Sentences with phrase «does the exhibition follow»

A: Does the exhibition follow a chronological or thematic framework in highlighting the artists» relationships with one another?

Not exact matches

(1) Bodies and other similar exhibitions do not require that proper consent procedures be followed in obtaining the cadavers they feature.

Where the Journey Leads: If only the pioneers who followed the famed explorers paid as much homage to Native American cultures as this traveling exhibition does.

I was a believer of «follow your passion» so I painted, I did exhibitions, I wrote books that I wanted to write, I tried really hard to market them and connect with people.

Featuring Adam Fearon, Vanessa Safavi, Richard Frater, Renata Har and Clémence de La Tour du Pin among others, the exhibition follows last year's Blue Majik, which aqnb reviewed here as the second iteration a project series exploring «the ongoing dissolution between the biologic and the synthetic.»

No, David Lynch doesn't have a major exhibition on currently on view — though we are seeing a renewed interest in the multi-talented director / producer / musician / visiual artist since the release of Twin Peaks: The Return — the Showtime television series that continues the 1990 - 91 ABC series that has garnered a cult - like following, to say the least.

The exhibition traces all the stages of Pape's career, beginning with her square paintings, reliefs, and blocks, all done between 1954 and 1956, when Pape was a member of Grupo Frente from Rio de Janeiro, which also included Clark and Oiticica, and which initially followed the tenets of concrete art as outlined by van Doesburg.

The catalog for the exhibition followed form with its typewriter font and inexpensive stock, offering each artist plenty of space to do with as they chose.

With almost 100 works on display, this mammoth exhibition has been expertly curated in a manner that doesn't follow the traditional chronological route; «The works are grouped into key sequences, allowing connections and common themes to emerge and to promote a comprehensive understanding of Jones's wide - ranging artistic practice.»

As in the exhibition's paintings, the composite photographs do not follow the dogmatic logic of single point perspective but instead embrace multiple experiences of space.

Most Notable Exhibition: «do it,» a still - ongoing project begun in 1993 consisting of a set of instructional works — contributed by artists including Rirkrit Tiravanija, Marina Abramović, Christian Marclay, and Olafur Eliasson, among many others — that anyone can follow to create an open exhibition in anyExhibition: «do it,» a still - ongoing project begun in 1993 consisting of a set of instructional works — contributed by artists including Rirkrit Tiravanija, Marina Abramović, Christian Marclay, and Olafur Eliasson, among many others — that anyone can follow to create an open exhibition in anyexhibition in any location.

Horton's work has been featured recently in the following group exhibitions: Beautiful Fictions, Art Gallery of Ontario, Toronto (2009 - 2010), My Evil Twin, MacKenzie Art Gallery, Regina (2009), Toy Void, Münchner Kammerspiele, Munich (2008), Stutter and Twitch, Bard College Museum, Annandale - on - Hudson, New York (2007), Beyond / In Western New York, The Albright Knox Art Gallery, Buffalo, New York (2007) and We can Do This Now, The Power Plant, Toronto (2006 - 2007).

«Au diapason du monde» (In tune with the world) A New Selection from our Collection Ever since the first exhibition of emblematic works from its collection, during the 2014 inauguration of the building designed by Frank Gehry, Fondation Louis Vuitton has regularly exhibited different selections of works following the Collection's four distinct predetermined categories: Contemplative, Expressionist, Pop, Music & Sound (2014/2016), or groups of works from specific events dedicated to China (2016) and Africa (2017).

The landmark exhibitions in his career include one organised at the Fundació Joan Miró in Barcelona in 1996, which travelled to the Galerie nationale du Jeu de Paume in Paris and the Malmö Konsthall in Malmö (Sweden) the following year.

Her work has been the subject of solo exhibitions at Kristen Lorello, NY, and Saskia Fernando Gallery, Colombo, Sri Lanka, and included in the following group exhibitions: Plus One, curated by Melanie Kress, Sideshow Gallery, Brooklyn, NY, [Old / New] Psychedelic Providence, curated by Jamilee Lacy and sponsored by Providence College Galleries, Tiger Strikes Asteroid, Chicago, IL, and You Don't Bring Me Flowers, curated by Quang Bao, 68 Projects, Galerie Kornfeld, Berlin, Germany.

When the show toured to the Brooklyn Museum in New York, Ofili's painting prompted a fierce debate that led Rudy Giuliani, then mayor of New York, to threaten to withdraw the museum's subsidy and even evict it if the museum did not cancel the entire exhibition (the museum won the lawsuit that followed).

Following recent inclusion in the Folkestone Triennial, Além da Vanguarda Bienal Naïfs do Brasil and «House of Cards» at Waddesdon Manor, this will be the artist's second solo exhibition in the gallery.

Following a fiercely guarded sense of individuality, the exhibition presents a selection that is domestic, functional, private, abstract, descriptive, discursive and decorative — intending to show that there is no single standard for what we consider a «woman» artist and in doing so, calling into question its own premise of staging an all - women show in 2017.

DOUBLE TAKE will be included in the following exhibitions: Un Certain Etat du Monde?

The collective Don't Follow the Wind, whose inaccessible, Fukushima - based 2015 group exhibition has been written about before in these pages, is now made accessible via A Walk in Fukushima, 2016 — 17, a 360 - degree video experience of what has been, since the 2011 nuclear - plant disaster, an uninhabitable area, with crafty headsets made in collaboration with artist Bontaro Dokuyama and three generations of a Japanese family who live in a zone deemed «safe to live» by the government but still subject to restrictions due to its proximity to a radioactive locale.

Although one critic described it as «The outstanding painting of the exhibition... an amazingly convincing representation of the crowded, poverty stricken and degrading life in the slums of a large city,» (3) such acclaim did not protect Norman from censorship by the SFAA the following year.

In this issue: Guan Xiao; Praneet Soi; Don't Follow the Wind: a show in the Fukushima radiation zone; Navin Rawanchaikul; Heman Chong quizzes Douglas Coupland about his latest exhibition; Cheng Tsun - Shing's forgotten photographs; plus columns and reviews from around the world

The exhibits are as follows: «Painted Lady,» a solo exhibition by Ariel McCleese; «Do You Want to Quit?

The exhibition follows the installation Reflection by Season 2 Art21 artist Do - Ho Suh,...

For three years following the 2018 Carnegie International, we planned not to do large loan exhibitions but instead be as nimble as possible with the permanent collection in an iterative and more team - based way than is traditional, with education and outreach teams paired with curatorial teams.

Culture Shifts, the title of this exhibition collection, does a lot of work in this show; initially it sets out the stall for an underrepresented culture to be pinned up in the gallery, but that's far from the line this exhibition follows.

The Guggenheim Museum in New York, which is organized a touring Richard Prince retrospective, also dates the artist's career from 1980 on its Web site: «Since his first solo exhibition, at Artists Space in New York in 1980...» In this, the Guggenheim is following the lead of the Whitney Museum of American Art, which staged the last retrospective of Prince in 1992 and did not include a single early work by the artist, although a few mid-1970s pieces were mentioned in the catalogue.

In doing so, curators Katy Siegel, Okwui Enwezor and Ulrich Wilmes follow in the footsteps of Rasheed Araeen, whose seminal exhibition The Other Story: Afro - Asian Artists in Post-War Britain was held at the Hayward Gallery in 1989.

The artist describes the exhibition and the title as follows: «The word mercy is so all - embracing that talking about it would take the force from it — the fig leaf falls from the loins and the remaining does not matter.

The landmark exhibitions in his career include the one organized at the Fundació Joan Miró in Barcelona in 1996, which travelled to the Galerie nationale du Jeu de Paume in Paris and the Malmö Konsthall in Malmö (Sweden) the following year.

As Paolo Herkenhoff explains in his catalogue essay for Milhazes» exhibition Mares do Sul, rather than trying to create a destabilizing effect, «Milhazes aspires to encountering harmony in the absurd, her painting not being the collapse of order but that moment that follows vertigo.»

The structure of the exhibition is unique in that it doesn't follow a linear timeline of the artist's career.

I did an artist - in - residency in 1999 followed by my first solo exhibition Who Am I?

★ Rubin Museum of Art: «Radical Terrain» (through April 29) The third and last of three beautifully produced, back - to - back mini-surveys in the series Modernist Art From India, this exhibition combines landscape painting done in India in the years following independence in 1947 with recent work by young artists — some South Asian, most not — that corresponds to or comments on the older art.

-- If the Oscar - winning fortune of Life of Pi didn't bring enough glory to Alexis Rockman, the painter who created the visual inspiration for the film, then the artist is about to encounter plenty more with a solo exhibition of new work inspired by the New York City's ecosystem opening at Sperone Westwater in mid-September, followed by an exhibition of his watercolors from the Ang Lee film at the Drawing Center later in the month.

The exhibition, done in collaboration with Korakrit's twin brother, Korapat Arunanondchai, comes as the first solo UK exhibition for the Bangkok - born artist, following in the footsteps of his solo debut, Painting with History in a Room Filled with Men with Funny Names, at Bushwick's C L E A R I N G Gallery in 2013.

A Restatement: The Art of «Ground Zero» (Part 32) The Endless International Exhibition: «Don't Follow the Wind» Update (III) Okumamachi, Futaba - gun, Fukushima, January 2017.

A Restatement: The Art of «Ground Zero» (Part 31) The Endless International Exhibition: «Don't Follow the Wind» Update (II) Nobuhiko Obayashi (center) on set during the filming of House (1977).

They also initiated and co-organized an international exhibition Don't Follow the Wind launched on March 11, 2015 inside the nuclear exclusion zone in Fukushima.

Through a modest exhibition of well - known works, viewers can follow the actions of the Guerrilla Girls, from their appropriation of Ingres» Odalisque and Slave to create their iconic poster, Do Women Have to Be Naked to Get Into the Met.

Curiosities of the Hanbury Collection @ Pertwee, Anderson & Gold The follow up to the museum of curiosity is a humorous exhibition where it's unclear whether any of the eccentric items are real — did drug baron Pablo Escobar really gold plate a hippo skull?

Following a recent increase in female artist exhibitions that could have bene noted during the final quarter of the last year, it's really nice to see that Howardena Pindell is also getting her well - deserved dos.

This follows her participation in the gallery's fifth themed group exhibition «Around Drawing», which gathered artists who clearly use traditional drawing methods to forge their artistic language, and artists — who although not traditional draughtsmen, have produced works which can be closely related to a vision of what does, in fact, constitute a drawing.

In 1933 he founded the abstract group Unit One, along with fellow artists Henry Moore (1898 - 1986), Barbara Hepworth (1903 - 1975), her husband Ben Nicholson (1894 - 1982), and the critic Herbert Read, and during the following years he staged further exhibitions, as well as doing commercial work.

First, Matthew interviews Hunter College alum Jules de Balincourt on the occasion of his solo exhibition at Deitch Projects, followed by Jeffrey's look at what his peers are planning to do after graduating from the San Francisco Art Institute.

I keep coming back to this idea of professionalism: we tend to associate the label «unprofessional» with something being done poorly, but I think in this case, with regard to the art world, it can also be a means of doing something well, but without necessarily following the typical structure or hierarchy of a gallery or exhibition.

It was a dictatorship based on Harold Rosenberg and Clement Greenberg's writings that decided what styles art should be, and if an artist did not follow, he was not chosen for exhibitions.

His first foot painting was done in 1954, followed a year later by his phenomenal «Challenging Mud» performance at Ohara Hall in Tokyo, as part of the First Gutai Art Exhibition, in which the artist immersed himself with his entire body in a field of mud.

This solo exhibition follows up on Madison's small but promising 2008 show at the project space of Agnes B.'s Galerie du Jour.

· Listening to customer requirements and presenting appropriately to make a sale; · Maintaining and developing relationships with existing customers in person and via telephone calls and emails; · Cold calling to arrange meetings with potential customers to prospect for new business; · Responding to incoming email and phone inquiries; · Acting as a contact between a company and its existing and potential markets; · Gathering market and customer information; · Representing the company at trade exhibitions, events and demonstrations; · Negotiating on price, costs, delivery and specifications with buyers and managers; · Advising on forthcoming product developments and discussing special promotions; · Creating detailed proposal documents, often as part of a formal bidding process which is largely dictated by the prospective customer; · Reporting to Senior Management on sales and potential opportunities in your area; · Reviewing your own sales performance, aiming to meet or exceed targets; · Gaining a clear understanding of customers» businesses and requirements; · Following up with customers for payment; · Doing Quality - Control on products delivered; · Attending team meetings and sharing best practices with colleagues in East Williamsburg, Brooklyn.