This is a list of exhibitions by Independent Curators International since 1975.
This article contains a list that has not been properly sorted. Specifically, it does not follow the Manual of Style for lists of works (often, though not always, due to being in reverse-chronological order). See MOS:LISTSORT for more information.(January 2023) |
Exhibition | Curator(s) | Date |
---|---|---|
The Taxonomy of Shadows: On Photographic Collectivism | Serubiri Moses | – |
Mud + Corn + Stone + Blue | Laura Augusta | 2024 |
Teddy Sandoval and the Butch Gardens School of Art | C. Ondine Chavoya and David Evans Frantz | 2023–24 |
States of Becoming | Fitsum Shebeshe | 2022–25 |
Seeing Sound | Barbara London | 2021–24 |
Notes for Tomorrow | Charles Campbell, Freya Chou, Giulia Colletti, Veronica Cordeiro, Allison Glenn, Tessa Maria Guazon, PJ Gubatina Policarpio, Ivan Isaev, Ross Jordan, Drew Kahuʻāina Broderick, Josh Tengan, Esteban King Álvarez, João Laia, Luis Carlos Manjarrés Martínez, Fadzai Veronica Muchemwa, Lydia Y. Nichols, Marie Hélène Pereira, Balimunsi Philip, Josseline Pinto, Florencia Portocarrero, Shahana Rajani, Rachel Waldrop (Reese), Marina Reyes Franco, Mari Spirito, Alexandra Stock, Eszter Szakács, Fatoş Üstek, Su Wei, and Sharmila Wood | 2021–24 |
Soundings: An Exhibition in Five Parts | Candice Hopkins and Dylan Robinson | 2019–22 |
Actions for the Earth: Art, Care & Ecology | Sharmila Wood | 2023–24 |
Never Spoken Again: Rogue Stories of Science and Collections | David Ayala-Alfonso | 2020–24 |
Publishing Against the Grain | Independent Curators International (ICI) | 2017–23 |
Talking to Action: Art, Pedagogy, and Activism in the Americas | Bill Kelley Jr. | 2017–19 |
Axis Mundo: Queer Networks in Chicano L.A. | C. Ondine Chavoya and David Evans Frantz | 2017–22 |
The Ocean After Nature | Alaina Claire Feldman | 2016–18 |
Apichatpong Weerasethakul: The Serenity of Madness | Gridthiya Gaweewong | 2016–20 |
Salon de Fleurus | Salon de Fleurus | 2016–18 |
EN MAS': Carnival and Performance Art of the Caribbean | Claire Tancons and Krista Thompson | 2015–18 |
Push Play | Melissa E. Feldman | 2014–17 |
do it (2013-) | Hans Ulrich Obrist | 2013–21 |
Living as Form (The Nomadic Version) | Nato Thompson | 2012–14 |
State of Mind: New California Art Circa 1970 | Constance M Lewallen and Karen Moss | 2012–14 |
Performance Now | RoseLee Goldberg | 2012–15 |
Project 35 Volume 2 | Leeza Ahmady, Meskerem Assegued, Daina Augaitis, Defne Ayas, Regine Basha, Valerie Cassel Oliver, Rosina Cazali, Stuart Comer, Veronica Cordeiro, Christopher Cozier, María del Carmen Carrión, Rifky Effendy, Özge Ersoy, N’Goné Fall, Amirali Ghasemi, Hou Hanru, Virginija Januskeviciute, Vít Havránek, Abdellah Karroum, Sunjung Kim, Pablo León de la Barra, Maria Lind, Yandro Miralles, Srimoyee Mitra, Nat Muller, Sharmini Pereira, Nataša Petrešin-Bachelez, Kathrin Rhomberg, Mats Stjernstedt, David Teh, Philip Tinari, Christine Tohme, Raluca Voinea, Jochen Volz, and Adnan Yildiz | 2012–15 |
Create | Lawrence Rinder and Matthew Higgs | 2011–14 |
With Hidden Noise | Stephen Vitiello | 2011–15 |
Martha Wilson | Peter Dykhuis | 2011–19 |
Harald Szeemann: Documenta 5 | David Platzker | 2011–19 |
Raymond Pettibon: The Punk Years, 1978-86 | David Platzker | 2010–13 |
Project 35 | Magalí Arriola, Ruth Auerbach, Zoe Butt, Yane Calovski, Amy Cheng, Ana Paula Cohen, Joselina Cruz, Sergio Edelsztein, Mai Abu ElDahab, Charles Esche, Lauri Firstenberg, Alexie Glass-Kantor, Julieta González, Anthony Huberman, Lu Jie, Mami Kataoka, Lars Bang Larsen, Weng Choy Lee, Constance M Lewallen, Raimundas Malasauskas, Francesco Manacorda, Chus Martínez, Viktor Misiano, David Moos, Deeksha Nath, Simon Njami, Hans Ulrich Obrist, Jack Persekian, José Roca, Bisi Silva, Franklin Sirmans, Kathryn Smith, Susan Sollins, Mirjam Varadinis, What, How & for Whom/WHW | 2010–16 |
People's Biennial | Jens Hoffmann and Harrell Fletcher | 2010–12 |
Image Transfer: Pictures in a Remix Culture | Sara Krajewski | 2010–12 |
The Storyteller | Claire Gilman and Margaret Sundell | 2009–10 |
FAX | João Ribas | 2009–14 |
Mixed Signals: Artists Consider Masculinity in Sports | Christopher Bedford | 2009–11 |
The New Normal | Michael Connor | 2008–09 |
Experimental Geography | Nato Thompson | 2008–14 |
Slightly Unbalanced | Susan Hapgood | 2008–10 |
Phantasmagoria | José Roca | 2007–09 |
Jess | Ingrid Schaffner | 2007–09 |
Space Is the Place | Alex Baker and Toby Kamps | 2006–08 |
High Times, Hard Times: New York Painting 1967–1975 | Katy Siegel with David Reed as advisor | 2006–08 |
Beyond Green: Towards a Sustainable Art | Stephanie Smith | 2005–09 |
Shoot the Family | Ralph Rugoff | 2006–07 |
Situation Comedy: Humor in Recent Art | Dominic Molon and Michael Rooks | 2005–07 |
What Sound Does a Color Make? | Kathleen Forde | 2005–07 |
Will Boys Be Boys?: Questioning Adolescent Masculinity in Contemporary Art | Shamim M. Momin | 2004–07 |
Likeness: Portraits of Artists by Other Artists | Matthew Higgs | 2004–06 |
The Paper Sculpture Show Mary Ceruti | Matt Freedman and Sina Najafi | 2003–07 |
100 Artists See God | John Baldessari and Meg Cranston | 2003–06 |
Mark Lombardi: Global Networks | Robert Hobbs | 2003–05 |
UnNaturally | Mary-Kay Lombino | 2003–04 |
Thin Skin: The Fickle Nature of Bubbles, Spheres, and Inflatable Structures | Barbara Clausen and Carin Kuoni | 2002–04 |
Walk Ways | Stuart Horodner | 2002–04 |
The Gift: Generous Offerings, Threatening Hospitality | Antonio Somaini and Gianfranco Maraniello | 2001–03 |
My Reality: Contemporary Art and the Culture of Japanese Animation | Jeff Fleming and Susan Lubowsky Talbott | 2001–03 |
Everything Can Be Different | Maria Lind | 2001–02 |
Pictures, Patents, Monkeys, and More... On Collecting | Ingrid Schaffner | 2001–02 |
Telematic Connections: The Virtual Embrace | Steve Dietz | 2001–02 |
Almost Warm & Fuzzy: Childhood and Contemporary Art | Susan Lubowsky Talbott and Lea Rosson DeLong | 2000–2002 |
Beyond Preconceptions: The Sixties Experiment | Milena Kalinovska | 2000–2002 |
Painting Zero Degree | Carlos Basualdo | 2000–2002 |
Power of the Word | Chang Tsong-zung | 1999–2002 |
Irish Art Now: From the Poetic to the Political | Declan McGonagle | 1999–2001 |
Lee Krasner | Robert Hobbs | 1999–2001 |
Contemporary Art from Cuba: Irony and Survival on the Utopian Island | Marilyn Zeitlin | 1998–2001 |
The People's Choice | Komar and Melamid | 1998–2002 |
Judy Pfaff, U.S. entry to 24th São Paulo Bienal | Miranda McClintic | 1998 |
do it | Hans Ulrich Obrist | 1997–2001 |
At the Threshold of the Visible: Minuscule and Small Scale Art, 1964–1996 | Ralph Rugoff | 1997–99 |
Making It Real | Vik Muniz | 1997–99 |
David Smith: Medals for Dishonor | Matthew Marks and Peter Stevens | 1996–2000 |
Embedded Metaphor | Nina Felshin | 1996–99 |
Content and Discontent in Today's Photography | Andy Grundberg | 1995–97 |
Critiques of Pure Abstraction | Mark Rosenthal | 1995–97 |
Meret Oppenheim: Beyond the Teacup | Jacqueline Burckhardt and Bice Curiger | 1995–97 |
Multiple Exposure: The Group Portrait in Photography | Leslie Tonkonow | 1995–97 |
Image and Memory: Latin American Photography, 1880–1992 | Wendy Watriss | 1994–96 |
Monumental Propaganda Komar and Melamid | guest instigators | 1994–96 |
Transformers | Ralph Rugoff | 1994–96 |
After Perestroika: Kitchenmaids or Stateswomen | Margarita Tupitsyn | 1993–95 |
Empty Dress: Clothing as Surrogate in Recent Art | Nina Felshin | 1993–95 |
The First Generation: Women and Video,1970–1975 | JoAnn Hanley | 1993–95 |
Dark Decor | Tina Potter and Janine Cirincione | 1992–94 |
Drawn in the Nineties | Joshua Smith | 1992–94 |
From Media to Metaphor: Art About AIDS | Robert Atkins and Thomas W. Sokolowski | 1992–93 |
Good Stories, Well Told: Video Art for Young Audiences | Robin White | 1992–94 |
Departures: Photography, 1923–1990 | Edmund Yankov | 1991–93 |
No Laughing Matter | Nina Felshin | 1991–93 |
Contemporary Illustrated Books: Word and Image, 1967–1988 | Donna Stein | 1990–91 |
Eye for I: Video Self-Portraits | Raymond Bellour | 1990–92 |
Imágenes Líricas/New Spanish Visions | Lucinda Barnes | 1990–92 |
Points of Departure: Origins in Video | Jacqueline Kain | 1990–91 |
Team Spirit | Susan Sollins and Nina Sundell | 1990–92 |
Through the Path of Echoes: Contemporary Art in Mexico | Elizabeth Ferrer | 1990–92 |
A Different War: Vietnam in Art | Lucy Lippard | 1989–92 |
Eternal Metaphors: New Art from Italy | Susan Sollins | 1989–92 |
The Presence of Absence: New Installations | Nina Felshin | 1989–93 |
Acceptable Entertainment | Paul Laster and Renée Riccardo | 1988–90 |
Hybrid Neutral: Modes of Abstraction and the Social | Tricia Collins and Richard Milazzo | 1988–90 |
Line and Image: The Northern Sensibility in Recent European Drawing | Peter Frank | 1988–89 |
The Analytical Theatre: New Art from Britain | Milena Kalinovska and Michael Newman | 1987–88 |
Ancient Inspirations: Six Figurative Sculptors | Judith Olch Richards | 1987–88 |
Modern Redux: Critical Alternatives for Architecture in the Next Decade | Douglas Davis | 1987–88 |
Morality Tales: History Painting in the 1980s | Thomas W. Sokolowski | 1987–89 |
The Success of Failure | Joel Fisher | 1987–88 |
After Matisse Tiffany Bell | Irving Sandler and Susan Sollins | 1986–88 |
Video Transformations Lois Bianchi | 1986–88 | |
The American Experience: Contemporary Immigrant Artists | Cynthia Jaffee McCabe | 1985–86 |
Large Drawings | Elke Solomon | 1985 |
Points of View: Four Painters | Susan Sollins | 1985–86 |
Tradition and Conflict: Images from a Turbulent Decade, 1963–1973 | Mary Schmidt Campbell | 1985–87 |
Drawings: After Photography | William Olander | 1984–86 |
From the Collection of Sol LeWitt | Andrea Miller-Keller and John Ravenal | 1984–86 |
Indiana Influence – Part I | William H. Gerdts | 1984 |
Indiana Influence – Part II | Peter Frank | 1984 |
Verbally Charged Images | Nina Felshin | 1984–86 |
Concepts in Construction: 1910–1980 | Irving Sandler | 1983–85 |
New Sculpture: Icon and Environment | Susan Sollins | 1983–84 |
Sculpture from Germany | Michael Klein | 1983–85 |
The End of the Road: Vanishing Highway Architecture in America | John Margolies | 1982–84 |
Texas on Paper | Cheryl A. Brutvan and Linda L. Cathcart | 1982–84 |
Art Materialized: Selections from the Fabric Workshop | Michael Quigley | 1981–84 |
CAPS/ICI Traveling Video Festival | Nina Sundell | 1981–84 |
Ezra Stoller: Architectural Photographs | 1981–83 | |
Mapped Art: Charts, Routes, Regions | Peter Frank | 1981–83 |
Metropolitan Container of Art | 1981 | |
Some Color Photographs | Marvin Heiferman | 1980 |
American Images: New Work by Twenty Contemporary Photographers | Renato Danese | 1979–84 |
Collaborations and Amplifications | Elke Solomon | 1979 |
Masks Visiting Artists Collaborative | 1979–81 | |
The Photograph as Artifice | Constance Glenn | 1979–80 |
Supershow! | Susan Sollins and Elke Solomon | 1979–80 |
Artists’ Books U.S.A. | Peter Frank and Martha Wilson | 1978–79 |
Numerals: Mathematical Concepts in Contemporary Art | Rainer Crone | 1978–79 |
The Sense of Self: From Self-Portrait to Autobiography | Nina Sundell | 1978–80 |
The City Project | Susan Sollins | 1977 |
New Work/New York | Susan Sollins | 1977–78 |
American Pop Art and the Culture of the Sixties | Nina Sundell | 1976 |
Art in Landscape | Susan Sollins | 1976–77 |
Language and Structure in North America | Richard Kostelanetz | 1976 |
MC=E2 | 1976–77 | |
Photography: A Representative Survey | John R. Gossage | 1976–78 |
Ralph Eugene Meatyard: A Retrospective | Van Deren Coke | 1976–79 |
Video Art U.S.A., U.S. entry to 1976 São Paulo Bienal | Jack Bolton | 1975 |
The Venice Biennale is an international cultural exhibition hosted annually in Venice, Italy, by the Biennale Foundation. It focuses on contemporary art, and includes events for art, contemporary dance, architecture, cinema, and theatre. Two main components of the festival are known as the Art Biennale and the Architecture Biennale, which are held in alternating years. The others – Biennale Musica, Biennale Teatro, Venice Film Festival, and Venice Dance Biennale – are held annually. The main exhibition held in Castello alternates between art and architecture, and there are around 30 permanent pavilions built by different countries.
A curator is a manager or overseer. When working with cultural organizations, a curator is typically a "collections curator" or an "exhibitions curator", and has multifaceted tasks dependent on the particular institution and its mission. The term "curator" may designate the head of any given division, not limited to museums. Curator roles include "community curators", "literary curators", "digital curators", and "biocurators".
Transmediale, stylised as transmediale, is an annual festival for art and digital culture in Berlin, usually held over three to five days at the end of January and the beginning of February. transmediale takes the form of a conference, an exhibition, and a film and video programme that often contain or support performances and workshops. Throughout the year, transmediale is also involved in a number of long- and short-term cooperative projects. From its initial focus on video culture, it came to cultivate an artistic and critical dialogue with television and multimedia, emerging as the leading international platform for media art.
The Renaissance Society, founded in 1915, is a leading independent contemporary art museum located on the campus of the University of Chicago, with a focus on the commissioning and production of new works by international artists. The kunsthalle-style institution typically presents four exhibitions each year, along with concerts, performances, screenings, readings, and lectures—all of which are free and open to the public. "The Ren" also produces publications in conjunction with many of its exhibitions.
Independent Curators International (ICI) is a non-profit headquartered in New York City that has produced exhibitions, events, publications, and training opportunities since 1975.
The Singapore International Photography Festival (SIPF) is a non-profit biennial festival organised by Singapore-based independent art space, DECK. Its first edition, held in October 2008, was the first event of its kind in Southeast Asia, with its programmes emphasising new photography in Southeast Asia and showcasing photographic works from Artists from the region alongside international peers at various venues across Singapore.
The Moscow International Biennale for Young Art (MIBYA) is a major contemporary visual art exhibition that focuses on the work of artists and curators under the age of 35. It aims to bring together new artistic initiatives from Russia and the world by supporting the creative development of young artists for interested audiences. MIBYA was first held in 2008 in response to rising interest from artists, curators and critics following the festival of young art, "Qui Vive?" sponsored by the National Center for Contemporary Arts (NCCA) and held annually from 2002 to 2006, in collaboration with free workshops at the Moscow Museum of Modern Art (MMOMA). "The project has acquired new status thanks to growing interest from young artists, curators, and critics. Through the combined efforts of the NCCA and MMOMA, the biennial for young art was developed." Participants are given the chance to establish connections and connect with the professional artistic community.
Nina Felshin is an American curator, writer, art historian and activist. She edited But Is It Art? The Spirit of Art as Activism and has authored many articles and essays on art. Felshin is an independent curator and was a curator at Wesleyan University's Ezra and Cecile Zilkha Gallery in Middletown, Connecticut, The Contemporary Arts Center in Cincinnati, Ohio and The Corcoran Gallery of Art in Washington, D.C. While at Wesleyan, she co-taught a cross-discipline course on Issues in Contemporary Art.
The French pavilion houses France's national representation during the Venice Biennale arts festivals.
The Greek pavilion houses Greece's national representation during the Venice Biennale arts festivals.
The Canadian pavilion houses Canada's national representation during the Venice Biennale arts festivals.
The Czech and Slovak pavilion houses the national representation of the Czech Republic and Slovakia during the Venice Biennale arts festivals.
The Belgian pavilion houses Belgium's national representation during the Venice Biennale arts festivals.
The Spanish pavilion houses Spain's national representation during the Venice Biennale arts festivals.
The Uruguayan pavilion houses Uruguay's national representation during the Venice Biennale arts festivals.
The Russian pavilion houses Russia's national representation during the Venice Biennale arts festivals.
The Polish pavilion houses Poland's national representation during the Venice Biennale arts festivals.
The Japanese pavilion houses Japan's national representation during the Venice Biennale arts festivals.
The Israeli pavilion houses Israel's national representation during the Venice Biennale arts festivals. Jewish Israeli artists first participated in the 24th Venice Biennale in the Erez Israel, Artisti Palestinesi pavilion. Israel first participated in the 25th Venice Biennale in 1950.
The Danish pavilion houses Denmark's national representation during the Venice Biennale arts festivals. The building was designed by Carl Brummer and constructed between 1930 and 1932, and restored and expanded by Peter Koch in the 1950s.