Sentences with phrase «2015s institutional exhibitions»

Not exact matches

Torbjørn Rødland (b. 1970, Stavanger, Norway, lives and works in Los Angeles and Oslo) has been the subject of a number of institutional solo exhibitions, including shows at Henie - Onstad, Oslo, Norway (2015); Kunsthall Stavanger, Stavanger, Norway (2014); Hiroshima City Museum of Contemporary Art, Hiroshima, Japan (2010); Contemporary Art Museum, St. Louis, United States (2010) and P.S. 1 Contemporary Art Center, New York, United States (2006).

Recent institutional exhibitions and in situ paintings include Atoms Outside Eggs, Serralves, Porto, Portugal (2007); Hello Little Butterfly I Love You What's Your Name, ARKEN Museum for Moderne Kunst, Copenhagen (2009); One Floor Up More Highly, MASS MoCA, North Adams, MA (2010); Third Man Begins Digging Through Her Pockets, Museum of Contemporary Art Cleveland, OH (2012); Two younger women come in and pull out a table, De Pont Museum of Contemporary Art, Tilburg, The Netherlands (2013); WUNDERBLOCK, Nasher Sculpture Center, Dallas, TX (2013); Inside the Speaker, Museum Kunstpalast, Düsseldorf (2014); psychylustro, Philadelphia Mural Arts Program (2014); yes no why later, Garage Museum of Contemporary Art, Moscow (2015); Seven Hours, Eight Rooms, Three Trees, Museum Wiesbaden, Germany (2015); Untitled Trumpet, 56th Biennale di Venezia (2015); Museum Frieder Burda, Baden - Baden, Germany (2016); Rockaway!

Swiss Institute is pleased to present the first institutional solo exhibition in the United States of New York - based artist Andrea Crespo, centered on a new video, virocrypsis (2015), which develops the artist's ongoing inquiry into posthuman desire.

Notable solo institutional exhibitions include «KNOCK / KNOCK / NEPOMUK», Kunstverien Hechingen, Hechingen, Germany (2016); «Disintegration of the properties», K21 Standëhaus, Kunstsammlung Nordrhein - Westfalen, Düsseldorf, Germany (July 2014 - July 2015); «King Rat», Project Arts Centre, Dublin, Ireland (2010); and «Palimpsest», Kunstverein Hannover, Germany (2010).

With Anne Ellegood, Hammer senior curator, she was an institutional curator for the spring 2015 exhibition

With Anne Ellegood, Hammer senior curator, she was an institutional curator for the spring 2015 exhibition Charles Gaines: Gridwork 1974 — 1989 at the Hammer (organized by the Studio Museum in Harlem, New York) and recently assisted Hammer chief curator Connie Butler with the exhibition and publication Mark Bradford: Scorched Earth.

In More Heat than Light and Less Light Warm Words (2015 - 16), installed in solo exhibitions at the CCA Wattis Institute for Contemporary Arts, San Francisco and Kunsthalle Basel, Basel, Switzerland, and the Swiss Institute, New York, respectively, Lewitt engineered specially manufactured heating circuits used for the regulation of internal temperatures in environmentally sensitive media systems and redirected all available energy that flowed through the institutional lighting grids in the exhibition spaces.

He has been the subject of a number of institutional solo exhibitions, including the current show Torbjørn Rødland: Back in Touch at C / O Berlin and Torbjørn Rødland: The Touch That Made You at Serpentine Sackler Gallery (Fall 2017), as well as shows at Henie - Onstad, Oslo, Norway (2015); Kunsthall Stavanger, Stavanger, Norway (2014); Hiroshima City Museum of Contemporary Art, Hiroshima, Japan (2010); Contemporary Art Museum, St. Louis, United States (2010) and P.S. 1 Contemporary Art Center, New York, United States (2006).

Recent institutional exhibitions include the 50th Biennale di Venezia (2003); Museo d'Arte Contemporanea, Rome (2005); Norton Museum of Art, FL (2011, traveled to the Museum of Modern Art Oxford, England, through 2012); and «Jenny Saville Drawing,» Ashmolean Museum of Art and Archaeology, University of Oxford, United Kingdom (2015 — 16).

He has held numerous solo institutional exhibitions around the world, including Florida Living at the SCAD Museum of Art, Savannah (2017), TIME, Hernan Bas: a queer and curious cabinet at the Bass Museum of Art, Miami (2013), The Other Side at the Kunstverein Hannover (2012), Hernan Bas: works from the Rubell Family Collection, Miami (2007) and Brooklyn Museum of Art (2009), and has been included in a number of important group exhibitions, including A Sum of its Parts, at Polk Museum of Art (2016), Tracing Shadows, at PLATEAU, Samsung Museum of Art (2015), Aquatopia, The Imaginary of the Ocean Deep, at Nottingham Contemporary and Tate St. Ives (2013), Nightfall, MODEM Centre for Contemporary Art, Hungary, travelling to Galerie Rudolfinum, Prague (2012), Nothing in the World But Youth, Turner Contemporary, Margate (2011), Busan Biennale, Korea (2008), Like Color in Pictures, Aspen Art Museum (2007), Ideal Worlds - New Romanticism in Contemporary Art, Schirn Kunsthalle, Frankfurt (2005), Whitney Biennial (2004), and The Museum of Contemporary Art, North Miami (2002).

Institutional exhibitions include «The Agony and the Ecstasy,» Museo Archeologico Nazionale di Napoli (2004); «A Selection of Works by Damien Hirst from Various Collections,» Museum of Fine Arts, Boston (2005); «Damien Hirst,» Astrup Fearnley Museet fur Moderne Kunst, Oslo (2005); «For the Love of God,» Rijksmuseum, Amsterdam (2008, traveled to the Palazzo Vecchio, Florence in 2010); «No Love Lost,» The Wallace Collection, London (2009); «Requiem,» PinchukArtCenter, Kiev (2009); «Cornucopia,» Oceanographic Museum of Monaco (2010); «Damien Hirst,» Tate Modern, London (2012); «Relics,» Qatar Museums Authority, Al Riwaq, Qatar (2013); «Signification (Hope, Immortality and Death in Paris, Now and Then),» Deyrolle, Paris (2014); «Damien Hirst,» Astrup Fearnley Museum of Modern Art, Oslo (2015); «Damien Hirst: New Religion,» The Museum of Contemporary Art of Republika of Srpska, Banja Luka, Bosnia & Herzegovina (2016, traveled to Museum of Contemporary Art Vojvodina, Novi Sad, Serbia); «Damien Hirst: The Last Supper,» National Gallery of Art, Washington, DC (2016); and «Treasures from the Wreck of the Unbelievable,» Palazzo Grassi and Punta della Dogana, François Pinault Foundation, Venice (2017).

Torbjørn Rødland (b. 1970, Stavanger, Norway, lives and works in Los Angeles and Oslo) has been the subject of a number of institutional solo exhibitions, including shows at C / O Berlin (2017); Serpentine Sackler Gallery (2017); Henie - Onstad, Oslo, Norway (2015); Kunsthall Stavanger, Stavanger, Norway (2014); Hiroshima City Museum of Contemporary Art, Hiroshima, Japan (2010); Contemporary Art Museum, St. Louis, United States (2010) and P.S. 1 Contemporary Art Center, New York, United States (2006).

Institutional exhibitions include «Chris Burden: A Twenty Year Survey,» Orange County Museum of Art, CA (1988, traveled to Carnegie Mellon Art Gallery, Pittsburgh; and Institute of Contemporary Art, Boston, through 1989); «When Robots Rule: The Two Minute Airplane Factory,» Tate, London (1999); «Tower of Power,» Museum Moderner Kunst Stiftung Ludwig, Vienna (2002); «Chris Burden,» Baltic Center of Contemporary Art, Gateshead (2002); «14 Magnolia Doubles,» South London Gallery (2006); «Chris Burden,» Middleheim Museum, Antwerp (2009); «Chris Burden: Three Ghost Ships,» Portland Art Museum, OR (2011 — 12); «Chris Burden,» Magasin III, Stockholm (2012 - 13); «Chris Burden: Extreme Measures,» New Museum, New York (2013 - 14); «Chris Burden: The Master Builder,» Rose Art Museum, Brandeis University, Waltham, MA (2014); and «Chris Burden: Ode to Santos - Dumont,» Los Angeles County Museum of Art (2015).

Forthcoming institutional exhibitions include a major solo exhibition at the Museum of Contemporary Art Detroit, MI opening late May 2014, and an exhibition at Museo de Arte Contemporáneo de San Juan, Puerto Rico in 2015.

After rounding out 2015 with a solo exhibition at Stuart Shave / Modern Art (and following his showstopping presentation at Frieze London in the gallery's booth, awarded best in fair), 2016 will see the Norwegian - German sculptor cresting to new heights with a spring exhibition at Kunsthalle Basel — his largest institutional show to date.

Institutional exhibitions include Astrup Fearnley Museum of Modern Art, Oslo (2004, traveled to Helsinki City Art Museum, through 2005); Lever House, New York (2005); «Jeff Koons on the Roof,» Metropolitan Museum of Art, New York (2008); Museum of Contemporary Art, Chicago (2008); «Jeff Koons: Celebration,» Neue Nationalgalerie, Berlin (2008); «Jeff Koons: Popeye Series,» Serpentine Galleries, London (2008); «Jeff Koons: Versailles,» Château de Versailles (2008 — 09); «ARTIST ROOMS: Jeff Koons,» National Galleries of Scotland, Edinburgh (2011); «Jeff Koons: The Painter and The Sculptor,» Schirn Kunsthalle and Liebieghaus Skulpturensammlung, Frankfurt (2012); Fondation Beyeler, Basel (2012); Whitney Museum of American Art, New York (2014, traveled to Centre Georges Pompidou, Paris; and Guggenheim Bilbao, through 2015); «Jeff Koons in Florence,» Palazzo Vecchio and Piazza della Signoria, Florence (2015); and «Jeff Koons: Now,» Newport Street Gallery, London (2016).

From 2011 - 2016, Keith was an Associate Curator at The Studio Museum in Harlem, where she organized several critically acclaimed exhibitions including Everything, Everyday: Artists in Residence 2014 — 15 (2015), Samuel Levi Jones: Unbound (2015), Kianja Strobert (2014), Titus Kaphar (2014), Charles Gaines: Gridwork 1974 - 1989 (2014), The Shadows Took Shape (co-curated with Zoe Whitley, 2013), Fore (co-curated with Lauren Haynes and Thomas J. Lax, 2012), Caribbean: Crossroads of the World (Institutional Curator, 2012) and John Outterbridge: The Rag Factory II (2011).

November 18 — December 20, 2015, the Swiss Institute presented virocrypsis, artist Andrea Crespo's first institutional solo exhibition.

The catalog documents Foschino's first institutional solo exhibition in Europe, at the Stadtgalerie Saarbrücken in 2015.

In addition to his solo work, Mr. Milan has participated in numerous significant institutional group exhibitions including; George Grosz: Politics and His Influence at David Nolan Gallery in 2016, Black: Color, Material, Concept at the Studio Museum in Harlem in 2015, Greater New York curated by Klaus Biesenbach at MoMA PS1 in 2015 and 2005, The Confident Line: George Grosz, Wardell Milan, Andy Warhol at David Nolan Gallery in 2015, Glitter & Folds at the Institute of Contemporary Art in Philadelphia in 2013, and Three Thousand Times, each hour, a different terrain: Titus Kaphar, Wardell Milan, Demetrius Oliver at Inman Gallery in Houston in 2014.

Thanks to her wide and inclusive view, she is able to fulfill the role of artistic director in different realities such as an institutional pavilion like Expo Gate, for Milano Expo in 2015, and IL CREPACCIO project, a showcase in Milan for young artists and not just them, (recently on Instagram with IL CREPACCIO INSTAGRAM SHOW @ilcrepaccio), she is a curator of exhibitions — such as the latest solo exhibition of Thomas Braida at Palazzo Nani Bernardo for the Venice Biennale 2017 — and of public projects for companies and international institutions like Moderna Museet in Stockholm and Performa in New York.

With a recent solo exhibition at the Harvey B. Gantt Center, Charlotte, NC (2017), Casteel has participated in exhibitions at institutional venues such as Crystal Bridges Museum of American Art, Bentonville, AR (2018); The Studio Museum in Harlem, New York, NY (2017 and 2016); MASS MoCA, North Adams, MA (2017); Boston University Art Galleries, Boston, MA (2017); HOME, Manchester, UK (2016); University of Denver School of Art (2016); and Kenyon College, Gund Gallery, Gambier, OH (2015).

Between 2015 - 2016 Lewitt had institutional solo exhibitions at the Wattis Institute of Contemporary Art San Francisco; [3] Kunsthalle Basel Switzerland; [4] and Swiss Institute New York.

Recent major solo exhibitions of the artist's work have been staged at institutional venues including Fondation Beyeler, Basel, touring to the Louisiana Museum of Modern Art, Humblebaek (2014 — 2015); National Galleries of Scotland, Edinburgh, touring to Musée des Beaux - Arts de Montreal (2013 — 2014); Gallery Met at the Metropolitan Opera, New York, touring to Musée d'Art Moderne de la Ville de Paris, Paris (2011); Tate Britain, London, touring to Musée d'Art moderne de la Ville de Paris (2008); Schirn Kunsthalle Frankfurt (2008); Museum der Bildenden Kunste, Leipzig (2006); and Dallas Museum of Art, Texas, touring to The Gallery at Windsor, Florida, and Art Gallery of Ontario (2005 — 2006).

Recent institutional exhibitions include Louisiana Museum of Modern Art, Humlebæk, Denmark (2010); «Shevirat Hakelim,» Tel Aviv Museum of Art, Israel (2011); «Beyond Landscape,» Albright - Knox Art Gallery, Buffalo (2013); Royal Academy of Arts, London (2014); «L'Alchimie du livre,» Bibliothèque nationale de France, Paris (2015); Centre Georges Pompidou, Paris (2015).

Over the course of his career he has participated in numerous institutional exhibitions and biennials throughout the world, including most recently Not New Now, Marrakech Biennale 6, Morocco, 2016; Surface Matters, Museum of Fine Arts, Boston, 2015; Surface Tension, The FLAG Art Foundation, New York, 2015; Affecting Presence and the Pursuit of Delicious Experiences, The Menil Collection, Houston, 2015; Represent: 200 Years of African - American Art, Philadelphia Museum of Art, 2015; Pretty Raw: After and Around Helen Frankenthaler and New Acquisitions, Rose Art Museum, Brandeis University, Waltham, Massachusetts, 2015; and Witness: Art and Civil Rights in the Sixties, organized by the Brooklyn Museum, 2014 - 15.

The largest - ever and first major institutional solo exhibition devoted to James «Son Ford» Thomas (1926 - 1993), a self - taught Mississippi artist and blues musician, was on view at New York University's 80WSE Gallery in 2015.

His works have also been included in collective institutional exhibitions such as Painting or Not, The KaviarFactory, Lofoten, Norway (2017); Soft Power, Kunsthal KAdE, Amersfoort (2016); Here There, Qatar Museums — Al Riwaq, Doha (2015); ImagineBrazil, Astrup Feranley Museet, Oslo (2013) / DHC / Art Foundation for Contemporary, Montreal (2015); 12 Biennale de Lyon, Lyon (2013).

Selected institutional solo exhibitions include: Campaign: An Exhibition in Four Moments, Museu Serralves, Porto (2016); What's What in A Mirror, Dublin City Gallery — The Hugh Lane, Dublin (2016); All - Intimate - Act, Stedelijk Museum and Holland Festival, Amsterdam (2015); From 199C to 199D, Le Magasin, Grenoble (2014); From 199A to 199B: Liam Gillick, Hessel Museum of Art, Bard College, New York (2012); A Game of War Structure (site - specific work), Irish Museum of Modern Art, Dublin (2011); One long walk... two short piers, KAH, Bonn (2010); Three Perspectives and a Short Scenario, Kunsthalle Zürich (2008); McNamara Motel, CAC Centro de Arte Contemporáneo, Malága (2005), and Projects 79: Liam Gillick: Literally, MoMA QNS, New York (2003).

Institutional monographic exhibitions include Elizabeth Turk: Sentient Forms, Laguna Art Museum, CA (2015); Elizabeth Turk: Wings, The Dayton Art Institute, OH (2013); and Elizabeth Turk, The Collars: Tracings of Thought, Mint Museum of Art, Charlotte, NC (2004).

His works have been included in several institutional exhibitions such as: A Universal History of Infamy, LACMA, Los Angeles (2017); The Restless Earth, Fondazione Trussardi, Milano (2017); Little lower layer, Museum Of Contemporary Art Chicago, Chicago (2017); Really Useful Knowledge, Museo Reina Sofia, Madrid (2015); Under thesame sun, Guggenheim Museum, New York (2014).

Recent institutional group exhibitions include the Museum Dhondt - Dhaenens, Deurle, Belgium (2016); Museum of Modern Art, New York (2015); Sharjah Biennial 12, Sharjah, United Arab Emirates (2015); The International Biennial of Contemporary Art Foundation of Cartagena, Columbia (2014); 5th Moscow Biennale, Russia (2013), and documenta (13), Kassel, Germany (2012).

BOOK: The largest - ever and first major institutional solo exhibition devoted to James «Son Ford» Thomas (1926 - 1993), a self - taught Mississippi artist and blues musician, was on view at New York University's 80WSE Gallery in 2015.

He has been the subject of a number of institutional solo exhibitions, including shows at Henie - Onstad, Oslo, Norway (2015); Kunsthall Stavanger, Stavanger, Norway (2014); Hiroshima City Museum of Contemporary Art, Hiroshima, Japan (2010); Contemporary Art Museum, St. Louis, United States (2010) and P.S. 1 Contemporary Art Center, New York, United States (2006).

With a recent solo exhibition at the Harvey B. Gantt Center, Charlotte, NC (2017), Casteel has participated in exhibitions at institutional venues such as The Studio Museum in Harlem, New York, NY (2017 and 2016); MASS MoCA, North Adams, MA (2017); Boston University Art Galleries, Boston, MA (2017); HOME, Manchester, UK (2016); University of Denver School of Art (2016); and Kenyon College, Gund Gallery, Gambier, OH (2015).

Recent major solo exhibitions of the artist's work have been staged at institutional venues including Fondazione Bevilacqua La Masa - Palazzetto Tito, Venice (2015); Fondation Beyeler, Basel, touring to the Louisiana Museum of Modern Art, Humblebaek (2014 - 2015); National Galleries of Scotland, Edinburgh, touring to Musée des Beaux - Arts de Montreal (2013 - 2014); Gallery Met at the Metropolitan Opera, New York, touring to Musée d'Art Moderne de la Ville de Paris, Paris (2011); Tate Britain, London, touring to Musée d'Art moderne de la Ville de Paris (2008); Schirn Kunsthalle Frankfurt (2008); Museum der Bildenden Kunste, Leipzig (2006); and Dallas Museum of Art, Texas, touring to The Gallery at Windsor, Florida, and Art Gallery of Ontario (2005 - 2006).