Sentences with phrase «image as burden»

Exhibition curator Fiontan Moran takes you on a tour of Marlene Dumas: The Image as Burden, sharing an insight into...

In this evening lecture, artist Marlene Dumas talks about her current retrospective exhibition at Tate Modern, The Image as Burden.

Exhibition curator Helen Sainsbury takes you on a tour of Marlene Dumas: The Image as Burden, sharing an insight into...

Free film screenings of Miss Interpreted (Marlene Dumas) in conjunction with Tate Modern's Marlene Dumas: The Image as Burden

But with Marlene Dumas: The Image as Burden the museum has hit a new high point.

Exhibition curator Helen Sainsbury takes you on a tour of Marlene Dumas: The Image as Burden, sharing an insight into the work of this contemporary painter.

Lots of interesting artwork can be seen in museum exhibitions, such as Marlene Dumas piece of art «Image as a Burden» exhibited at Stedelijk Museum Amsterdam and Vivian Maier «s work titled «Streetphotographer» at Foam Museum.

Fondation Beyeler... 6Sep + video > Marlene Dumas: The Image as Burden at Fondation Beyeler vtv

Organized by the Stedelijk Museum in Amsterdam, Tate Modern in London, and Fondation Bayeler in Riehen / Basel, The Image as Burden has been cleverly conceived as an exhibition in progress, with variations in the works chosen for each venue.

• Marlene Dumas: The Image As Burden is at Tate Modern, London, 5 Feburary to 10 May.

Join Golda Dahan for a BSL tour of Marlene Dumas: The Image as Burden.

«Marlene Dumas» — «The Image as Burden» was her last great retrospective, held at the Beyeler Foundation, Basel (2015), Tate Modern, London, (2015) and the Stedelijk Museum, Amsterdam, (2014 - 2015).

Originally published in 2010 on the occasion of Dumas» first solo presentation at David Zwirner in New York, this much sought - after exhibition catalogue — which sold out shortly after publication — has been reprinted in 2014 to coincide with the artist's European retrospective exhibition The Image as Burden, organized by Tate Modern, London in collaboration with the Stedelijk Museum, Amsterdam and the Fondation Beyeler, Basel traveling through 2015.

In 2014, the Stedelijk Museum in Amsterdam presented a major retrospective of the artist's work, Marlene Dumas: The Image as Burden, which traveled to Tate Modern, London, and the Fondation Beyeler, Basel, in 2015.

Within the framework of her exhibition «The Image as Burden» at Fondation Beyeler, which runs until 9th September 2015, the...

The exhibition The Image as Burden at Fondation Beyeler was planned and designed in close collaboration with Marlene Dumas and realized together with the Stedelijk Museum Amsterdam and the Tate Modern London.

This work graces the cover of the catalogue for Dumas's first European retrospective, «Marlene Dumas: The Image as Burden», which opened in September at the Stedelijk Museum in Amsterdam, the artist's home since she arrived there from South Africa as a young woman in the mid-1970s.

A procession of bikini girls, «Miss World,» is one of the first works on display in «Marlene Dumas: The Image as Burden» at the Tate.

Marlene Dumas: The Image as Burden concludes at Tate Modern on 10 May.

Early on, she worked in collage as well as paint: The Image As Burden includes several examples, perhaps the most significant of which is Love Versus Death (1980), in which two «clue - strips» consisting of various photographs and newspaper clippings (Steve Biko is among them, and so, too, is Peggy Guggenheim) suggest ways of reading the work's central panel of drawings.

Originally published in 2010 on the occasion of Against the Wall, Dumas's first solo presentation at David Zwirner in New York, this much sought - after exhibition catalogue — which sold out shortly after publication — has been reprinted to coincide with the artist's 2014 — 2015 European retrospective exhibition The Image as Burden, organized by Tate Modern, London in collaboration with the Stedelijk Museum, Amsterdam and the Fondation Beyeler, Basel.

The Image as Burden brings together a staggering number of works: nearly two hundred paintings, drawings, and collages.

Spread out over no fewer than sixteen rooms, The Image as Burden elegantly avoids clutter or breathlessness.

Not exact matches

The image Kalanick gained of an aggressive leader seeking to grow his company at any cost became an increasing burden as Uber's difficulties mounted.

But I believe, and am of strong conviction at this, that this country is provoking the judgment of God on itself, by treating it's poor, under - privileged and those who fall through the cracks as a burden, and as a nuisance that is only in the way of it's «at all cost» coveted image of «greatness», instead of giving a hard and honest look WHY is it the way it is in this country?

She invites her readers into Christian practices that heighten both the spiritual and relational dimensions of time, so that we may live with greater authenticity as people created in God's image — with an awareness of time as a gift rather than a burden thrust upon us by our daily planners, and with a sense of being «attuned to the active presence of God.»

To pay attention to him either indirectly, by attending to his image which we all bear, or directly, by attending to him as portrayed in the Scriptures and by praying, has the effect of relieving some of the burden of evil we carry and enabling our love for others to increase.

Quantification of aggregates by image analysis of slides stained with anti-IAPP antibodies (Fig. 6 C) and ThS (Fig. 6 D) showed a twofold greater burden of IAPP deposits in mice inoculated with synthetic aggregates, as compared with the PBS - treated controls and the animals injected with nonaggregated IAPP.

Her burden is treated as grist for comedy, notably in the repeated images — fluttering like a flip book — of her enduring a lonely maternal crucible as she feeds and diapers the newborn again and again.

Inspired by real life historical figures — images and quotes from such iconic leaders as Joan of Arc, Genghis Khan and Che Guvera greeted visitors to studio's website this past week — the developer hopes to explore both the power and the burden of leadership, as your choices on the road to rule «affect not just you, but the whole of your land.»

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

2017 Past Skin, MoMA PS1, The Museum of Modern Art, New York, NY Invisible Cities, The Wallach Art Gallery at Columbia University, NY Mundos Alternos: Art and Science Fiction in the Americas, «Pacific Standard Time», UCR / California Museum of Photography, Riverside, CA COMM ALT SHIFT, Aljira A Center for Contemporary Art, Newark, NJ Biennale of Moving Images, Faena Bazaar and Faena Hotel, Miami Beach, FL Biennale of Moving Images, Faena Art Center Buenos Aires, Argentina Digital Bodies, Eli and Edythe Broad Art Museum, East Lansing, MI Vision All Together, Durango Arts Center, Durango, COSouth Florida Consortium Exhibition, Museum of Contemporary Art, North Miami, FL South Florida Consortium Exhibition, Museum of Contemporary Art, North Miami, FL Prospect 4: The Lotus in Spite of the Swamp, New Orleans Biennial, New Orleans, LA No burden as heavy, David Castillo Gallery, Miami Beach, FL Change Agents, Art and Culture Center of Hollywood, Hollywood, FL

Even though I was making regular trips to Iceland for Water As Burden, those 3 years of distance from the water helped distill a lot of the images that I now use.

The works themselves explore and expand on this idea through the moving image, reflecting forward - thinking experimental tactics as well as more familiar aspects of filmmaking; represented artists and galleries include Chris Burden (Massimo De Carlo), Carolee Schneemann (Hales Gallery / P.P.O.W), and Christian Jankowski (Lisson Gallery).