Sentences with phrase «history gallery going»

«Hip to History Gallery Going.»

Not exact matches

It also included an evening session going beyond economics and political science to look at how times of fiscal austerity were reflected in film, cartoon and gallery art, with experts exploring these issues from the perspective of social history.

Here's the full list of 142 films that featured on our contributors» ballots: (Disclaimer: Luc Besson's Lucy didn't get a single vote - I just like this image of Scarlett sorting through stuff) 71 1001 Grams 12 Years a Slave 20,000 Days on Earth 22 Jump Street 52 Tuesdays A Girl at my Door A Most Violent Year A Most Wanted Man A Touch of Sin Aberdeen Alleluia American Sniper Birdman Black Coal, Thin Ice Blind Blue Ruin Boyhood Calvary Captain America: The Winter Soldier Casa Grande Chef Citizenfour Climbing to Spring Cold in July Danger 5 Dawn of the Planet of the Apes Der Samurai Duke of Burgundy Edge of Tomorrow Electric Boogaloo Enemy Fandry Force Majeure Frank Free Fall From What is Before Giovanni's Island Gone Girl Goodbye to Language Guardians of the Galaxy Haemoo Han Gong - ju Hard to be a God Horse Money Housebound Ida Inherent Vice Interstellar It Follows Jauja Jigarthanda Jodorowsky's Dune John Wick Killers Lady Maiko Les Combattants Leviathan Li'l Quinquin Life Itself Like Father Like Son Locke Love and Terror on the Howling Plains of Nowhere Magical Girl Maidan Man From Reno Melbourne Memphis Mommy National Gallery New World Nightcrawler Norte, The End of History Nymphomaniac Of Good Report Only Lovers Left Alive Over Your Dead Body Pale Moon Peaky Blinders Pride R100 Red Army Seven Weeks Sils Maria Snowpiercer Song of the Sea Sorrow and Joy Spring Stand By Me Doraemon Starred Up Starry Eyes Stray Dogs Texas Chain Saw Massacre The Act of Killing The Babadook The Dam Keeper The Double The Editor The Grand Budapest Hotel The Great Beauty The Great Passage The Guest The Hobbit The Internet's Own Boy The Kingdom of Dreams and Madness The Lego Movie The Missing Picture The One I Love The Overnighters The Penguins of Madagascar The Raid 2 The Sacrament The Second Game The Secret Life of Walter Mitty The Snow White Murder Case The Tale of the Princess Kaguya The Terror Live The Tribe The Wind Rises The Wolf of Wall Street The Wonders The World of Kanako These Final Hours They Came Together Tokyo Tribe Tusk Two Days, One Night Under the Skin Wadjda We Are The Best!

Go back and troll a few of her favourite hangouts, in this case a gallery of Kate Moss photographs, which in Richard Curtis's Britain's is clearly the thing everyone simply must have an opinion about («the important thing is the sense of history»), the same way everyone in Annie Hall had an opinion about modern art.

Extra features on this non-SE include: a comprehensive commentary by director Hoblit and co-screenwriter Billy Ray, with the occasional comment from Bruce Willis sandwiched in; another yak - track from producer David Foster, who concentrates on the film's background in WWII history; ten deleted scenes (in 16x9) that reveal that an even more structurally and politically complex film lies on the cutting room floor, with elective commentary from Ray and Hoblit — they're especially sorry to see go, as am I, a bit in which the American soldiers entertain their German captors by donning blackface; a 4 - part photo gallery — see Bruce make serious expressions for «The Poster Shoot»; and trailers for Hart's War, Windtalkers, and the TV shows «Jeremiah» and «Stargate SG - 1».

Alumni from the Art History program have gone on to positions at the Smithsonian, Art Papers, and the Corcoran Gallery, among other art venues, publications, and schools.

He went over to the painting on the gallery wall and, with a deft flick of the forefinger, consigned the offending fleck to the history of the Hayward floor.

2015 The 56th International Art Exhibition - All the Worlds Future's, Venice Art Biennale Go East, Art Gallery of New South Wales, Sydney 2014 Taiping Tianguo: A History of Possible Encounters, e-flux, New York State of Emergency, Davidson College, Belk Visual Arts Center, Davidson, USA Beyond and Between, Leeum Samsung Museum of Art, Seoul, South Korea Beyond Stuff, Mizuma Gallery, Singapore The 14th International Architecture Exhibition - Fundamentals, Venice Architecture Biennale Unscrolled: Reframing Tradition in Chinese Contemporary Art, Vancouver, Canada

I already hear cries to move all this immediately to the regular galleries, displacing as many men as possible, to get a revisionist history going there, too.

It seemed to me that the gallery's history of mostly presenting very young artists who then might go on to greater success and gallery representation was actually a narrative from the 1980s.

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» Expert.

The gallery published a small catalogue to go with the show, which includes a previously published essay by Barbara Rose and the provenance, exhibition history, and publication history for each of the works.

For the occasion, two concurrent exhibitions will be on view at the gallery's Chelsea and Lower East Side locations, featuring new work by Opie that underscores her on - going dialogue with the history of photography and constructs of identity, both integral aspects of her practice.

The gallery website has a full history of gallery exhibition with press releases and checklists, going back to the founding.

Fuentes himself, born and raised in the Lower East Side and three years old at the time of the show, thinks, «it's important for every gallery in the neighborhood to be aware that there's a significant history of exhibitions here... we're not all inventing this as we go along.»

Christiana Spens went to the Saatchi Gallery to talk to Quilty about his exhibition, as well as his past work as an official war artist, embedded in the Australian Defence Force in Afghanistan, and his wider ideas about history, identity and brutality.

This really remarkable display, which will go down in N. Y.'s art history as one of the few events — for there is a wide distinction between incidents and events, in said history — and which has already excited, not only the galleries, studios and the art public, but even the larger public of the Metropolis which, although perhaps comparatively ignorant on the subject of art, is always athirst for a new sensation — is like a «bomb from the blue & quot; in the artistic camp of American painters and sculptors.

Art history is going down in these studio spaces, from established warehouse spaces like 56 Bogart and 17 - 17 Troutman, to intimate spaces at Wayferers and newcomer Good Work Gallery's artist studios and collective space.

«These pieces all carry a history of art - making that spans five to ten years,» points out Pfister during a conversation at the gallery, and, in some cases, these references go back further into the past to post-minimalism and reductivism.

With a history going back 50 years, Ace Gallery has championed some of LA's greatest artists, especially those associated with the Light and Space Movement.

VeneKlasen went on to study art history at Connecticut College, with stints at University of Oxford's Ashmolean museum and the Prado, in Madrid, before going to work at galleries in San Francisco, Aspen, and New York.

SOLO SHOWS 2015 Goodman Gallery, Cape Town, Testimony GROUP SHOWS 2016 Brooklyn Museum, Brooklyn, Disguise: Masks and Global African Art 2015 Goodman Gallery, Cape Town, Speaking Back FAIR HISTORY ON ARTSY 2018 October Gallery at Investec Cape Town Art Fair 2018 2016 October Gallery at Art16 2015 October Gallery at 1:54 Contemporary African Art Fair London 2015 2014 October Gallery at 1:54 Contemporary African Art Fair 2014 GO TO ADEJOKE TUGBIYELE»S ARTIST PAGE

Book now for Guardian members» events: a private view of the Robots exhibition at the Science Museum in London, a private view of Never Going Underground: The Fight for LGBT + Rights at the People's History Museum in Manchester, and a private view of the Deutsche Börse Photography Foundation prize at the Photographers» Gallery in London.

After studying history of art at Reading University and the Courtauld Institute of Art, Paul went on to organise exhibitions of work by modern and contemporary artists, firstly at the Museum of Modern Art in Oxford and subsequently at the Whitechapel Art Gallery in London.

2013 Curated — «Before and After» — hob» art gallery — Hoboken, NJ 2013 Opposites Attract — Black Dimensions in Art — Albany, NY 2013 Half Cooked — hob» art gallery — Hoboken, NJ 2013 Chashama Open Studios — Brooklyn, NY 2013 CaFa Fair — Barbados, W.I. 2013 Black History Month Exhibit — Galleries of the Interchurch Center — New York, NY 2012 Echoes — Art - in - FLUX Harlem — New York, NY 2012 GO Brooklyn — Brooklyn, NY 2012 Scope NY — Chashama — New York, NY 2011 The Artist I — MOHA Arts Festival, NY State Museum — Albany, NY

Regine Basha completed her undergraduate degree in Studio Art and Art History at Concordia University in Montreal, Canada and went on to direct and curate the Saidye Bronfman Centre Gallery in Montreal from 1992 to 1995.

Twenty - Two Gallery's co-curator, Diane Podolsky, has the balls to mix up impressionist still life paintings with stylized portraits and crazed pet paintings & makes it work like some museum show of the history of modern art; paintings just never go out of style.

2012 «Echo of Echo,» Shoshana Wayne Gallery, Los Angeles, CA «Go Ask A.L.I.C.: Testing Artificial Intelligence Since Turing,» Harvard University, Cambridge, MA «A War of Words,» Proteus Gowanus, Brooklyn, NY «LAMENT for altered, erased, and lost histories,» Platform, Winnipeg «Made in L.A.,» Hammer Museum, Los Angeles, CA «Dualities, Omissions, Loops, and Ruptures,» Luis de Jesus Gallery, Los Angeles, CA «Knowledges,» Mount Wilson Observatory, Pasadena, CA «Its Endless Undoing,» Thierry Goldberg, New York, NY

«Ernest C Withers and Glenn Ligon: I Am A Man Teaching Galleries One and Two,» Contemporary Art Museum St Louis, MO, January 20 — March 28, 2006 «Down by Law, curated by The Wrong Gallery,» Whitney Museum of American Art, New York, NY, January 21 — May 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 6 — September 24, 2006 «Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards,» American Academy of Arts and Letters, New York, NY, May 19 — June 12, 2006 «Legacies: Contemporary Artists Reflect on Slavery,» New - York Historical Society, New York, NY, June 16, 2006 — January 7, 2007; catalogue «The Past Made Present: Contemporary Art and Memory,» Museum of Fine Arts, Houston, TX, September 2, 2006 — January 15, 2007 «Group Dynamic: Portfolios, Series, and Sets,» Des Moines Art Center, Des Moines, IA, September 15 — December 29, 2006 «black alphabet: conTEXTS of contemporary african - american art,» Zacheta National Gallery of Art, Warsaw, Poland, September 22 — November 19, 2006 «Interstellar Low Ways,» Hyde Park Art Center, Chicago, IL, October 15, 2006 — January 14, 2007 «Process and Collaboration: Celebrating Twelve Years at 1315 Cherry Street,» The Fabric Workshop and Museum, Philadelphia, PA, December 2, 2006 — January 6, 2007 «Defamation of Character,» organized by Neville Wakefield, PS 1 Contemporary Art Center, Long Island City, New York, October 29, 2006 — January 8, 2007 «Voodoo Macbeth,» curated by David A Bailey, De La Warr Pavilion, East Sussex, UK, October 7, 2006 — January 22, 2007 «Yes Bruce Nauman,» Zwirner & Wirth, New York, NY, July 7 — September 9, 2006 «Gifts go in one direction,» curated by Alexander Nagel, apexart, New York, NY, July 5 — August 12, 2006 «SUBJECT,» Lyman Allyn Museum, New London, CT, May 13 — August 14, 2006 «Invitational Exhibition of Painting and Sculpture,» American Academy of Arts and Letters, New York, NY, March 7 — April 9, 2006 «Dark Places,» Santa Monica Museum of Modern Art, Los Angeles, CA, January 21 — April 22, 2006 «Skin Is a Language,» Whitney Museum of American Art, New York, NY, January 12 — May 21, 2006 «Portraits of Artists: A selection of photographic works from the collection,» Luhring Augustine, New York, NY, January 7 — February 11, 2006

Newark's foundation of museums, galleries and historical landmarks represent a rich history and diverse culture, and with a bounty of public transportation it's simpler to get where you want to go without the burden of driving in continuous bottleneck traffic.