Sentences with phrase «how do the exhibition»
As a collaboration and juxtaposition of creative works, how does this exhibition differ from last year's Beyond Belief collaborative exhibition with the Contemporary Jewish Museum?
https://www.juxtapoz.com/
How do the exhibition and publication relate to each other and how are they different?
How does the exhibition that continues at the Reykjavik Art Museum relate to the initial marathon weekend?
How does this exhibition further that legacy?
«So how does this exhibition get framed within Vancouver?
How did the exhibition with Dan Colen come about?
The major question here is how do these exhibition topographies reproduce the experience of hyper - visibility / invisibility of the Black body?
How did the exhibition come about?
Roger Brown: California U.S.A, currently on view at the Hyde Park Art Center, explores Brown's Virtual Still Life paintings and the intricate relations that formed while working in his home in California.Meg Onli: How did this exhibition evolve and how did you decide to show Brown's collection outside of his homes?
That's how we did our exhibition about the Whitney Museum's pathetic record of not showing women and artists of color.
How did the exhibition compare to the book experience?
If Jeff Koons is one of the most influential, popular, and controversial artists living today, how does this exhibition measure his impact?
Not exact matches
Traditionally artists are used to selling their work through exhibitions and galleries, so how do paintings and prints translate into sales online?
«How do you make it the premier convention, exhibition site where companies all across the country want to come here all year long?»
How much do we hold back from writing that book, holding that art exhibition, making that film, applying for that job or running that yoga class because we feel we aren't capable, or worthy, and that the perception of us will be critical?
How many summer exhibitions do you have?
• In March 1987 we did a show explaining how the MPAA rating system was de facto censorship; we called for a new «R» rating for worthy films intended for adults, since the X rating dooms a film to automatic exclusion from mainstream distribution and exhibition channels.
Fatih Akin — «In the Fade,» «The Edge of Heaven» Adolfo Aristarain — «Common Places,» «A Place in the World» David Ayer — «Suicide Squad,» «Fury» Nabil Ayouch — «Horses of God,» «Ali Zaoua» Siddiq Barmak * — «Opium War,» «Osama» Aida Begić * — «Children of Sarajevo,» «Snow» Emmanuelle Bercot — «Standing Tall,» «On My Way» Martin Butler — «Tanna,» «Contact» Patricia Cardoso — «Real Women Have Curves,» «The Water Carrier» Peter Ho - Sun Chan — «Dragon,» «Perhaps Love» Derek Cianfrance — «The Light between Oceans,» «Blue Valentine» Pedro Costa — «Horse Money,» «Blood» Garth Davis — «Lion» Bentley Dean — «Tanna,» «Contact» Lav Diaz * — «A Lullaby to the Sorrowful Mystery,» «Norte, the End of History» Carlos Diegues — «Orfeu,» «Bye Bye Brazil» Nelson Pereira dos Santos * — «How Tasty Was My Little Frenchman,» «Barren Lives» Nana Dzhordzhadze — «27 Missing Kisses,» «A Chef in Love» Ildikó Enyedi * — «Simon Magus,» «My Twentieth Century» Amat Escalante — «The Untamed,» «Heli» Safi Faye * — «Mossane,» «Lettre Paysanne» Tom Ford — «Nocturnal Animals,» «A Single Man» Goutam Ghose * — «Dekha,» «Paar» Jessica Hausner — «Amour Fou,» «Lourdes» Joanna Hogg — «Archipelago,» «Exhibition» Hannes Holm — «A Man Called Ove,» «Behind Blue Skies» Ann Hui — «A Simple Life,» «Summer Snow» Christine Jeffs — «Sunshine Cleaning,» «Sylvia» Barry Jenkins * — «Moonlight,» «Medicine for Melancholy» Alejandro Jodorowsky * — «The Holy Mountain,» «El Topo» Kim Ki - duk * — «3 - Iron,» «Spring, Summer, Fall, Winter... and Spring» Zacharias Kunuk — «Searchers,» «The Fast Runner (Atanarjuat)» Mohammed Lakhdar - Hamina * — «Chronicle of the Years of Embers,» «The Winds of the Aures» David Mackenzie — «Hell or High Water,» «Starred Up» Sharon Maguire — «Incendiary,» «Bridget Jones's Diary» Theodore Melfi — «Hidden Figures,» «St. Vincent» Kleber Mendonça Filho — «Aquarius,» «Neighboring Sounds» Brillante Mendoza — «Thy Womb,» «Kinatay» Márta Mészáros * — «Diary for My Children,» «Adoption» Takashi Miike — «13 Assassins,» «Ichi the Killer» Orlando Montiel — «The Son of No One,» «A Guide to Recognizing Your Saints» Jocelyn Moorhouse — «The Dressmaker,» «Proof» Kira Muratova — «The Tuner,» «The Asthenic Syndrome» Héctor Olivera — «El Mural,» «Funny Dirty Little War» Idrissa Ouedraogo * — «Tilaï,» «Yaaba» Jordan Peele * — «Get Out» Mohammad Rasoulof * — «Manuscripts Don't Burn,» «Goodbye» Eran Riklis * — «The Human Resources Manager,» «Lemon Tree» Arturo Ripstein — «Deep Crimson,» «The Beginning and the End» Guy Ritchie — «Sherlock Holmes,» «Lock, Stock and Two Smoking Barrels» Anthony Russo — «Captain America: Civil War,» «Captain America: The Winter Soldier» Joseph Russo — «Captain America: Civil War,» «Captain America: The Winter Soldier» Mrinal Sen * — «The Case Is Closed,» «In Search of Famine» Cate Shortland — «Lore,» «Somersault» Peter Sollett — «Freeheld,» «Raising Victor Vargas» Juan Carlos Tabío — «Guantanamera,» «Strawberry and Chocolate» Rawson Marshall Thurber — «Central Intelligence,» «Dodgeball: A True Underdog Story» Johnnie To — «Election,» «Exiled» Tran Anh Hung * — «Norwegian Wood,» «The Scent of Green Papaya» Pablo Trapero — «The Clan,» «Lion's Den» Athina Rachel Tsangari — «Chevalier,» «Attenberg» Paula van der Oest — «Black Butterflies,» «Zus & Zo» Susanna White — «Our Kind of Traitor,» «Nanny McPhee Returns» Martin Zandvliet * — «Land of Mine,» «A Funny Man»
Bohnstedt didn't have any prior museum education experience and was impressed with how the ICA had built a community space and also incorporated technology into its exhibition creating ways to bring art into lives and explore it.
I'd probably choose to do the same thing — curate exhibitions — which I would enjoy infinitely more without the stress of how I pay my mortgage.
The New Jersey Education Association's annual convention came back yesterday in full force with capacity - crowd workshops, a busy exhibition hall, and plenty of questions about coming changes in how teachers do their jobs.
How did you respond to Cassie's photography exhibition about her parent's car crash?
I hope that the exhibition will prompt visitors to consider not only how far we as a society have come but also, crucially, what still needs to be done to combat prejudice and realise true equality.»
A conversation with exhibition artist, Katya Tepper, about her practice and mural, How Does the External Shape Shape the Internal Shape, on view through July 29th.
How do you perceive and experience working on exhibition making in this area of the world?
MCASB invites museum attendees to look slowly at our current exhibitions and find out how you see differently when you do that.
This is simply a wonderful exhibition and Alice Neel an exceptional artist - a master painter with a sense of compostion and an empathetic, but never ingratiating view of humanity» (Dagens Nyheter); «This is such a show that I did not know how long in advance I longed for.
Recent solo exhibitions include Evil Earth System, Good Children Gallery, New Orleans (2016); Evil Earth, Culture Center Tobacna, Ljubljana (2015), The Eumenides, UNO Campus Art Gallery, New Orleans (2014), How to do Things With Words, SKUC, Ljubljana (2014); No Country Other Than Liberty, SIZ at Mali Salon, Rijeka (2013); andWhatever the Object, GfZK, Leipzig (2013).
The Daily Telegraph's review of Tillmans's critically acclaimed solo exhibition at Tate Modern in London in 2017 described how the work «broadcasts his questing, restless desire to innovate and do things differently.»
At Ad Reinhardt's prodding, in late 1961 his Parisian dealer Iris Clert offered him a solo show in her gallery, but because of expenses and scheduling it did not become a reality until June 1963.1 Reinhardt was elated about how great his painting looked as part of the Guggenheim survey exhibition, Abstract Expressionists and Imagists, which had opened October 13, 1961.
Thirty years since his first solo exhibition with Xavier Hufkens, Antony Gormley asks: «if a mind occupies the body and the body occupies a building, how does it feel if we substitute building for body?
The first two exhibitions I had at VAN HORN, back when it was an artists» space, were solo exhibitions of R. Crumb, and Rudolph Steiner — between those two very, very diverse aspects of how you can do something like present art [to a public], that was my statement.
Your upcoming exhibition is framed as «working within the parameters set forth by the structure and progression of Palermo's installation...» How did you and Øvstebø navigate working within Palermo's parameters in the context of the Renaissance Society's distinct space?
Janet McKenzie: How different do you think an exhibition will be that has been curated by artists as opposed to curators?
2011 Ordem e Progresso: vontade construtiva na arte Brasileira, Museu de Arte Moderna de São Paulo, São Paulo, Brazil Paradise Lost, Istanbul Museum of Art, Istanbul, Turkey (catalogue) The Luminous Interval, Guggenheim Museum Bilbao, Bilbao, Spain Measuring the World: Heterotopias and Knowledge Spaces in Art, Kunsthaus Graz, Graz, Austria (catalogue) Pandora's Box: Joseph Cornell Unlocks the MCA Collection, Museum of Contemporary Art, Chicago, USA Mappa Mundi, Berardo Collection, Lisbon, Portugal Mexico: Expected / Unexpected, Museum of Contemporary Art San Diego, USA (catalogue) Vestígios de Brasilidade, Centro Cultural Santander, Recife, Brazil (catalogue) Gigantes por su propia naturaleza, Institut Valencià d'Art Modern, Valencia, Spain Experimental station, CA2M Centro de Arte Dos de Mayo, Madrid, Spain Semana de Arte do Rio de Janeiro, Rio de Janeiro, Brazil Our Magic Hour: How Much of the World Can We Know, Yokohama Triennale 2011, Yokohama Museum of Art, Yokohama, Japan Keeping it Real: An Exhibition in Four Acts.
«The Work Between Us»: Black British Artists and Exhibition Histories Bluecoat, School Lane Liverpool L1 3BX #WorkBetweenUs #ahrcBAM #blackartistsandmodernism 20 Jan 2016 09:00 to 18:00 How do artists of African and Asian descent in Britain feature in the story of twentieth - century art?
How did visiting it and moving throughout the three floors impact your vision for your upcoming exhibition?
How do you feel about the fact that we're comparing large - scale curated exhibitions with what are effectively large - scale shopping opportunities?
Still, the inevitable question loomed: how do we plan a large - scale exhibition without the quintessential white walls of a museum gallery?
Ranging from a focused exhibition of works by canonical photographer and documentarian Robert Frank, to the group exhibition Art and Resolution, 1900 to Today, exploring how visual artists represent and address conflict through the 20th century, to «Where Do I Go from Here?»
MTW He's not joking when he says the exhibition is «a lesson in how to be a real artist», and things like, «Great drawing has to be done from life» — and, «She's looking in the mirror and striking a pose, just like the old masters did.
How do you feel your work responds to Macel's overall curatorial theme for Viva Arte Viva, an exhibition focusing on art and artists via a story told in nine chapters ending in the Pavilion of Time and Infinity where your work sits?
How did you begin working with Lucien Terras, who curated the exhibition in the gallery space of your apartment building?
How do the videos improve upon traditional tools implemented by galleries such as press releases and exhibition catalogues?
Tangye has, since his Amar Gallery exhibition in January, featured in a museum show at Harvard; something Singh modestly says is nothing to do with him, but is certainly a testament to how privileged he was to have such an artist open his gallery.
Amelia Jones: «How do the feminist artistic practices of the 1960s and 1970s impact on our supposedly post-feminist present, a period in which women artists are woefully under - represented in gallery and museum exhibitions?
While the exhibition considers the art historical background of the relationship between artwork and viewer, and its growing status over time, it asks, how do these works engage and forge relationships with audiences in distinctively different ways from any other works of art?
You're talking about the 1993 exhibition you did together at the Kunsthalle Wien, «The Broken Mirror: Positions in Painting» — how did that show come together?
WHITEWALL: How did the idea of a show focused on Kusama's «Infinity Mirror Rooms» rather than, say, a survey exhibition, come about?
Exhibition view, How Do I Fit This Ghost in My Mouth?