Sentences with phrase «crafts exhibition by»

On May 23, focus will be on the talents and ingenuity of pupils and students as the state host the Science, Arts and Crafts Exhibition by Junior and Senior Secondary Schools across the State.

Not exact matches

You can stroll along the lovely, flag - stoned streets of this seafaring town, visit the beautifully refurbished Pier Arts Centre with exhibitions by local and international artists, and / or explore the craft shops selling local knitwear, pottery and artwork.

«Throughout this year's exhibition, G - scale locomotives hum along almost a half - mile of track alongside replicas of New York landmarks, artistically crafted of natural materials such as bark, twigs, stems, fruits, seeds and pine cones by designer Paul Busse's team at Applied Imagination,» the Garden says.

Created by Philip J. Romano in 1996, Eatzi's Market & Bakery is a European style market featuring chef - crafted meals prepared from scratch in an open, exhibition kitchen.

Their stay is anything but enjoyable: They are shunned by the regular animal performers, including Gia the Jaguar (Jessica Chastain), Stephano the Sea Lion (Short) and the morose Russian Tiger, Vitaly (Cranston) and instead of being a well - crafted, talented, artistic traveling European exhibition; this circus is boring and dismal.

This exhibition seeks to redress this gap in the history of American art through an exploration of Schapiro's signature femmages, the term she coined to describe her distinctive hybrid of painting and collage inspired by women's domestic arts and crafts and the feminist critique of the hierarchy of art and craft.

LOS ANGELES — The Craft & Folk Art Museum (CAFAM) presents Paperworks, an exhibition that examines the range of work by fifteen contemporary artists with strong ties to Los Angeles who use paper as their primary medium.

Children's Museum of the Arts is pleased to announce Maker, Maker, a group exhibition curated by Paul Laster and Renée Riccardo that explores the recent explosion of D.I.Y. Maker culture and the expanding relationship between fine art and craft.

This juried exhibition will provide a rare opportunity for PNCA and the broader Portland cultural community to see the scope of contemporary art, craft, and design by alumni from PNCA's Bachelor of Fine Arts, Master of Fine Arts, and Continuing Education certificate programs.

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

2010 Size Does Matter, FLAG Art Foundation, New York, USA Passion Fruits, Collectors Room, Berlin, Germany The Global Africa Project Exhibition, Museum of Arts and Design, New York, USA Personal Identities: Contemporary Portraits, Sonoma State University Art Gallery, Sonoma, USA Pattern ID, Akron Art Museum, Akron, Ohio, USA Wild Thing, Roberts & Tilton, Culver City, USA Summer Surprises, Pennsylvania Academy of the Fine Arts, Philadelphia, USA Individual to Icon: Portraits of the Famous and Almost Famous from Folk Art to Facebook, Plains Art Museum, Fargo, USA The Library of Babel / In and Out of Place, 176 Zabludowicz Collection, London, England Searching for the Heart of Black Identity: Art and the Contemporary African American Experience, Kentucky Museum of Art and Craft, Louisville, USA The Gleaners: Contemporary Art from the Collection of Sarah and Jim Taylor, Victoria H. Myhren Gallery, Denver, USA From Then to Now: Masterworks Contemporary African American Art, Curated by Margo Ann Crutchfield, Museum of Contemporary Art, Cleveland, USA

Recent exhibitions he has curated include Deviance Begins At Home, a queer group exhibit in his own apartment, and World Of Queercraft, an examination of gender identity by textile and craft artists.

Both meta and playful, Carpet Rug embodies a key theme addressed by the exhibition: the ever - more - blurry distinctions between art, design, craft, commerce and value.

Mike Kelley Foundation Grants Ten Los Angeles nonprofits received grants from the Mike Kelley Foundation for the Arts, including the Underground Museum (to support videos and performances by Rodney McMillian, $ 45,000), Craft & Folk Art Museum (to present the first institutional solo show of Oakland - based artist Indira Allegra, $ 25,000), and the Museum of Latin American Art (to fund an exhibition documenting the history of printmaking in the Americas, $ 40,000).

Organized by P.S. 1 Director Alanna Heiss and P.S. 1 Senior Curator Carolyn Christov - Bakargiev, this exhibition maps LeWitt's art - making process, from preliminary drawings, followed by precisely crafted wooden models, to completed outdoor cinder block sculptures, with one work rising more than twenty - one feet high.

Research for this exhibition was supported by a Craft Research Fund grant from the Center for Craft.

[iv] In 1962, these woven forms were featured in a solo exhibition at the Art Institute of Chicago, and the following year, the Museum of Contemporary Crafts (later the American Craft Museum and now the Museum of Arts and Design) used her phrase for the title of a traveling exhibition, that included work by Tawney, Dorian Zachai, Claire Zeisler, Sheila Hicks, and Alice Adams.

In addition to this major exhibition, in January 2018 her work will be included in an exhibition, The Feminine Sublime, at the Pasadena Museum of California Art and a solo exhibition follows in September 2018 at the Craft and Folk Art Museum, curated by Howard Fox, which will feature a core sample of her work over the past 10 years.

Juried by Kate Lydon, director of exhibitions at the Society for Contemporary Craft.

Posted in Exhibition, Frohawk Two Feathers, Past Comments Off on RECRAFTING HISTORY: history, nostalgia & craft in the American memory, curated by Ellen Caldwell

Works by the three artists in the exhibition utilize materials traditionally associated with crafting rather than the traditionally recognized artistic fields of painting, sculpture etc..

The CraftTexas series, which is hugely popular with visitors, provides artists the unique opportunity to have their work seen by three established jurors and included in an exhibition that seeks to broaden the understanding of contemporary craft.

Organized by the Nasher's Associate Curator Catherine Craft, the exhibition will travel to other US museums and will be accompanied by a richly illustrated scholarly catalogue.

From finely crafted furniture to fine oil paintings, this exhibition is an eclectic mix of work from the Noyes Museum's Signature Artists, a group pre-selected by a jury of regional arts professionals.

The exhibition incorporates contemporary artworks, informed by earlier generations of women, which take a variety of forms — quilts, assemblage, hangings, embroidery on cloth and paper, among others — and that consciously blurs the art versus craft distinction.

Chris Natrop's hand - cut paper forest at the Craft & Folk Art Museum is part of the exhibition «Paperworks,» which features sculptures, collages and large - scale installations by 15 contemporary artists working in unusual ways with paper.

The «Paperworks» exhibition at the Craft and Folk Art Museum features sculptures, collages and large - scale installations by 15 contemporary artists working with paper in unusual ways.

This summer, Norte Maar will present the first annual Jay Invitational of Clay: an exhibition featuring an international selection of works in clay curated by Jackie Sabourin in collaboration with The Jay Craft Center (which celebrates its 40th year!).

This project would eventually culminate as an installation, accompanied by a hand drawn manual, in the group exhibition The Story of Six at the Appalachian Center for Craft in Smithville, Tennessee.

He participated in the recent Stop Asking: We Exist exhibition of African - American craft art at the Society for Contemporary Crafts in Pittsburgh and curated the popular and groundbreaking exhibition Uncommon Beauty in Common Objects: The Legacy of African American Craft Art that toured the United States in the mid-1990's organized by the National Afro - American Museum & Cultural Center in Wilberforcecraft art at the Society for Contemporary Crafts in Pittsburgh and curated the popular and groundbreaking exhibition Uncommon Beauty in Common Objects: The Legacy of African American Craft Art that toured the United States in the mid-1990's organized by the National Afro - American Museum & Cultural Center in WilberforceCraft Art that toured the United States in the mid-1990's organized by the National Afro - American Museum & Cultural Center in Wilberforce, OH.

Traveled to: Renwick Gallery, National Collection of Fine Arts, Smithsonian Institute, Washington, D.C.; Cooper - Hewitt Museum, New York, 1979 - 1980 «Art from Corporate Collections,» Union Carbide Corporation Gallery, New York, May 9 - 30 «Selections from the Collection of Mr. and Mrs. Eugene Schwartz,» Knoedler Gallery, October 31 - November 28 «Color Abstractions: Selections from the Museum of Fine Arts, Boston,» Federal Reserve Bank Display Area, November 2 - January 31, 1980 1980 «L'Amerique aux Independents,» 91e Exposition, Societe des Artistes, Grand Palais, Paris, March 13 - April 13 «The Washington Color School Revisited: The Sixties,» Fendrick Gallery, Washington, D.C., September 9 - October 4 «Washington Color Painters,» Milwaukee Art Center, September 1 - December 1981 «Paintings from the United States from the Museums of Washington, D.C.,» Institute of Fine Arts, Mexico City, November 18, 1980 - January 4 1982 «A Private Vision: Contemporary Art from the Graham Gund Collection,» Museum of Fine Arts, Boston, February 7 - April 4 «Papermaking U.S.A.: History, Process, Art,» American Craft Museum, New York, May 20 - September 26 «Out of the South: An Exhibition of Work by Artists Born in the South,» Heath Gallery, Atlanta, Georgia, October 1982 1983 «Early Works by Contemporary Masters: Caro, Francis, Frankenthaler, Gottlieb, Held, Louis, Noland, Olitski,» Andre Emmerich Gallery, New York, September 6 - October 8 «Tapestries: Contemporary Masters,» Malcolm Brown Gallery, Shaker Heights, Ohio, October 21 - November 30; New York, February 25 - March 7 «American Post-War Purism,» Marilyn Pearl Gallery, New York, May 31 «Recent Paintings by Kenneth Noland and Darby Bannard,» Douglas Drake Gallery, Kansas City, Missouri, June 1 - 30 «Arte Contemporaneo Norteamericans, Collection David Mirvish,» American Embassy in Madrid, January 1985 «Recent Acquisitions,» Museum of Modern Art, New York, February 16 - March 17 «Grand Compositions: Selections from the Collection of David Mirvish,» The Fort Worth Art Museum, Texas, May 1 «Contemporary Monotypes,» Edith C. Blum Art Institute, Bard College, Annandale - on - Hudson, May 8 - July 10 «Selections from the William J. Hokin Collection,» Museum of Contemporary Art, Chicago, April 20 - June 16 «American Abstract Painting,» Margo Leavin Gallery, Los Angeles, California, June 19 - August 24

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.

Presented in conjunction with CraftNow, a citywide exhibition devoted to expanding the boundaries of craft, art, and design, «Narrative Horizons» is a group show by three female artists who use craft techniques — or, depending on your perspective, craft artists who employ contemporary - art strategies.

by the Museum of Art and Design, NY (1999), received the Award of Merit from the Philadelphia Art Alliance (2002), was admitted to the Goldsmith's Hall of Fame (2004), received the Philadelphia Craft Medal from the Philadelphia Museum of Art (2006) and was honored by the Clay Studio with the exhibition A Passionate Observer: A Tribute to Helen Drutt (2009).

2018 Pageant of Inconceivables, Woodstock Byrdcliffe Guild Kleinert / James Center for the Arts, Woodstock, NY (forthcoming) Objects Like Us, part of the exhibition series The Domestic Plane: Tabletop Objects from Art and Craft, curated by Amy Smith - Stewart, the Aldrich Contemporary Art Museum, Ridgefield, CT 2017

However, the recent exhibition of Jess Jones» and Lillian Blades» work at Atlanta's Swan Coach House Gallery tosses all that patriarchal competitive comparison out the door by presenting the strength of their individual practices, as well as their shared interest in the history and procedures of craft.

Wilke has also participated in a large number of significant group exhibitions including the forthcoming exhibition Virginia Woolf: an exhibition based on her writing, Tate St Ives (2018); Delirious: Art at the Limits of Reason, 1950 - 1980, Met Breuer, New York (2017); Body Talk, Rose Art Museum, Waltham (2017); Feminist Avant - Garde of the 1970s, ZKM, Karlsruhe (2017), travelling to Stavanger Art Museum, Norway and The Brno House of Arts, Brno (2018); I Remember Not Remembering, Scottsdale Museum of Contemporary Art (2017); The Beguiling Siren is Thy Crest, Museum of Modern Art in Warsaw (2017); Performing for the Camera, Tate Modern, London (2016); Revolution in the Making: Abstract Sculpture by Women, 1947 - 2016, Hauser & Wirth & Schimmel, Los Angeles (2016); Americana: Formalizing Craft, Perez Art Museum, Miami (2013); Aquatopia: The Imaginary of the Ocean Deep, Nottingham Contemporary (2013); Human Nature, Los Angeles County Museum of Art (2012); Naked Before the Camera, Metropolitan Museum of Art, New York (2012); Elles: Women Artists from the Centre Pompidou, Seattle Art Museum (2012); The Body as Protest, Albertina Museum, Vienna (2012); Ourselves, Australian Centre for Contemporary Art, Melbourne (2012); The Original Copy: Photography of Sculpture, 1839 to Today, MoMA, New York and elles@centrepompidou, Centre Pompidou, Paris (2010).

The first large - scale project undertaken by the Michener in response to its expanded focus on collecting and presenting regional studio crafts, this exhibition explores the sculpted - bronze art furniture of the Bucks County, Pennsylvania artist (1931 — 87).

Pace London's first group exhibition exploring the legacy of Mingei, a Japanese folk craft movement led by philosopher and critic

Catalog from the «2nd Annual Texas Crafts Exhibition,» February 19 — March 12, 1950, at the Dallas Museum of Fine Arts in Dallas, Texas sponsored by the Crafts Guild of Dallas.

Both exhibitions emphasize the plural nature of feminist art: art made all over the world by women of all different nationalities, classes, and cultural and racial affiliations, and presumably identified with both the «essentialist» and the «constructionist» brands of feminist theory and politics, not to mention the many strategies of feminist art, from craft work to political exposé to canon - busting to the deconstruction of gender mythologies to body - centered investigations.

Pace London's first group exhibition exploring the legacy of Mingei, a Japanese folk craft movement led by philosopher and criticSōetsuYanagi, and featuring paintings, sculptures, ceramics, and textile works.

Catalog from the «4th Annual Texas Crafts Exhibition,» February 17 — March 9, 1952, sponsored by the Crafts Guild of Dallas at the Dallas Museum of Fine Arts in Dallas, Texas.

Her exhibition, «Social Paper: Hand Papermaking in the Context of Socially Engaged Art,» co-curated with Jessica Cochran, was funded by the Crafts Research Fund and the Clinton Hill Foundation, among others.

Catalog from the «5th Annual Texas Crafts Exhibition,» February 15 — March 8, 1953, sponsored by the Craft Guild of Dallas at the Dallas Museum of Fine Arts in Dallas, Texas.

The first publication to document the Museum's collection and its connections to dramatic changes in artistic practice over the past 70 years, Unpacking the Collection introduces this vital regional center for craft through photographs of work, essays, texts, archival photographs, decade - by - decade accounts of the institution's links to modern craft history and an abbreviated exhibition chronology.

And while these artists» practices are formally linked by their «challeng [ing] the notion of the canvas as a flat surface,» the exhibition's strongest assertion is that there is no singular Puerto Rican aesthetic — a still important point of resistance within a long lineage of Eurocentric museums» limiting our collective understanding of «non-Western art» by naming it as something distinct («primitive,» «craft,» «artifact») from the trajectory of art history otherwise taught in schools.

The exhibition explores the legacy of Mingei, a Japanese folk craft movement led by philosopher and critic Sōetsu Yanagi and questions the presence of craftsmanship in contemporary art.

Further, in an age when cameras are incessantly used, this exhibition — which has been organized by Roxana Marcoci of the Modern; Matthew S. Witkovsky of the Art Institute of Chicago, where it was first seen; and Mark Godfrey of the Tate Modern, in London — can also read as a swan song for old - time photography in all its fastidious gorgeousness and endless minutiae, as art, craft, science and commerce.

U. manmuana g mm n ~ nIgg CRAFTS EXHIBITION November 23 through December 14, 1958 sponsored by CRAFT GUILD OF DALLAS and the DALLAS MUSEUM OF FINE ARTS and the DALLAS MUSEUM OF FINE ARTS