The Metropolitan Museum of Art, New York.

Ms. Wheeler has more than twenty-five years of experience in fundraising and nonprofit arts management, including a previous tenure at the Whitney. From 1995 to 2000, she served as Campaign Manager and Director of Development at the Museum, overseeing a successful $50 million capital drive. Prior to returning in 2007 as the Associate Director for Development, Ms. Wheeler was Director of Major Gifts at Cambridge in America, supporting a £1 billion 800th Anniversary Campaign for the University of Cambridge. Previous leadership positions include Director of Development at Exit Art, where she created a professional development program and Executive Director of the Fund for Dance. She began her career in the arts in 1988 at the Foundation for the Joffrey Ballet. Ms. Wheeler holds a BA from Brown University.

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Norman Lewis is represented in the permanent collections of numerous museums, including the Albright-Knox Art Gallery (Buffalo, NY); The Metropolitan Museum of Art (New York, NY); Museum of Fine Arts, Boston (MA); Museum of Modern Art (New York, NY); National Gallery of Art (Washington, DC); The Newark Museum (NJ); Schomburg Center for Research in Black Culture (New York, NY); Smithsonian American Art Museum (Washington, DC); and The Studio Museum in Harlem (New York, NY).


The Art + Environment Conference at the Nevada Museum of Art, 2017

1951 Abstract Painting and Sculpture in America, Museum of Modern Art, New York, NY

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In addition to leading the curatorial team for the Whitney’s inaugural collection display America Is Hard to See, Donna De Salvo has curated Full House: The Whitney's Collection at 75 (2006) and Robert Irwin: Scrim veil—Black rectangle—Natural light, Whitney Museum of American Art, New York (1977) (2013). Among the exhibitions she has co-curated are Sinister Pop (2012–13, with Scott Rothkopf), Signs & Symbols (2012, with Jane Panetta), Lawrence Weiner: AS FAR AS THE EYE CAN SEE (2007–08, with Ann Goldstein) and Roni Horn aka Roni Horn (2009–10, with Carter Foster and Mark Godfrey). With Linda Norden, she co-curated Course of Empire: Paintings by Ed Ruscha for the United States Pavilion at the 51st Venice Biennale, an exhibition that was also presented at the Whitney (2005–06).

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Prior to working at the Whitney, De Salvo served for five years as a Senior Curator at Tate Modern, London, where she curated such exhibitions as Open Systems: Rethinking Art c. 1970 (2005); Marsyas (Anish Kapoor’s 2003 work commissioned by Tate Modern for its Turbine Hall); and Century City: Art and Culture in the Modern Metropolis (2001). Among the exhibitions she has curated at other institutions are Hand-Painted Pop: American Art in Transition, 1955–1962 (MOCA Los Angeles, 1992–93), Staging Surrealism (Wexner Center for the Arts, 1997–98), and A Museum Looks at Itself: Mapping Past and Present at the Parrish Art Museum (Parrish Art Museum, 1992).

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From 1981 to 1986, De Salvo was a curator at the Dia Art Foundation, where she worked closely with several of its artists, including John Chamberlain, Walter De Maria, Donald Judd, Cy Twombly, and Andy Warhol. A noted expert on the work of Andy Warhol, she was Adjunct Curator for the Andy Warhol Museum and was curator of Andy Warhol: Disaster Paintings, 1963 (Dia Art Foundation, 1986), Andy Warhol: Hand-Painted Images, 1960–62 (Dia Art Foundation, 1987), "Success is a Job in New York": The early art and business of Andy Warhol (Grey Art Gallery, 1989), and a retrospective of the artist’s work at Tate Modern (2002). She is currently developing a thematic retrospective of Warhol’s work to be presented at the Whitney in 2018.