Podcasts about adjunct curator

Thousands of satellites are zooming over your head right now, orbiting Earth and beaming down research data, images, phone calls and even Internet access. Did you know that many of those satellites were made within a few miles of The Museum of Flight? Join Geoff Nunn, our Adjunct Curator for Space History, and our Senior Curator Matthew Burchette for a conversation about these small orbiting wonders. Get the full shownotes and transcript --> https://tmof.click/458yGFc

RCS Editor-in-Chief Alex Estorick hosts a conversation between Christiane Paul, Adjunct Curator of Digital Art at the Whitney Museum of American Art, and Jason Bailey, CEO of ClubNFT. They discuss the consequences of NFTs for digital art as well the new Lumen Prize NFT Award, sponsored by RCS.

Agora Digital Art is excited to converse with Dr Christiane Paul, a legend in the field of Digital Art. In this episode, we have the chance to share Christiane Paul's views on the evolution of Digital Art, her work as an Adjunct Curator at the Whitney Museum, and her next projects. What's Next for Christiane Paul? The curation of version 4.0 at DiMoDA, The Digital Museum of Digital Arts (VR Museum). Several projects curation at the Whitney Artport website. The fourth edition of the book Digital Art will be published soon. About Dr Christiane Paul Dr Christiane Paul is Associate Prof. and Associate Dean at the School of Media Studies, The New School, and Adjunct Curator of New Media Arts at the Whitney Museum of American Art. In addition to those roles, Christiane is chief curator/director of the Sheila C. Johnson Design Center at Parsons School of Design, and a professor in the School of Media Studies at The New School. She has written extensively on new media arts and lectured internationally on art and technology. Her recent books are A Companion to Digital Art (Blackwell-Wiley); Digital Art (Thames and Hudson, 3rd revised edition, 2015), Context Providers – Conditions of Meaning in Media Arts (Intellect, 2011; Chinese edition, 2012), co-edited with Margot Lovejoy and Victoria Vesna; and New Media in the White Cube and Beyond (UC Press, 2008). This Pioneers' episode is hosted and curated by @CharlotteCall, Digital Curator @AgoraDigitalArt About @AgoraDigitalArt Agora Digital Art is a certified social enterprise. We are one of the most dynamic creative hubs in London. We champion artists who have something to say. We bring diverse communities and artists together. With your generous support, we will build the best digital network. ►► Donate via Paypal #Pioneers #ChristianePaul #DigitalArt #CharlotteCall #AgoraDigitalArt #WomenInDigitalArt

Thanks to Fort Wayne's Art This Way program, there's a new mural on the downtown arts scene by Hamburg's internationally acclaimed muralist known as 1010. Known for his enigmatic, portal-like street art illusions, which he calls "holes on the walls," 1010's works can be found around the world in Berlin, Madrid, Paris, Warsaw, Varese, Panama City, Delhi, Miami, Detroit and more. His most recent work was installed over a three day period on the north wall of 918 South Calhoun Street, with the help of Josef Zimmerman, Adjunct Curator at the Fort Wayne Museum of Art, and is the 10th installation within the Downtown Improvement District's Alleyway Activation Project network. As the last coat of paint on 1010's mural was drying, WBOI's Julia meek ushered him, and program coordinator, Alex Hall, into the studio to talk about what the piece he's leaving with us means to our community and 1010's passion for his craft. WBOI Artcentric is brought to you by WBOI's own Julia Meek and Ben Clemmer. Our theme music is “Me voy pal campo'' by KelsiCote. Our administrative assistants are Olivia Fletter and Keegan Lee. Our production assistants are Monica Blankenship, Steve Mullaney, and Sydney Wagner.

Cheryl Croucher speaks with Métis artist Melissa-Jo Belcourt Moses about her new role at the Art Gallery of Alberta as the Adjunct Curator of Indigenous Art

This week's question comes from John G Hampton John G. Hampton is a curator and artist currently living in Treaty 4 territory, Saskatchewan. He is the Director of Programs at the MacKenzie Art Gallery and Adjunct Curator at the Art Museum at the University of Toronto. https://jghampton.com/ https://mackenzie.art/

Art comes in all shapes and sizes--and sometimes it shows up on your screen. To separate the digital wheat from the chaff we turn to one of the world's leading authorities in the field, Christiane Paul, author of Digital Art (Thames & Hudson), now in its 3rd edition. Prof. Paul is Director and Chief Curator of the Sheila C. Johnson Design Center and Professor in the School of Media Studies at the New School in New York, and Adjunct Curator of Digital Art at the Whitney Museum of American Art. She conceived and has for two decades overseen both the Whitney's artport website and its new media exhibitions, beginning with Data Dynamics in 2001. Her talk at Tate last year provides a concise history of the field. We dive into the origins of digital art, preserving Net Art, museum collaborations, augmented reality, collecting versus licensing content, how artists navigate the commercial colonization of the Web, and the complex boundaries between acts of protest and anti-social hacking.

Art comes in all shapes and sizes--and sometimes it shows up on your screen. To separate the digital wheat from the chaff we turn to one of the world’s leading authorities in the field, Christiane Paul, author of Digital Art (Thames & Hudson), now in its 3rd edition. Prof. Paul is Director and Chief Curator of the Sheila C. Johnson Design Center and Professor in the School of Media Studies at the New School in New York, and Adjunct Curator of Digital Art at the Whitney Museum of American Art. She conceived and has for two decades overseen both the Whitney’s artport website and its new media exhibitions, beginning with Data Dynamics in 2001. Her talk at Tate last year provides a concise history of the field. We dive into the origins of digital art, preserving Net Art, museum collaborations, augmented reality, collecting versus licensing content, how artists navigate the commercial colonization of the Web, and the complex boundaries between acts of protest and anti-social hacking.

Paul Laster is a writer, editor, independent curator, artist, and lecturer. He is a New York desk editor at ArtAsiaPacific and a contributing editor at Whitehot Magazine of Contemporary Art. He was the founding editor of Artkrush and Artspace; started The Daily Beast's art section; and was previously art editor of Flavorpill and Russell Simmons OneWorld Magazine. He is a frequent contributor to Art & Object, Time Out New York, Harper’s Bazaar Arabia, Galerie, Sculpture, Architectural Digest, Surface, Garage, New York Observer, Cultured, ArtPulse, Upstate Diary, Conceptual Fine Arts, and has written for Art in America, Artnet, Interview, Paper, Flash Art, Newsweek, Modern Painters, Bomb Magazine, Flatt Magazine, ArtInfo, Avenue, Tema Celeste, amNew York, 99 Percent, Two Coats of Paint and On-Verge. A former Adjunct Curator at New York’s P.S.1 Contemporary Art Center (now MoMA PS1), Laster has organized exhibitions for galleries and nonprofit institutions since 1985. His curatorial projects from the past five years include Santero: Sculptural Works by Jorge A Valdes (2015) at Corridor Gallery, Brooklyn; Adam Frezza & Terri Chaio: Paper Islands (2015) at Humanities Gallery, LIU Brooklyn; A Weekend in the Country (2015) at Magnan Metz Gallery, New York; Maker, Maker (2017) at Children’s Museum of the Arts, New York; Mohamed Ahmed Ibrahim (2019) at Outsider Art Fair, Paris; Relishing the Raw: Contemporary Artists Collecting Outsider Art (2020) at Outsider Art Fair, New York; Five Artists, Five Mediums, Five Days – A Curated Selection for One Thing (2020) at Intersect Aspen; An Alternative Canon: Art Dealers Collecting Outsider Art (2020) at Andrew Edlin Gallery, New York; Now's the Time: Eight African Painters (2020) at Scope Immersive; and The Desire for Transparency: Contemporary Artists Working with Glass (2020) at Intersect Chicago. An exhibiting artist, Paul Laster has had 17 solo exhibitions in the United States and Europe, and participated in numerous group shows worldwide. His works are in many public and private collections, including the Art Institute of Chicago, Los Angeles County Art Museum, Smithsonian American Art Museum, National Gallery of Art, Philadelphia Art Museum and Whitney Museum of American Art. As a lecturer and visiting critic, Laster has spoken on art and curatorial practices and the use of the Internet and social media for building careers at Gerrit Rietveld Academy, Sandberg Institute, New York University, New York’s School of Visual Arts, Pratt Institute, California Institute of the Arts, Otis Art Institute, University of California in Riverside and Santa Barbara, Florida Atlantic University, Ewha Womans University in Seoul, Kutztown University of Pennsylvania, Brooklyn Museum, National Academy Museum, P.S.1 Contemporary Art Center, Cyan Museum of Art, Hudson Valley Center for Contemporary Art, Art Omi, Expo Chicago, the Armory Show, Art Chicago, Marc Straus Gallery, New York Academy of Art, Tyler School of Art, Residency Unlimited, Soho Beach House, Rizzoli Bookstore, Wave Hill, ESKFF at Mana Contemporary, Outsider Art Fair, Trestle Art Space, Pioneer Works, Intersect Aspen, Scope Art Fair and Intersect Chicago. Relatedly, Laster worked in Publications (1977-88) at the Museum of Modern Art, New York and was Publications Manager (1995-98) at Tony Shafrazi Gallery, New York. LINKS to writing online: https://www.artandobject.com/authors/paul-laster https://whitehotmagazine.com/contributors/paul-laster/750 https://www.galeriemagazine.com/author/paul-laster/ https://muckrack.com/paul-laster --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Amery Calvelli, Adjunct Curator, caught up with Pat Hanson, a founding partner gh3* to discuss a pavilion in Borden Park and an engineering building, both in Edmonton, that employ glass in an innovative way. Join Amery in her exploration into the “250 things” that architects should know. Image credit: Borden Park Pavilion interior views, courtesy of Gh3*

Two invited experts, Christiane Paul (Pt.I) and Michael Connor (Pt.II), will shed their light on the work and reflect on the past, present and future of making, presenting and curating work online. Rafaël Rozendaal Rafaël Rozendaal (1980) is a Dutch-Brazilian artist who currently lives in New York. His artistic practice comprises websites, installations, prints and writing and is as innovative as it is rooted in art history. His work takes shape through a range of transformations – from movement into abstraction, from virtual into physical space, and from website to print – with all of them informing each other. Open access to his websites is of great importance to him. Collectors and collections must, once purchased, keep the work online and publicly accessible. The way in which Rozendaal uses the internet in its work goes beyond the browser. The internet is his canvas, but he also brings the aesthetics of the internet to the physical and poetic space in the form of carpets, haikus and installations. Christiane Paul Christiane Paul is Chief Curator / Director of the Sheila C. Johnson Design Center and Professor in the School of Media Studies at The New School, as well as Adjunct Curator of Digital Art at the Whitney Museum of American Art. Paul is the recipient of the Thoma Foundation's 2016 Arts Writing Award in Digital Art. At the Whitney Museum she curated multiple exhibitions and is responsible for artport, the museum’s portal to Internet art. Other curatorial work includes The Question of Intelligence (Kellen Gallery, The New School, NYC, 2020). Little Sister (is watching you, too) (Pratt Manhattan Gallery, NYC, 2015); and What Lies Beneath (Borusan Contemporary, Istanbul, 2015). Cultural Matter: Rafaël Rozendaal Rafaël Rozendaal is an artist who works with the materiality of the Internet. Many of his artworks are at home on the web, and deal with the context that this specific environment offers. Since 2000, Rozendaal has created dozens of generative websites, characterized by an abstract and colorful visual language. This online edition of Cultural Matter 2019-20, will present a selection of ten websites by Rozendaal that gives a broad overview of his online practice and demonstrates his interest in art history, geometric abstraction and animation. With shapes that are reminiscent of Kazimir Malevich's early abstract experiments and animations that bring to mind Suprematist compositions in motion, some of the websites seem indebted to the early experiments with abstraction of the Russian avant-garde. A number of websites reflect the tension between the manifestation of digital and physical reality, or contain a pronounced degree of suppressed emotion: a work like deepsadness.com seems to be about endlessness and loss. Cultural Matter Cultural Matter is a series of exhibitions and events that provide a platform for the international discussion of digital art and highlights the enduring expressive power of digital artworks: works in which art and technology and the past and the future come together in a way that is as logical as it is groundbreaking. Also part of this series: JODI, Jonas Lund, Martine Neddam, Thomson & Graighead, Amalia Ulman Curated by: Sanneke Huisman and Jan Robert Leegte. Exhibition May 6 - June 27, 2020 24/7 ONLINE Design by Lisa Arkhangelskaya This programme is supported by the AFK (Amsterdam Fund for the Arts) and Stichting Niemeijer Fonds.

American painter, John Currin, discusses his Dallas Contemporary exhibition "My Life As a Man." Adjunct Curator, Alison Gingeras, moderates the discussion.

Polish-German contemporary artist, Alicja Kwade, discusses her Dallas Contemporary exhibition, "Moving in Glances." Adjunct Curator, Pedro Alonzo, moderates the discussion.

Alice is the Chief Curator and Museum Director for 21c Museum Hotels. She curates exhibitions and oversees commissions, cultural programming, and museum operations for 21c’s multiple venues, in addition to collaborating with Steve and Laura Lee on art sourcing and acquisitions. Prior to this role with 21c, Alice was Director of artwithoutwalls, Adjunct Curator for the Speed Art Museum, and has served in various editorial roles for ARTnews, Contemporanea, and Art & Auction.

Last year, we invited artist, writer, and Queens College professor Chloë Bassto talk with curator, art historian, and museum veteran Lowery Stokes Sims to have a conversation of their choosing. It took me a year to publish this podcast, but I’m happy to say their words are more relevant today than ever, as the two art world figures discuss the imagined publics of contemporary art, public and private education, and the challenges of empathy and identity in art. Bass is no stranger to Hyperallergic readers, and she's known for her deep engagement with art and writing coupled with a solid understanding of the way art functions in the world and the emotional sophistication needed to outline those parameters. Then there’s Lowery Stokes Sims, who has been a trailblazer throughout her career. She was on the education and curatorial staff of The Metropolitan Museum of Art from 1972 to 1999, during which time she specialized in modern and contemporary art. From 2000 to 2007, she was executive director and then president of The Studio Museum in Harlem, and served as Adjunct Curator for the Permanent Collection. Then from 2007 until 2015, she chief curator at New York’s Museum of Arts and Design. I think you’ll agree that the following conversation offers useful insight into the worlds of two leading figures in New York’s art community. A special thanks to Brooklyn-based musician SunSonfor providing the music to this episode. You can check out his website sunson.band and follow him on Facebookor Instagram.

As SpaceX and Blue Origin continue to make history by building rockets that will take future space vacationers to the Moon or Mars, the Museum is thinking about how to preserve the history of these private companies. Back in the 1960’s and up until now, it was easy for historians to access public records at NASA that documented the space race; and that’s not the case now. According to our Adjunct Curator for Space History, Geoff Nunn, “corporate archives are becoming ever more important, but private records don’t automatically make their way through the public record trail like NASA documents did.” Geoff and other space historians now have to ask themselves, “How do you archive a Slack thread?” and “What happens when YouTube goes under and we no longer have videos of launches?” Did you know there’s a conference dedicated to answering these exact questions? Get more info at http://toboldlypreserve.space/ If you want to see the origins of the space race (and check out publicly accessibly NASA documents and photos!) stop by our APOLLO exhibit! And stay tuned for more great space experiences at the Museum with our upcoming Destination Moon exhibit! Destination Moon: The Apollo 11 Mission is an exhibition from the Smithsonian Institution Traveling Exhibition Service and the Smithsonian’s National Air and Space Museum in Washington, D.C. This traveling exhibit comes to our Museum in 2019. Producer: Sean Mobley Host: Sean Mobley Web Master: Layne Benofsky Content Marketing Manager: Irene Jagla

Moore is pleased to announce that Judith Tannenbaum will be this year’s Commencement speaker and will be receiving an Honorary Doctorate of Fine Arts from the College. Tannenbaum was named The Rhode Island School of Design (RISD) Museum’s first curator of contemporary art in 2000. In 2002, she became the Richard Brown Baker Curator of Contemporary Art, the Museum’s first endowed position, which she held until 2013. She recently relocated to Philadelphia but continues her connection to RISD as Adjunct Curator. Moore’s 165th Commencement will be held on Sunday, May 18 at 11 am in Aviator Park, across from the College. Tannenbaum has organized numerous exhibitions focusing on painting, sculpture, video, and interdisciplinary work--with a particular interest in connections between visual art and performance and relationships among fine art, craft, and design. Exhibitions and publications for RISD include Arlene Shechet: Meissen Recast (2014), Painting Air: Spencer Finch (2012); Lynda Benglis (2010); Styrofoam (2008); Beth Lipman: After You’re Gone (2008); Wunderground: Providence, 1995 to the present (2006); Betty Woodman: Il Giardino dipinto (2005); Island Nations: New Art from Cuba, the Dominican Republic, Puerto Rico, and the Diaspora (2004); On the Wall: Wallpaper by Contemporary Artists (2003); and Jim Isermann: Logic Rules (2000). From 1986 to 2000, Tannenbaum served variously as curator, associate director, and interim director at the Institute of Contemporary Art (ICA), University of Pennsylvania, in Philadelphia. As interim director of ICA in 1989-90, she became the spokesperson for the defense of public funding for the arts and artistic freedom in relation to the Robert Mapplethorpe exhibition originated by ICA. Among the shows she curated for ICA are: Glenn Ligon:Unbecoming (1998), PerForms (1995) featuring the work of Janine Antoni, Charles Ray, and Jana Sterbak; Vija Celmins (1992), a retrospective exhibition that toured nationally; and Interactions (1991), a large group shows about collaborations between the visual and performing arts. In January, 2014, Tannenbaum was honored by the Frick Center for the History of Collecting for her contribution to the book Get There First, Decide Promptly: The Richard Brown Baker Collection of Postwar Art (Yale University Art Gallery/Yale University Press, 2011). The book won the Sotheby’s Book Prize for a Distinguished Publication on the History of Collecting in America.

THE MANTON FOUNDATION OROZCO LECTURE James Oles, Senior Lecturer, Art Department, and Adjunct Curator of Latin American Art, Davis Museum, Wellesley College In 1921, Mexican painter David Alfaro Siqueiros called on his fellow artists to "absorb the synthetic energy" of pre-Columbian civilizations while "avoiding lamentable archaeological reconstructions." This lecture explores the diverse ways that muralists envisioned the architecture of ancient American cities in several murals created in the United States in the 1930s, including Orozco's celebrated frescoes at Dartmouth.

THE MANTON FOUNDATION OROZCO LECTURE James Oles, Senior Lecturer, Art Department, and Adjunct Curator of Latin American Art, Davis Museum, Wellesley College In 1921, Mexican painter David Alfaro Siqueiros called on his fellow artists to "absorb the synthetic energy" of pre-Columbian civilizations while "avoiding lamentable archaeological reconstructions." This lecture explores the diverse ways that muralists envisioned the architecture of ancient American cities in several murals created in the United States in the 1930s, including Orozco's celebrated frescoes at Dartmouth.

Constance Lewallen, adjunct curator Berkeley Art Museum and Pacific Film Archive discusses the exhibition "State of Mind: New California Art Circa 1970", part of the Getty initiative Pacific Standard Time, which she co-curated with Karen Moss, adjunct curator of the Orange County Museum of Art. The catalogue is published by University of California Press. This exhibition is an investigation of the first generation of Conceptual artists in California.

The Global Contemporary: Kunstwelten nach 1989 Patrick D. Flores, Interview (April 2010) im Rahmen der Ausstellung The Global Contemporary. Art Worlds After 1989, ZKM | Museum für Neue Kunst [17.09.2011–19.02.2012] Patrick D. Flores, beratender Kurator der Ausstellung, ist Professor für Kunstgeschichte an der philippinischen Universität in Diliman und Kurator am Vargas Museum der philippinischen Universität, sowie außerordentlicher Kurator der philippinischen Nationalgalerie und der Nationalgalerie Singapurs. 2008 war er Kurator für die Grundsatzreferate bei der Gwangju Biennale. /// Patrick D. Flores is Professor of Art History, Theory, and Criticism at the University of the Philippines at Diliman, and is the Curator of the University of the Philippines Vargas Museum and Adjunct Curator of the National Art Galleries of the Philippines and Singapore. A recognized scholar in the fields of Philippine and Asian art, Flores has organized several national and international platforms, including Luz: Traces of Depiction at the National Museum of the Philippines (2006), and Under Construction: New Dimensions of Asian Art at the Japan Foundation Asia Center (2000-2003). In 2008, he was a curator for the Position Papers series at the Gwangju Biennale. Flores is the author of numerous articles and several books concerning Philippine art. Among his publications are: Painting History: Revisions in Philippine Colonial Art (Quezon City/Manila, 1998), Remarkable Collection: Art, History, and the National Museum, (Manila, 2008) and Past Peripheral: Curation in Southeast Asia, (Singapore, 2008).

8:00 AM: Update on the Hunger Strike at Pelican Bay with Deirdre Wilson Project Coordinator for CCWP and Free Battered Women,  and a supporter of the Fast for Justice started by inmates at Pelican Bay, July 1, 2011, and Linda Evans, a former anti-imperialist political prisoner, released in 2001 via a pardon by president Bill Clinton, along with Susan Rosenberg, another political prisoner. 8:30 AM: Maria Acuna, English professor, musician, composer, and Avotcja, Poet/Playwright/Multi-Percussionist/Photographer/Teacher join us to talk about a celebration of Pablo Neruda, Nobel Laureate Chilean poet, 7 PM, Wed., July 27, 2011 @ Cafe Leila, 1724 San Pablo Ave., Berkeley, CA. Avotcja is also celebrating her 70th birthday at La Pena Cultural Center, Sunday, July 24, 7 PM. Visit avotcja.org and quijerema.com 9 AM: Dr. Beheroze Shroff teaches in the Department of Asian American Studies at UC Irvin. She is a documentary film maker whose research for the past 15 years has been on the Siddi or African Indian community in India where she is now. Dr. Henry J. Drewal is the Evjue-Bascom Professor of Art History and Afro-American Studies at the University of Wisconsin-Madison and Adjunct Curator of African Art at the Chazen Museum of Art, UW-Madison. Dr. Sarah Khan, born in Pakistan and raised on the East Coast, received her BA from Smith College majoring in History with a concentration in the Middle East and Arabic. She has a Ph.D in Ethnobotany from CUNY with a specialization in South Asian and Asian Healing systems, specifically Ayurveda and Traditional Chinese Medicine. Drs. Khan and Drewal, the curators of the MoAD-SFexhibition "Soulful Stitching: Patchwork Quilts by Africans (Siddis) in India," July 1-Sept. 18, give a lecture at MoAD, Sun., July 24, 2-3:30 PM. 9:30 AM: Noa Ben Hagai, dir., "Blood Relation," @ 31st Annual SFJFF screening July 30, 11:30 AM at JCCSF and again at the Roda at BRT, Aug. 3, 12:25 PM