Sentences with phrase «artists in the exhibition not»

The artists in this exhibition not only seek to respond to the forms that mass media has taken since it arose in the 20th century, but also portray how our participation in mass culture and mass communication influences a mass collective subjectivity.

Artists in the exhibition not only explore the diversity in modes of representation, but also the vastness of issues and topics that have risen in the larger social / historical conversation.

Not exact matches

CAPE shares arts integration work by students, teachers, artists, staff and researchers in many formats, including but not limited to: exhibitions, websites, published articles, workshops, whole school events, and / or conference presentations.

Not content with simple rail travel, the Maputo Railway Station also plays an important part in the community as a place for local artists to display their works in exhibition spaces dotted throughout the building.

Barcelona's Joan Miró Foundation has managed to become a major point of reference in the world art scene and offers its visitors not only the greatest and most complete single collection of Miró's work but also a pioneering exhibition space named Espai 13, which stimulates research and experimentation among young artists and offers impressive exhibitions of contemporary experimental and avant - garde artists.

The fund does not award grants to individual artists but to art venues and curators featuring works by Turkish artists in their exhibitions.

«The art must be able to leave the DRC,» writes the exhibition's curator, Ruba Katrib, in a recent Sternberg Press monograph on CATPC, «even if the artists can't.»

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.

Ostensibly depicting scenes from everyday life — a windswept walk along beach, the artist's daughter, dancing, sewing or putting on a shoe — the works in this exhibition alert us to the endless nuance of bodily expression and the myriad ways in which we reveal ourselves and communicate emotion, such as happiness, sadness, confidence, doubt or even distraction, consciously or not.

I explained to the artist in an e-mail that I didn't «have any specific exhibition project in mind, but just want to have an opportunity to learn more about your practice.»

These issues are hardly confined to race, of course — curators of exhibitions on gender, nationality, and other aspects of identity routinely encounter artists who decline to participate because they don't want to be considered in the context of «women artists,» «Jewish artists,» and so on.

Elsewhere in their bylaws, the Hansa stipulated that artists should produce artwork worthy of exhibition, «to guarantee that the group membership shall be of active and productive artists and not of «riders» whose principal motive for joining the group might be social.»

The Swiss artist creates wall drawings that span entire galleries, and in this exhibition he reacts not only to the space but also to the art on display.

Partially in response to an exhibition at the Jewish Museum, Artists of the New York School: Second Generation (1957), organized by Meyer Schapiro, which included twenty - three artists, not one of them affiliated with the Tanager, gallery members at the Tanager spent five years developing what they envisioned as their own New York project, a series of five two - week exhibitions organized around five themes: Old Masters, nature departed, natured observed, paint, and personal mytArtists of the New York School: Second Generation (1957), organized by Meyer Schapiro, which included twenty - three artists, not one of them affiliated with the Tanager, gallery members at the Tanager spent five years developing what they envisioned as their own New York project, a series of five two - week exhibitions organized around five themes: Old Masters, nature departed, natured observed, paint, and personal mytartists, not one of them affiliated with the Tanager, gallery members at the Tanager spent five years developing what they envisioned as their own New York project, a series of five two - week exhibitions organized around five themes: Old Masters, nature departed, natured observed, paint, and personal mythology.

For any art historian interested in Nicolas Poussin but not a devotee of the interpretative literature, visiting this exhibition, which marks the 305th year since the artist's death in 1665, might be puzzling.

The inaugural exhibition for Lisson Gallery Milan, «I Know About Creative Block And I Know Not To Call It By Name» (16 September — 5 November 2011), explored the ebb and flow of the creative process; the stumbling blocks artists face in their daily practice; the ideas hidden in distraction, detours and seemingly unproductive pursuits.

In the introduction to her much - needed and admirable exhibition Black Paintings at Haus der Kunst, Munich (2006), Stephanie Rosenthal states that the creation of these paintings «revolve [d] around not being able to see (anything), or focus [ed] on the inwardly directed gaze of the viewer or on the artist's own existential state» (2).

The prize is open to women artists living and working in the United Kingdom who have not previously had a major solo survey exhibition.

The contemporary artists included in this exhibition do not represent or describe specific events, rather, they have created art that embodies the tensions and fears that are flooding our collective conscious on a daily basis.

Despite KAWS» global presence — including regular exhibitions in Tokyo and Hong Kong, plus an iconic float in the 2012 Thanksgiving Day parade and a redesign of the MTV VMA Moonman — the Brooklyn - based artist and designer hasn't had a proper solo exhibition locally in years.

The current exhibition at Gary Snyder — his first New York show in fourteen years — brought to mind the refrain that has been repeated since the artist died, not yet sixty, more than twenty years ago: a museum really ought to do his retrospective.

We are one of the few local institutions that commissions new works by artists, paying particular attention to artists of note who have not had a significant exhibition in the Southeast.

The only artist in this exhibition that I don't know is Frank Stella, but I knew his work, and Ralph Humphrey was an artist that I met a few times.

Labor intensive doesn't begin to describe the technique New York - based artist Stephen Dean uses to create the large - scale «Crossword» watercolor compositions featured in this exhibition of recent works.

For the interview published in the May / June 2013 issue of Art New England (available online here) Miler depicts Lemieux in the studio preparing an exhibition of works that homage her artistic heroes — artists who share an approach that Lemieux describes as «the conceptual, the playful, the «why not»?»

This is simply a wonderful exhibition and Alice Neel an exceptional artist - a master painter with a sense of compostion and an empathetic, but never ingratiating view of humanity» (Dagens Nyheter); «This is such a show that I did not know how long in advance I longed for.

Curated by Maura Reilly, Richard Bell: I Am Not Sorry is the first exhibition in the U.S. to survey the work of this controversial Aboriginal artist.

This exhibition focuses on four artists, Jeffrey Gibson, Hilary Harnischfeger, Joel Otterson, Lisa Sanditz not traditionally trained in ceramics, but who may incorporate clay into their respective practices / works.

The artist's work has been featured in recent group shows at the Stedelijk Museum voor Actuele Kunst (SMAK) in Ghent (2010), Palazzo Saluzzo Paesana in Turin (2012), The Metropolitan Museum of Art (2012), Museum of Contemporary Art in Los Angeles (2013), The Moving Museum in Dubai (2013) as well as in «Love Me / Love Me Not: Contemporary Art from Azerbaijan and Its Neighbors» at the 55th International Art Exhibition — Venice Biennale (2013).

The editorial staff at New American Paintings have put together a list of more than 40 of the top painting exhibitions on view at private galleries across the country in January — from New York to Houston, Los Angeles to Chicago, Miami, and more — including several shows from artists previously included in New American Paintings and featuring more than 30 notable and not - to - be-missed shows from across the country.

Group exhibitions include: «GENERATION: 25 Years of Contemporary Art in Scotland», Scottish National Gallery of Modern Art, Edinburgh (2014); «A Picture Show», Gallery of Modern Art, Glasgow (2013); «Studio 58: Women Artists in Glasgow Since WWII», Mackintosh Museum, The Glasgow School of Art (2012); «Edge of the Real», The Whitechapel Gallery, London (2004); «Painting Not Painting», Tate St. Ives, Cornwall (2003); and «Matisse and Beyond», San Francisco Museum of Modern Art, San Francisco (2003).

While Biala does not participate in the exhibition, critic Hilton Kramer of The New York Times notes her obvious absence: ``... why, by the way, is Biala, a serious artist, not represented by some paintings in the show?»

The site of Pindell's first major exhibition in 1972, the Spelman Museum in those years was not the sprawling 4,500 - square - foot institution that it is now, and Pindell had not been established as the great artist, gallery director, curator, educator, -LSB-.....]

«Redstone's practice,» explains Professor Jenni Sorkin in a text that accompanies the exhibition, «has developed largely abroad, and in semi-isolation, not unlike Maria Nordman (b. 1943), who is the same generation, and Jo Baer (b. 1929), the minimalist painter - turned - public artist.

Fellowships, Awards and Residencies Honorable Mention Award, «Not a Box: Installation Exhibit» Juror: Alex Paik, Art League Gallery, Alexandria VA, July 2016 Artists and Scholars Project Grant, Arts and Humanities Council of Montgomery County MD, 2016 Artist in Residency, Palette 22, Arlington, VA, 2016 Pyramid Atlantic Art Center Juried Member's Exhibition, April 2015, Second Place Denbo Fellowship, Pyramid Atlantic Arts Center, April 2014 Pyramid Atlantic Juried Member's Exhibition, April 2014, Second Place

In interviews related to the exhibition, the artist emphasized that the photographs were shot not with an expectation to be viewed by the public, but rather as a reflection of everyday life and its sense and sensibilities.

It may or may not have started with artist and choreographer Simone Forti's inclusion as one of the «Made in L.A.» finalists (the Hammer Museum's mega-group exhibition - cum - contest from last summer), but the upcoming «Dancing with the Art World» conference (again at the Hammer) clinches the deal — two days of lectures and events with -LSB-.....]

In Europe, we see a lot of musicians and artists from Africa, but it's my impression that there are not many ambitious exhibitions by European artists in AfricIn Europe, we see a lot of musicians and artists from Africa, but it's my impression that there are not many ambitious exhibitions by European artists in Africin Africa.

«The Armory provides a unique space for artists and curators to mount exhibitions that could not be done anywhere else in New York City.

The exhibition includes Simmons's first chalk drawings on blackboards done in the artist's «erasure» technique along with sculptures, paintings, photographs and a 1992 wall drawing not seen since it's first presentation at the Drawing Center.

Invisible Adversaries was chosen as a touchstone for the exhibition because the condition it describes, where a hostile force (what EXPORT in her film describes as «Hyksos») circles around the protagonist and also infiltrates her mind, connects with the ways artists approach their adversaries: not as obvious enemies to overthrow but as complex relationships that are a profound part of our history and personal lives.

My use of the term Lyrical Abstraction is not meant to refer to Larry Aldrich's maligned exhibition at the Whitney Museum, but to the new sensibility and phenomenon of what Aldrich actually observed in the artist studios that he visited in the late sixties.

With this in mind, the top floor of the exhibition serves as a masterful stroke of curating, showing a number of mid-20th century canvases by the artist that serve not only to chart his evolution and development of his immediately recognizable painterly themes, but also to invite a striking comparison to the artist's compatriots.

The editorial staff at New American Paintings have put together a list of more than 40 of the top painting exhibitions on view at private galleries across the country this month — from New York to Los Angeles, Chicago to Miami, and more — including more than a dozen shows from artists previously included in New American Paintings and featuring dozens of notable and not - to - be-missed shows from across the country.

SKG artist Phyllis Galembo's work is featured in Opalka Gallery's upcoming group exhibition, Effects That Aren't Special: The 40th Photography Regional opening on March 15.

«The exhibition John Graham: Maverick Modernist at the Parrish Art Museum in Water Mill, Long Island, is a unique opportunity to explore the work of an artist who has hovered on the margins of the Modernist narrative for more than a half - century, when he isn't forgotten altogether... Maverick Modernist takes a deep dive into Graham's background as an artist, a career he began in earnest when, at the age of 35, he enrolled in the class of the Ashcan School painter John Sloan at the Art Students League in New York City.»

EXHIBITION «Hands Up, Don't Shoot: Artists Respond,» a direct response to the Michael Brown killing organized by the Alliance of Black Gallery owners opens in and around St. Louis on Oct. 17 at 14 venues.

Not every exhibition begins with an artist's student work, much less in nursery school.

SELECTED GROUP EXHIBITIONS 2008 for what you are about to receive, Gagosian Gallery c / o Red October, Moscow Oranges and Sardines: Conversations on Abstract Painting with Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool, curated by Gary Garrels, Hammer Museum, Los Angeles, CA Painting Now and Forever: Part II, Matthew Marks Gallery and Greene Naftali Gallery, New York Not So Subtle Subtitle, curated by Matthew Brannon, Casey Kaplan Gallery, New York That social space between speaking and meaning, by Fia Backstorm, White Columns, New York God is Design, curated by Neville Wakefiled, Galerie Fortes Vilaca, San Paulo A New High in Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Berlin Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, BerlIn Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Berlin

If you didn't see those exhibitions last year, then you really must not miss «Soul of a Nation: Art in the Age of Black Power,» works by 60 of America's finest African - America artists from the 1960s to the 1980s.