Sentences with phrase «as the exhibition unfolds»

As the exhibition unfolds, the show is spontaneously transformed through a series of artist interventions.

Not exact matches

«The story unfolds first as an adventure, later as a mystery, then as near tragedy as this artist kept her work to herself, and finally as something of a triumph, as exhibitions of her work have been selling out throughout the world.»

This is the exhibition's only horizontally aligned canvas and the picture plane here appears to unfold, recalling the unraveling motion of Chinese and Japanese scroll painting and — as indicated by the work's title and emphasized by its green hues — the undulation of waves.

This two - person exhibition is the culmination of an unfolding visual dialogue between artists Iva Gueorguieva and Julie Weitz, as each considers the relationship between time, body and painting.

2013 Art Public: Only One Like You, curated by Nicolas Baume, Art Basel Miami Beach, Miami Beach, FL Pataphysics (A Theoretical Exhibition), Sean Kelly Gallery, New York, NY Body is Present, Berrie Center for Performing and Visual Arts, Ramapo College, NJ Hold on Her, (performance), Cleveland Museum of Art, Cleveland, OH All Good Things, SOMA Arts, San Francisco, CA Remainder, curated by Lauren Ross, Philbrook Museum of Art, Tulsa, Oklahoma The Lobby Project, City Center, New York, NY Sisyphus: Heroism of the Absurd, Arte Actual, Quito, Ecuador If Color, then also Dimension; If Flatness, then Texture, etc., LMCC at Governor's Island, New York, NY Object Focus: The Bowl, Museum of Contemporary Craft, Portland, OR Paint Things: Beyond the Stretcher, Decordova Sculpture Park and Museum, Lincoln, MA In Praise of Chance and Failure, Family Business, New York, NY There Is No Place Like Home, Paul Robeson Galleries, Rutgers, Newark, NJ Only as Signal Show, Southern Exposure, San Francisco, CA No Sun Without Shadow, Lu Magnus, New York, NY Unfolding Tales: Selections from the Contemporary Collection, Brooklyn Museum, Brooklyn, NY

All of the works in this exhibition reflect the realities of how life unfolds: looking forward, but through tinted glass revealing as much about what's behind as what could lie ahead.

Since 2001, I have structured my work as if it were a book of paintings with evolving chapters: the story unfolds via the exhibition situations, the past work, the paintings themselves, and the viewer's place before them.

Crimps Memoirs serve as the departure point for an exhibition that Christopher Müller organized — in close collaboration with Crimp himself — and that unfolds Crimp's perspective on a half century of mutual exchange and tension between artistic and subcultural practices.

Both shows discard the chronological arrangement of «Stella Since 1970,» the landmark 1978 exhibition at MoMA, with its insistence on the unfolding logic of late modern art, as a kind of «science marches on.»

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquExhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquexhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquExhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

At the entrance to the gallery, a massive crochet structure engulfs the main space and invites the viewer to wander through it, as the exhibition slowly unfolds beyond the knitted net.

Within this exhibition, these acts are positioned as ongoing movements and processes of inscription, which never totally unfold.

As this exhibition proves, he never ceased to work with exuberance and innovation, though the twists and turns of his journey are as subtle as the unfolding of a meditatioAs this exhibition proves, he never ceased to work with exuberance and innovation, though the twists and turns of his journey are as subtle as the unfolding of a meditatioas subtle as the unfolding of a meditatioas the unfolding of a meditation.

About eighteen trucks were custom - designed to serve as mobile galleries traveling to each location, where they will unfold to reveal exhibition space.

In her autobiography, which is published in paperback by Tate Publishing this September, Kusama describes her first exhibition: «I debuted in New York with just five works - monochromatic and simple, yet complex, subconscious accumulations of microcosmic lights, in which the spatial universe unfolds as far as the eye can see.

13 Oct 2017 16 Sep 2018 Lennon, Porous Plane Porous Plane, a solo exhibition by Lennon, presents a range of work from the 1970s to the present which includes 1 / 3 / 92B, 1992, from the IMMA Collection and Folded / Unfolded MM 1972 (for Fiona), 2017, shown originally in Lennon's first solo exhibition at the Project Arts Centre, Dublin in 1972 and remade especially for the IMMA Galleries as part of this exhibition.

Given Coolquitt's fascination with the little design solutions that organically unfold both inside and outside the home, and the connection between art and environment, it is no wonder that Coolquitt seizes on the installation of his solo exhibition as a chance to forge a relationship between his sculptures and the gallery space.

The exhibition came together organically, and I hope it will unfold in a similar way for viewers as they spend time looking and walking around the objects.

He conceives his exhibitions as choreographed spaces that follow a script where a series of events unfold.

All of the projects, contributed by former Colab members and participants in the original Real Estate Show, take form through audience engagement, as Cuchifritos becomes a flexible site for the active processes unfolding throughout the duration of the exhibition.

Starting from the Roman expression, that serves and as the title of the exhibition, the artist through his canvas unfolds the contemporary history of the Mediterranean Sea that causes terror and awe, as it has been mutated to a huge wet cemetery that shallows souls, moral senses and especially the dream and the desire for a better future.

The catalogue presents Genzken's career, through essays exploring the unfolding of her practice from 1973 until today, as well as an expansive plate section that provides a chronological overview of all her most important bodies of work and key exhibitions.

The exhibition unfolds chronologically, showcasing the experimentation of each artist as, departing from the work of Lucio Fontana, these new generations developed a personal language at a critical moment of their artistic practice between the 60s and 70s.

Calder was interested in encompassing space through the unfolding of a work that can move around and above you and as the title of the exhibition suggests, perform in some way.»

Unfolding in the reconstructed FCCA library, the exhibition will reflect on how we gather research and build knowledge about culture, and on the library as a space for «slow» processes of contemplation and discovery.

She uses exhibition spaces as studios or laboratories where an experimental, itinerant, site - specific performed work can unfold, building improvised actions and choreographed movements.

Such a joint approach of production and theory transforms About Practice into a series of exhibitions focused on the notion of concept, its role and position in the artwork as an intrinsic consequence of constant activity that develops its own theory as it unfolds.

Porous Plane, a solo exhibition by Lennon, presents a range of work from the 1970s to the present which includes 1 / 3 / 92B, 1992, from the (External) IMMA Collection and Folded / Unfolded MM 1972 (for Fiona), 2017, shown originally in Lennon's first solo exhibition at the Project Arts Centre, Dublin in 1972 and remade especially for the IMMA Galleries as part of this exhibition.

What has unfolded as the exhibition developed is the relation to time embedded within Xavier's process.

Post Institutional Stress Disorder Post Institutional Stress Disorder (PISD) is a diagnosis that unfolds as a cumulative group exhibition throughout 2018.

An Extension of Us functions as a repository of objects, a set for action to unfold, the physical manifestation of past live events and an exhibition of its own rite.

Beyond the symbolic transactions, institutional protocols and disconnections between contemporary art and the discourse of art history, the exhibition suggests a territory where separate timelines converge, a vanishing point where they can be reconciled interpretively, a time, right after «the contemporary», when art and history, the present and its transcription as an art - historical past, unfold in simultaneity.

This patterning is used on multiple scales from paintings to immersive installations, which unfolds across exhibition spaces as meditative encounters.

NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) is pleased to present the first solo exhibition in Southeast Asia by sound artist and composer Tarek Atoui, conceived as a composition that unfolds in space with its unique sound library and instruments.

From his early multichannel video installation diamond sea, 1997, to his more recent performance - based works, such as SONG I, 2012/2015, the exhibition unfolds around the major moving - image installations that articulate Aitken's central subject matters, from catastrophic environmental depredation to unprecedented technological mediation; self - contained, decentralized communication; and the incursion of commerce into every aspect of our social relationships.

This exhibition focuses on work that creates a sequence of images that leads from one to another as a literal or an implied narration unfolds.

The Rose's exhibition included large - scale canvases like Love and Violence (1965)-- in which a man grabs a woman by the throat, while frames from a horror film unfold below against a blood - red background — as well as photo and video documentation from the 1960s through the 1980s of Drexler's theater pieces, which premiered at such avant - garde New York venues as the Judson Poets» Theater and Theater for the New City.

Taking «world making» as a starting point also allows the exhibition to highlight the fundamental importance of certain key artists for the creativity of successive generations, just as much as exploring new spaces for art to unfold outside the institutional context and beyond the expectations of the art market.»

Blum's recent exhibition, Paradise...... Lost, posits imaginary architecture as a network of thoughts — a shifting rainbow explosion unfolds spacially, compressing and expanding throughout the works, to highlight the thought process itself.

16 Nov 2017 The IMMA Collection presents Porous Plane, a solo exhibition by visual artist Lennon Now open at IMMA, a new exhibition by Lennon entitled Porous Plane, presents a range of work from the 1970s to the present which includes 1 / 3 / 92B, 1992, from the IMMA Collection and Folded / Unfolded MM 1972 (for Fiona), 2017, shown originally in Lennon's first solo exhibition at the Project Arts Centre, Dublin in 1972 and remade especially for the IMMA Galleries as part of this exhibition.

Published to accompany the 2008 Deutsche Guggenheim survey curated by American artist Collier Schorr, Freeway Balconies unfolds more as an artist's book than a straightforward exhibition catalogue.

The relationship continues to unfold within the exhibition space as well.

Most paintings in the exhibition employ two or three colors interacting visually on five sides to produce a single image that unfolds as the viewer shifts position.

Mirza describes the works in the exhibition as «unfolding compositions in time» with each installation generating a seemingly cyclical and distinct field of sound often in the same tempo and key.

The first section of the exhibition is a transitional area that appears the most like a traditional museum exhibition; however, the space then unfolds as a private living space and outdoor scene complete with a tree house.

As the show nears its close on January 24 before traveling to the Hammer, we have the opportunity to examine the programming that has unfolded since its opening on October 10, and to consider how the exhibition has donned the hat of, and made space for, both teacher and student.

KIMSOOJA Unfolding is the first retrospective exhibition to assess the thirty - year career of the Korean - born, Paris - and New York - based artist, whose powerful and provocative work has earned her a prominent position as one of the most innovative artists working today.

His first exhibition in Turin» Dopo» unfolds inside the Fondazione Merz gallery spaces, is conceived as a total installation, a choral narrative addressing individual and collective memory, entwining the past with the present, urging unattended promises, recombining History with each individual's life.

The exhibition will unfold on three storeys of the 18th century palazzo — the ground floor and the two main ones — and include photographic and film works, as well as spatial settings and loans from private and public collections.

Since the very idea of a «psychedelic art» is tenuous, the exhibition does not propose a canonical presentation, but attempts to establish a series of artist experiments that relate to the many «plateaux» of the psychedelic, and its multiple histories as they unfolded in particular cultural contexts in Europe, Scandinavia, Latin America and Japan.