Sentences with phrase «american contribution to this exhibition»

1929, through Richard Neutra's recommendation selected as American contribution to the exhibition Film und Foto in Stuttgart.

When rethinking what the North American contribution to this exhibition should be in the Latin American leg of its itinerary, I have tried to remain true to our original intention of attesting to the variety of options explored by artists working in the field of video and of recognizing the existing relationship between these personal aesthetic representations and the enormous macro-system that is commercial television.

Not exact matches

Perhaps a more effective way to «celebrate [me], [my] work and [my] contributions to not only the art world at large, but also a generation of black artists working in performance,» might be to curate multi-ethnic exhibitions that give American audiences the rare opportunity to measure directly the groundbreaking achievements of African American artists against those of their peers in «the art world at large.

In addition to participating in an international array of group exhibitions including the Venice Biennale (1997, 1980, 1976), the Whitney Museum of American Art Biennial (1995, 1977), and Documenta, Kassel, Germany (1972), Martin has been the recipient of multiple honors including the Lifetime Achievement Award on behalf of the Women's Caucus for Art of the College Art Association (2005); the Governor's Award for Excellence and Achievement in the Arts given by Governor Gary Johnson, Santa Fe, New Mexico (1998); the National Medal of Arts awarded by President Clinton and the National Endowment for the Arts (1998); the Distinguished Artist Award for Lifetime Achievement by the College Art Association (1998); the Golden Lion for Contribution to Contemporary Art at the Venice Biennale (1997); the Oskar Kokoschka Prize awarded by the Austrian government (1992); the Alexej von Jawlensky Prize awarded by the city of Wiesbaden, Germany (1991); and election to the American Academy and Institute of Arts and Letters, New York (1989).

Our mission is to include their contributions in the canon of American art history through acquisitions from our collection by major museums, as well as through exhibitions, programs, and publications.

Woodward Gallery unites American artists Robert Indiana (b. 1928) and Andy Warhol (1928 -1987) in an exhibition emphasizing their contribution to Spring - a time of renewal and hope.

Melissa Etheridge's impressive contributions to American rock and roll have placed her among the musical greats celebrated in our upcoming exhibition, Women Who Rock: Vision, Passion, Power, September 7, 2012 through January 6, 2013.

Approximately 40 — 45 works will comprise this exhibition shedding light on Pelton's artistic contribution to American Modernism, while examining her practice against a broader, international framework of spiritual and esoteric abstraction.

His first mid-career survey «Catholic Tastes» at the Whitney Museum of American Art in 1993 was a marker of his reception and influence in the early 1990s, while his contribution to Sonsbeek 93 — an exhibition called «The Uncanny» — demonstrated his acumen for creating a critical curatorial framework.

«We're thrilled to host this exhibition and recognize these artists for their momentous contributions to American art,» said Crystal Bridges Curator, Contemporary Art, Lauren Haynes.

The exhibition includes fifty years of paintings and demonstrates Wayne Thiebaud's contributions to American popular culture and art history.

Part of Pacific Standard Time: LA / LA, this exhibition will reappraise the contribution of Latin American women artists and those of Latino and Chicano heritage in the United States to contemporary art.

Herzberg has extensively researched the field of Latin American artists living in the United States and has made a particular contribution to their representation in the fields of art history and contemporary art exhibitions.

This is the first major exhibition to examine the history and impact of the Monster Roster, which has been overlooked despite being one of the most important Midwestern contributions to the development of American art.

Taking place in his chosen hometown, the exhibition affords a unique opportunity for Giorno's contributions to be recognized within the canons of American poetry and art history, and celebrates the artist's 80th birthday.

Chase was recognized early in her career and her work was included in a host of important group exhibitions, including Barbara Rose's 1979 manifesto at the Grey Art Gallery, New York University, «American Painting: The Eighties;» the Whitney Museum Biennial in 1982; and the American group contribution to the Venice Biennale in 1984.

Her request read, in part: «Perhaps a more effective way to «celebrate [me], [my] work and [my] contributions to not only the art world at large, but also a generation of black artists working in performance,» might be to curate multi-ethnic exhibitions that give American audiences the rare opportunity to measure directly the groundbreaking achievements of African American artists against those of their peers in «the art world at large.

In addition to the exhibition, the UAG will also present multiple programming events to include: «Q&A with the Artist: A Conversation with Wendy Red Star and Michelle Lanteri» on January 25, 2018, in the NMSU HSS Auditorium 101 at 6:00 pm; a screening of Rumble: The Indians Who Rocked the World, a feature documentary about Native American peoples» contributions to rock «n» roll history, on February 15, 2018, in the NMSU CMI Theatre at 5:30 pm; and «Considering Contemporary Art,» a panel featuring Julie Sasse, Chief Curator of Modern, Contemporary, and Latin American Art, Tucson Museum of Art; Nadiah Rivera Fellah, Guest Curator, Newark Museum and Art History PhD Candidate, CUNY Graduate Center; and Michelle J. Lanteri on March 8, 2018, in the University Art Gallery at 5:30 pm.

The exhibition's concept is an aesthetic contribution to the rethinking of DuBois's «double conciousness» theory that asserts that African - Americans are no longer relegated to looking at themselves through the eyes of others, but rather through their own gaze.

Selected from the artist's estate and public as well as private collections, this exhibition provides the first occasion to view Rothko's contribution to early American modernism as a precursor to his unprecedented transition into abstraction.

The exhibition will address his «prodigious and penetrating contribution in the taboo subject of sexuality, portrayals thereof, and its indissociable link to the boundless promise conveyed by the cultural, material and economic bounty of post-war American society.»

The exhibition explores Long Island's contributions to each military engagement since the American Revolution.

As part of the larger project started in the early 80's with shows such as the Thin Black Line (1986) and Black Woman Time Now (1983) devised to highlight the contribution black artists have made to visual art in Britain, she has with Susan Walsh in collaboration with the Interpretation and Education Team at Tate Liverpool, produced and distributed Open Sesame (2005) and The Point of Collection (2007) These are two DVD / text research documents which examine and reveal the contribution made to the exhibition education and collecting strategies at Tate in recent decades by artists of African, African / American, Asian and Caribbean descent.

The touring exhibition is called Solidary & Solitary and offers a new perspective on the critical contribution African American and African diaspora artists have made to the evolution of visual art from the 1940s to today.

Accompanying the exhibition will be an illustrated catalogue, designed by Lorraine Wild of Green Dragon Studio and featuring essays by Bohn - Spector, Mellon, Kenneth Allan (Seattle University, WA), and an introduction by Tosh Berman, reassessing Berman's significant contributions to the history of 20th century American art.

(Regrettably, Chase's nearly monochromatic 1905 portrait of Stieglitz, in the collection of the Beinecke Library at Yale University, was not included in the exhibition; this was a missed opportunity to explore their friendship and further emphasize Chase's contribution to American modernism.)

In a guide to intriguing art exhibitions nationwide, Judith Dobrzynski features the High Museum of Art's «Walker Evans: Depth of Field», a major international retrospective of Evans» work, including images taken of the American South during the Great Depression; the Denver Art Museum's «Women of Abstract Expression», celebrating the contributions of female artists who helped shape the movement in the 1940s and 1950s; the Met Breuer's «Unfinished: Thoughts Left Visible», the Museum's inaugural exhibition examining works that were never finished by the artists from the 15th century to today; the Asian Art Museum's «Emperors» Treasures: Chinese Art From the National Palace Museum, Taipei», and the Bowdoin College Museum of Art's «This Is a Portrait if I Say So: Identity in American Art, 1912 to Today.»

The exhibition explores all facets of Callahan's rich contribution to 20th - century American art from his earliest work made in Detroit during World War II, to photographs made in Chicago in the late 1940s and 1950s, to works made in Providence in the 1960s and 1970s, to his final pieces made during travels around the world in the later 1970s, 1980s, and 1990s.

The exhibition, on view September 15 — December 31st, will explore the contribution of Latin American women artists, as well as those of Latino and Chicano heritage in the United States to contemporary art.

«As the first exhibition to present a vision of Pop on the American continent as a whole, Pop América makes a critical contribution to understanding this artistic period and Latin America's rich artistic heritage.

The exhibition offers something for all viewers through the representation of familiar and lesser - known people and the contributions of African Americans to an American identity.

Featuring works by more than 120 artists, the exhibition explores the pioneering contributions to contemporary art of Latin American and Latina female artists.

Ralph Humphrey's exhibition at Gary Snyder Gallery illustrated his unique contribution to American abstract painting.

They added, «This exhibition is intended to be a platform to further their visibility, as well as to generate more inclusive conversations about the history of American abstraction that consider the accomplishments and contributions of women artists of color going forward.»

Born in 1958, Chicago, IL Recent locations include Los Angeles; New Orleans; Baja California, Mexico; San Juan Islands, British Columbia and Portland SOLO EXHIBITIONS 2011 Loose Lips Do Sink Ships, Laurel Gitlen, New York Sorry We're Closed, Brussels, Belgium (forthcoming) 2010 Timothy Taylor Gallery, London 2009 Galerie Laurent Godin, Paris Laurel Gitlen, New York Sorry We're Closed, Brussels, Belgium 2008 State of the Union, Small A Projects, Portland, OR 2007 White Columns, New York SELECTED GROUP EXHIBITIONS 2011 Sex Drive, Haverford College, Haverford, PA (curated by Stuart Horodner) 2010 Bienniale de Belleville, Paris 2009 Sign of the Times, Monique Meloche Gallery, Chicago Diabolique, Dunlop Art Gallery, Regina, Saskatchewan, Canada; Galerie de L'UQAM, Montreal, Canada; Military Museums, Calgary, Canada (curated by Amanda Cachia) Salvador Diaz Gallery, Madrid (curated by Rikrit Tiravanija) 2008 Say Goodbye To..., Clifford Gallery, Colgate University, Hamilton, NY 2008 Altoids Award, The New Museum of Contemporary Art, New York Ambivalent Figuration, Samson Projects, Boston, MA 2007 Memorial to the Iraq War, ICA London (with Harrell Fletcher) BIBLIOGRAPHY Free Speech Zone: Michael Patterson - Carver, monograph edited by Harrell Fletcher, with contributions by Fletcher, Matthew Higgs, and an introduction by Michael Patterson - Carver, (London: Four Corners Books, 2010) Cachia, Amanda, Diabolique, exhibition catalogue, (Dunlop Art Gallery, 2009) Dexter, Emma, «Michael Patterson - Carver» in 60: Innovators Shaping Our Creative Future, edited by Lucas Dietrich, (London: Thames and Hudson, 2009) «Michael Patterson - Carver,» (review) The New Yorker, October 19, 2009 Anne Doran, «Michael Patterson - Carver,» (review) Time Out New York issue 732, October 8 - 14, 2009 Sanders, Gabriel, «Trader Joe's Treasure,» The Forward, July 2008 Yim, Su - jin, «Political Artist Moves in Higher Circles» (Michael Patterson - Carver), The Oregonian, April 2008 Vogel, Carol, «Inside Art: Altoids Award» (Michael Patterson - Carver), New York Times, March 2008 Yim, Su - jin, «An Artist, Discovered» (Michael Patterson - Carver), The Oregonian, August 2007 PUBLIC COLLECTIONS American Folk Art Museum, New York City of Paris Permanent Collection FRAC Bretagne, Châteaugiron, France Museum of Everything, LondTo..., Clifford Gallery, Colgate University, Hamilton, NY 2008 Altoids Award, The New Museum of Contemporary Art, New York Ambivalent Figuration, Samson Projects, Boston, MA 2007 Memorial to the Iraq War, ICA London (with Harrell Fletcher) BIBLIOGRAPHY Free Speech Zone: Michael Patterson - Carver, monograph edited by Harrell Fletcher, with contributions by Fletcher, Matthew Higgs, and an introduction by Michael Patterson - Carver, (London: Four Corners Books, 2010) Cachia, Amanda, Diabolique, exhibition catalogue, (Dunlop Art Gallery, 2009) Dexter, Emma, «Michael Patterson - Carver» in 60: Innovators Shaping Our Creative Future, edited by Lucas Dietrich, (London: Thames and Hudson, 2009) «Michael Patterson - Carver,» (review) The New Yorker, October 19, 2009 Anne Doran, «Michael Patterson - Carver,» (review) Time Out New York issue 732, October 8 - 14, 2009 Sanders, Gabriel, «Trader Joe's Treasure,» The Forward, July 2008 Yim, Su - jin, «Political Artist Moves in Higher Circles» (Michael Patterson - Carver), The Oregonian, April 2008 Vogel, Carol, «Inside Art: Altoids Award» (Michael Patterson - Carver), New York Times, March 2008 Yim, Su - jin, «An Artist, Discovered» (Michael Patterson - Carver), The Oregonian, August 2007 PUBLIC COLLECTIONS American Folk Art Museum, New York City of Paris Permanent Collection FRAC Bretagne, Châteaugiron, France Museum of Everything, Londto the Iraq War, ICA London (with Harrell Fletcher) BIBLIOGRAPHY Free Speech Zone: Michael Patterson - Carver, monograph edited by Harrell Fletcher, with contributions by Fletcher, Matthew Higgs, and an introduction by Michael Patterson - Carver, (London: Four Corners Books, 2010) Cachia, Amanda, Diabolique, exhibition catalogue, (Dunlop Art Gallery, 2009) Dexter, Emma, «Michael Patterson - Carver» in 60: Innovators Shaping Our Creative Future, edited by Lucas Dietrich, (London: Thames and Hudson, 2009) «Michael Patterson - Carver,» (review) The New Yorker, October 19, 2009 Anne Doran, «Michael Patterson - Carver,» (review) Time Out New York issue 732, October 8 - 14, 2009 Sanders, Gabriel, «Trader Joe's Treasure,» The Forward, July 2008 Yim, Su - jin, «Political Artist Moves in Higher Circles» (Michael Patterson - Carver), The Oregonian, April 2008 Vogel, Carol, «Inside Art: Altoids Award» (Michael Patterson - Carver), New York Times, March 2008 Yim, Su - jin, «An Artist, Discovered» (Michael Patterson - Carver), The Oregonian, August 2007 PUBLIC COLLECTIONS American Folk Art Museum, New York City of Paris Permanent Collection FRAC Bretagne, Châteaugiron, France Museum of Everything, London

Through Fractured Atlas you can make a tax - deductible contribution to American Abstract Artists to help fund its programs and exhibitions.

As part of «Pacific Standard Time: LA / LA», an ambitious exploration of Latin American and Latino Art in dialogue with Los Angeles that spans across more than 70 cultural institutions throughout Southern California, this groundbreaking exhibition will address an art historical vacuum that has omitted these women from the international record, reappraising their contributions to global contemporary art.

One of Hammons» contributions to the exhibition was African - American Flag flying in the courtyard of the Museumplein for the duration of the show.

Through NAWA's exhibitions, educational programs, events and archive, the Association fosters awareness of the monumental contribution of women to the history of American Culture and Art.

In this issue of Stedelijk Studies, the preference for the «riff» is clear, both in the contribution of Francesco Spampianato (on the reenactment of The Times Square Show in 2014) and that of Jennifer McComas, (on the reenactment of Advancing American Art in 2012).14 The added value of remembering exhibitions, as well as the appreciation for them, is not so much concerned with their celebrating function, but relates to the way in which they contribute to our knowledge about the past in relation to the present.

«Magnetic Fields is an important and relevant project at a time when the art world is at last recognizing the contributions of women artists to the key moments in American art,» notes Lowery Stokes Sims, curator emerita, Museum of Arts and Design, and contributing author to the exhibition catalogue.

Particular attention by the English critics and the public was devoted to the work of the more recent Avant - garde of American painters included in this exhibition, which was widely held to be considered America's most distinctive contribution to contemporary art.

«This exhibition is intended to be a platform to further their visibility, as well as to generate more inclusive conversations about the history of American abstraction that consider the accomplishments and contributions of women artists of color going forward.»

Organized by the Pennsylvania Academy of Fine Arts, this exhibition is the second stop on a three city tour.More than one hundred pieces, from paintings to sculptures are included in this exhibition of the career and life of the artist Henry O. Tanner (1859 - 1937)- including Tanner's upbringing in Philadelphia in the years after the Civil War, the artist's success as an American expatriate artist at the highest levels of the International art world at the turn of the 20th century; Tanner's role as a leader of an artist's colony in the rural France and his unique contributions in aid of American servicemen to the Red Cross efforts in WWI France and his modernist invigoration of religious painting deeply rooted in his own faith.

ONE OF EIGHTY - SOME EXHIBITIONS in the Getty Foundation's Pacific Standard Time: LA / LA initiative, «Radical Women: Latin American Art, 1960 — 1985» explicitly endeavored, as curators Cecilia Fajardo - Hill and Andrea Giunta put it, «to write a new chapter in twentieth - century art history» by correcting the field's long - standing obfuscation of women artists» contributions.

This wide - ranging, belated exhibition brings with it recognition of many of the artists, black and white, whose contribution to American art has so often been overshadowed, sidelined and ignored.

Alexander Gray Associates was pleased to present its third individual exhibition with Luis Camnitzer, whose contributions since the 1960s to the development of Latin American contemporary art and international Conceptual Art have garnered significant recognition in recent years.

In addition to contributions by the directors of the Museum Ludwig and ARoS — Yilmaz Dziewior and Erlend G. Høyersten — the authors include Tom Holert, distinguished German art historian, taking an in - depth look at Rosenquist's unique spatiality; Stephan Diederich, curator and specialist at Museum Ludwig, giving a review of the themes in the exhibition; Sarah Bancroft, art historian, curator, and Rosenquist expert who co-curated the 2003 Guggenheim Museum Rosenquist retrospective (and current head of the Rosenquist Foundation and the studio) illuminates Rosenquist's seminal source collages; Tino Grass, German designer and researcher, revealing new perspectives on Rosenquist's historic work F - 111; Isabel Gebhardt, Museum Ludwig conservator, outlining the intensive research efforts and conservation work recently undertaken on Horse Blinders; and Tim Griffin, former editor - in - chief of the esteemed American art journal Artforum, discussing the political potential of Pop art as exemplified by a work James Rosenquist created for one of the magazine's issues.

An essay by curator Karen Wilkin — who worked closely with Frankenthaler in the curation of this exhibition, and who has worked with the painter extensively for decades — sheds new light on the painter's tremendous contribution to American art during the last half - century.

This is the first exhibition to explore the groundbreaking contributions to contemporary art of Latin American and Latina women artists during a period of extraordinary conceptual and aesthetic experimentation.