Sentences with phrase «as the exhibition illustrates»

As this exhibition illustrates, however, contemporary painters in fact continue to break new aesthetic ground and are not burdened by the weight of painting's history.

Not exact matches

Following her own philosophy, she called on everyone to submit ideas that illustrate solutions to her for inclusion in Broken Nature, as the exhibition is still a work in progress.

Signed as a schoolboy at the age of 14, Beckham's career journey is illustrated in this exhibition and includes some of his medals and commemorative shirts.

Cooke said: «Qatar has consistently illustrated its meetings, incentives and conferencing and exhibitions credentials in recent years, and it is no surprise our voters have once again recognised the destination as the best in the world.

Artist Walead Beshty, who authored the essay for the exhibition's illustrated catalogue, explains, «Just as the ritual object accrues meaning incrementally and over time through a repetitive process of investment and stewardship, DeFeo came to favor producing paintings through a process of slow accumulation in lieu of the explosive and loose gestural compositions that were common at the time.»

To accompany the exhibition, a fully illustrated catalogue was published, including texts by writers John Banville and Richard Bradford, as well as Larkin poetry (Other Criteria / Gagosian Gallery, 2007).

Body and Matter is accompanied by a fully - illustrated exhibition catalogue, Body and Matter: Kazuo Shiraga Satoru Hoshino, featuring poetic writings by both artists as well as original essays by curator Koichi Kawasaki and noted art historian John Rajchman.

The impressive program of exhibitions at Gagosian Gallery often including loans and illustrated catalogues, as was done for this special event, are first and foremost concerned with supporting the artists they represent.

The exhibition also featured two illustrated artists» letters by Edouard Manet (1832 — 1883) and Vincent van Gogh (1853 — 1890) as well as approximately forty oil sketches on paper by European artists of the late - eighteenth to mid-nineteenth centuries.

Returning to the years immediately following his move to New York City in 1958, the exhibition illustrates the ways Dine incorporated household objects ---- often loaded with autobiographical import ---- into his paintings and sculptures as extensions of and metaphors for the human body.

A beautiful, fully illustrated catalogue of the exhibition featuring essays by its curators and guest scholars, as well as entries on all the artists in the exhibition, is available now.

Compiled and edited by exhibition curator Jason Andrew, the catalogue also features an essay by the curator; two unpublished interviews with Tworkov and Irving Sandler; a reprint of the 1953 Art News article Tworkov Paints a Picture with essay by Fairfield Porter and photographs by Rudolph Burckhardt; historic photographs and unpublished contact sheets by Robert Rauschenberg of Tworkov at Black Mountain College 1952; as well as illustrated artist chronology.

A fully illustrated catalogue features texts by Byers, Claire Bishop, Lynne Cooke, and Ingrid Schaffner, as well as a historical compendium of influential 20th - century artworks and exhibitions that provide important precedent to the works in the exhibition.

Lévy Gorvy will also present an exhibition of Agnetti's work in New York in summer 2017, accompanied by an illustrated catalogue featuring new scholarships well as the artist's writings.

While portraiture has illustrated political and social circumstances throughout history, the artists in this exhibition try to transform portraiture into a genre that can hold its own weight amongst the innovations of the contemporary art world by using Neel's portraiture as inspiration means to address the complexities of personal identity.

A «catalogue raisonné» is a systematic and comprehensive scholarly reference text in which each work known to have been executed by a particular artist is illustrated, thoroughly documented and described, giving information such as title, alternative titles, date, medium, size, inscriptions, provenance, exhibition history, and publication history, and in which each work is assigned a permanent reference number.

As a follow - up to a major retrospective exhibition In Infinity with the Japanese artist Yayoi Kusama (b. 1929) the Louisiana Museum of Modern Art produced a new illustrated edition of Hans Christian Andersen's tale The Little Mermaid (1837).

Conceived as an illustrated lecture / essay - in - progress it is a part of a preliminary research in preparation for a 2017 - 18 UK touring exhibition on women artists and sound a

Each handsomely designed volume presents a thorough survey of the artist's life and work, as well as statements by the artist, an illustrated chapter on technique, a chronology, lists of exhibitions and public collections, an annotated bibliography, and an index.

... [while other images] celebrate Africa as a continent in which the geopolitical boundaries imposed by European colonial authorities were completely dissolved... [giving] artists the freedom to... borrow visual icons from any part of the continent... This exhibition has been organized with Pace Primitive, New York, and is accompanied by a fully - illustrated color catalogue with an essay by Dr. Nnamdi Elleh, Assistant Professor of Architecture History and Theory at the University of Cincinnati, Ohio.

It includes a reassessment of Rauschenberg's work as a sculptor by author and painter Mimi Thompson, an essay by Trisha Brown, an illustrated exhibition history, a preface by Philip Rylands and introduction by Susan Davidson that focuses on Rauschenberg's relationship to the Guggenheim and the artist's engagement with Venice in particular.

- The exhibitions are accompanied by a fully illustrated catalogue entitled Creating Ourselves, exhibition price: # 24.99 with essays by Glenn Adamson, Frances Borzello, Emily Butler, Nicholas Cullinan, Amelia Jones and Lydia Yee, as well as an interview between Iwona Blazwick and collector Maria Sukkar.

Following the exhibition, the gallery will publish a fully illustrated catalogue, which will include installation views as well as new scholarship by Akira Tatehata, Director of The Museum of Modern Art, Saitama and President of Kyoto City University of Arts.

We felt it was important to illustrate the ideational connection with artists whose work we are planning to show, such as Mark Rothko, who will have a large monograph exhibition in 2019, and Felix Gonzalez - Torres, this year's guest artist showing at the Theseus Temple.

A fully illustrated catalogue has been published in conjunction with the exhibition, presenting the original essays by Mel Bochner from 1967 and John Coplans from 1968, as well as a history and analysis of Serial Art by art historian Mark Gisbourne, commissioned specifically for the exhibition.

As with each exhibition at the gallery the show featured a fully illustrated catalogue with important essays.

But as illustrated by «Paul Klee: The Nature of Creation,» a new exhibition at the Hayward Gallery in London through April 1, there were many Klees.

The exhibition will be accompanied by an illustrated catalogue edited by curator Ellen Y. Tani and will serve as a significant contribution to the study of contemporary art, race theory, and disability studies, featuring contributions from Amanda Cachia, Joseph Grigely, Shaun Leonardo, Tony Lewis, Nyeema Morgan, and Gala Porras - Kim.

The Hunterian exhibition brings together a dozen paintings and drawings, as well as etchings and books, to illustrate the artistic context for the making of The Entombment.

New York, The Museum of Modern Art and The Art Institute of Chicago, Picasso: 75th Anniversary Exhibition, May - December 1957, p. 109 (illustrated in color as a frontispiece).

On view from June 21 to Sept. 6, 2015, the exhibition will trace Katz's unique artistic treatment of the landscape throughout the trajectory of his career, from his 1950s collages that use the environment as a setting for the human figure, to the artist's later works, which illustrate Katz's shift to landscape as the dominant subject.

Limited edition box set of 26 volumes published on the occassion of Andrea Rosen Gallery's 25 year anniversary, comprising 25 exhibition catalogues highlighting significant, curated group exhibitions, as well as a comprehensive index illustrating the gallery's complete exhibition history.

Through films, photographs, and original documentation made over the course of their relationship — as student and teacher, lovers and colleagues — the exhibition illustrates the artists» different approaches and considers the impact they had on each other's work.

On the occasion of Julian Charrière's first UK solo exhibition, Parasol unit has published a beautifully illustrated publication including images of all the works in this exhibition as well as other related works.

A fully illustrated, 262 page catalog in Chinese and English with text from all of the artists will accompany the exhibition as well as a complementary audio tour.

It will include an illustrated chronology with commentary as well as essays by Michel Martin, exhibition curator at the Musée national des beaux - arts du Québec, Kenneth Brummel and Yves Michaud, renowned French philosopher and author of many essays on Mitchell and Riopelle.

A fully illustrated catalog with an essay titled Elizabeth Osborne: Art as Experience by author and curator Judith Stein will accompany the exhibition.

A fully illustrated catalogue accompanies Donald Moffett: The Extravagant Vein, featuring essays by exhibition curator Valerie Cassel Oliver; Bill Arning, Director, Contemporary Arts Museum Houston; Douglas Crimp, Fanny Knapp Allen Professor of Art History at the University of Rochester; and Russell Ferguson, Chair of the Department of Art at the University of California, Los Angeles, as well as color reproductions, the artist's biography, and a bibliography.

The exhibition program includes one - person shows by gallery artists such as Vija Celmins, Bruce Conner, Alex Katz, Robert Mangold, Vera Molnar, Thomas Nozkowski, Edda Renouf and William Wegman, as well as thematic exhibitions that illustrate correspondences in the works of established 20th and 21st century artists.

Publication The exhibitions are accompanied by a fully - illustrated catalogue entitled Creating Ourselves, exhibition price: # 24.99 with essays by Glenn Adamson, Frances Borzello, Emily Butler, Nicholas Cullinan, Amelia Jones and Lydia Yee, as well as an interview between Iwona Blazwick and collector Maria Sukkar.

This exhibition features more than 120 brilliantly conceived watercolors produced by a French painter for what would eventually be published as an illustrated Bible.

Co-curated by gallery director Samantha Glaser and art advisor Esthella Provas, this exhibition illustrates the dominant and interwoven narratives of craft, tradition and conceptual rigor that position Guadalajara as one of Latin America's burgeoning art capitals.

A fully - illustrated book, published by Charta, will be produced in association with the exhibition with key texts by artists, writers, curators and poets such as Joan Didion, Lorrie Moore, Liam Gillick, Cory Doctorow, Philippe Parreno and Rachael Thomas.

The exhibition will be accompanied by a fully illustrated catalogue featuring short fictional narratives on individual photography by Vassar students and professors as well as artists.

The exhibition is accompanied by a fully illustrated publication that functions as a catalogue raisonné of the works on glass.

Accompanied by a generously illustrated catalogue with essays by Brandt, Joshua Takano Chambers - Letson, Alexandra Chang and Muna Tseng, the Grey Art Gallery exhibition makes a strong case for Tseng's photography - based performances as an essential critical intervention in the historical representation of the Asian «other» in the West — and one that is rooted in an interventionist queer practice.

The British artist David Hockney has painted tree tunnels as a theme, [3] as especially illustrated at a 2012 solo exhibition of his work at the Royal Academy in London, England.

During the late 1960s, Guston became frustrated with the limitations of abstraction and returned to figurative painting, amassing a potent language of motifs whose roots can be seen in the forms and shapes of Traveler III, and illustrating what Christoph Schreier refers to as subcutaneous figuration.2 Following his 1966 exhibition at the Jewish Museum in New York, Guston relocated to Woodstock, New York, embarking on what would become a two - year hiatus from painting.

The Artist as Curator: An Anthology, born out of a series of essays originally published in Mousse, surveys seminal examples of such artist - curated exhibitions from the postwar to the present, examined by the world's foremost curators and illustrated with rare documents and illustrations.

The exhibition includes Turner's first exhibited oil, Fisherman at Sea, 1796, along with two 200 - year diagrams, which the artist created to illustrate his lectures as Professor of Perspective at the Royal Academy.