De Seger, Catherine

The recently published book by Catherine de Seger is an anthology that contains essays on contemporary female artists written over 13 years: Women's Work. Is Never Done . ^[7] In 2012, de Säger edited Women's Work. Is Never Done (18th Sydney Biennale). ^{[8] [9]} Catherine de Zeger wrote On Line. Drawing Through the Twentieth Century (1910–2010) ^[10] as curator of an exhibition of the same name ^[10] at the New York Museum of Modern Art . In 2010, she was the curator of the Alma Matrix: Bracha Ettinger and Ria Verhaeghe exhibition ^{[11] at the} opposed Eva Hesse exhibition . Studioworks (2010) at the Anthony Tapies Foundation in Barcelona. De Seger was the director of exhibitions and publications at the Ontario Art Gallery in Toronto from 2007-2009, and the executive director and chief curator of the New York Drawing Center from 1999-2006, as well as the editor of his press organ: Drawing Papers . She became a co-founder and worked as the director of the Belgian Center for Contemporary Art Kanaal Art Foundation ( Kortrijk , Belgium, 1988-1998).

Catherine de Senger gained fame after she was curator of Inside the Visible: An Elliptical Traverse of Twentieth-Century Art in, of, and from the Feminine at the Institute of Contemporary Art in Boston in 1996. The exhibition was accompanied by an important book (MIT Press). Other exhibitions to which de Singer has a direct relationship and to which books or catalogs have been published include: Mona Hatum : Beyond the Violence Vortex into the Beauty Vortex (2011); Bracha Lichtenberg Ettinger: Art as Compassion (2011), co-authored with Griselda Pollock; Christina Iglesias: Deep Fountain (2008); Julie Meretu : Drawings (2007); Freeing the Line (2007); Eva Hesse Drawing (2006); Joel Tuerolink: Drawing Inventory (2006); 3 x Abstraction: New Methods of Drawing Hilma af Clint , Emma Kunz, and Agnes Martin (2005); Richard Tuttle : It's a Room for 3 People (2005); Giuseppe Penone : The Imprint of Drawing (2004); The Stage of Drawing: Gesture and Act. Selected from the Tate Collection (2003); Anna Maria Maiolino: A Life Line / Vida Afora (2002); Untitled Passages Henri Michaud (2000); The Prinzhorn Collection: Traces upon the Wunderblock (2000), and Martha Rosler: Positions in the Life, 1998. Co-authored with Carol Armstrong: Women Artists at the Millennium (MIT Press).

In 2018, an exhibition of Russian art from the collection of Igor Toporovsky was held at the Museum of Fine Arts in Ghent. The authenticity of the exhibited works was called into question. Catherine de Zeger Zegher claimed to have evidence of authenticity from two independent experts, which may have all the necessary documents. Both experts, however, deny that they did the examination and claim to have warned de Segen of holding this exhibition. ^{[12] [13] [14]} There was a reaction from the city of Ghent: the exhibition was interrupted, and the committee responsible for holding it was dissolved. All items will be returned to the owner. Toprovsky said that an investigation will be conducted to verify the authenticity of the work. ^[15] Several art directors criticized the work and position of Catherine de Seger. ^[16] However, she continues to insist on her innocence. ^{[16] [17] The} Museum Council ordered a thorough inspection and, until the results were obtained, suspended the powers of Catherine de Seger. ^[18]

2018. Toporovsky Collection at the Museum of Fine Arts in Ghent

2013. Australian Pavilion at the 55th Venice Biennale .

2013. 5th Moscow Biennale

2012. 18th Sydney Biennale .

2010. On Line. Drawing Through the Twentieth Century, New York Museum of Modern Art.

and many others

• Sydney Biennale
• Biennale in Moscow