarily in photography and has become best known for shooting art objects in collectors» homes, museums, auction houses, commercial galleries, and corporate offices, whether installed above copier machines or piled on loading docks and in storage closets.

Jessica Meuninck - Ganger and Nathaniel Stern's collaborative print and video work has been exhibited in group and solo exhibitions at commercial and experimental galleries and public museums across Africa, Europe and the Americas.

Prospect.1.5, an interim - year program focused on artists from or working in New Orleans, was organized in collaboration with public art centers and museums, schools, alternative spaces, and commercial galleries in New Orleans.

The Durden and Ray model expressly overlaps multiple strategies, including the commercial potential and visual I.D. of a gallery, the democratic structure of an artist's group, the potential to create collaborative works of art in the manner of a collective, and the shared fiscal support of its programs by group members and partnering organizations similar to a non-profit.

In conducting my monthly survey of commercial gallery shows this month I was struck by the amount of representational work on view, and even more so by the «academic» rigor much of it evinces.

Curiously some of the commercial galleries that represent the apotheosis of the contemporary art industry and market, such as, here in NY, Gagosian and Zwirner, have been able to mount museum quality shows the past few years, including for example excellent Picasso and Frankenthaler exhibitions at Gagosian and the recent exhibition of Ad Reinhardt's work at Zwirner, in spaces that either are as beautiful as any museum or that are just functional in a good way, with few frills, just good walls and space.

About the Artists Jessica Meuninck - Ganger's prints, artist's books and large - scale mixed media works have been exhibited in museums and both experimental and commercial galleries near her home in Milwaukee, Wisconsin, nationally and internationally.

Part of that territory included the commercial infrastructure of art (such as galleries and trade magazines) to which she ultimately draws attention in this work.

The artist's upcoming show at Michael Werner will be the painting's gallery debut, where it will be shown alongside seven other works composed since 2008 and inspired by Jones's ongoing interest in the formal qualities of his earlier commercial work.

They have attained the status of «art world superstars,» as such figures are commonly called today, for continuing Baldessari's mission of raiding mass - produced entertainment in such a direct, unmediated way that it has become increasingly unclear what sets their photographs, collages, paintings, videos, and installations apart from the commercial products they are «appropriating,» except for the fact that their work is displayed in art galleries and museums and auction houses.

Additionally, Mark Moore Gallery works closely with commercial and government agencies to develop and execute various public art projects — some of which include major works in Los Angeles, San Francisco, Portland, New York City, and Las Vegas.

[6] When no commercial gallery in New York would show the series, Semmel rented space in SoHo and exhibited the work herself, attracting attention from critics.

The establishment of The Modern Institute by Will Bradley, Charles Esche and Toby Webster in 1998 and more recently, the young commercial galleries Sorcha Dallas and Mary Mary has changed that situation to a certain extent, but Glasgow remains a city in which many artists make work that they do not expect to sell.

AWAD, the Association of Women Art Dealers, are pleased to invite all men and women working in the commercial arts to attend our next quarterly Social evening that takes place on 2nd April 2013 at 6.30 pm hosted by The Cynthia Corbett Gallery on Cork Street.

Her use of commercial slatwall panels as an artistic medium for both Crow and Corvette (2011), the latter installed among three works in the «Collective Conversations» gallery, is a departure from traditional materials of painting and sculpture, but a clear reference to Minimalist and Modernist aesthetics.

Art of the South - sponsored annually by art journal Number Magazine - is an event that supports Southern artists by showcasing their work in a juried exhibition hosted in a rotating roster of prominent commercial and academic gallery spaces.

Created in 1997, Wedge evolved from a commercial gallery into a nonprofit organization, exhibiting photo - based work with a strong focus on exploring black identity and the African diaspora.

There have already been a couple of commercial shows of recent and older work in London, and another has just opened at the Lemon Street Gallery...

The Polkes later settled in Düsseldorf, which proved to be an excellent incubator for a budding artist: it was the location of the first postwar Dadaist exhibition in 1958 and in the 1960s a local commercial gallery began showing the work of Rauschenberg and Cy Twombly.

«Made of glazed and fired clay, Rosen's primary medium, and not more than a few feet high... the sculptures seem to have neither fixed contours nor stable shape; even their scale appears to shift as you look... not so much covered with as compounded of hundreds of writhing, snakelike elements, they are variously volcanic, beastly, catastrophic and unnervingly funny, suggesting things going terribly wrong, but not yet irreversibly...» Nancy Princenthal Rosen's work has been in many solo shows in museums, commercial galleries and non-profit spaces.

Deitch, who began working in a SoHo art gallery in the mid-1970s, opened Deitch Projects, a commercial space, in 1996.

Gallery of Everything opens with Jarvis Cocker show in London The Gallery of Everything, a commercial space devoted to the work of self - taught artists, has opened in London with a show curated by former Pulp singer Jarvis Cocker.