Sentences with phrase «introduction to the exhibition march»

Lectures Introduction to the Exhibition March 4 at 2:00 p.m. East Building Auditorium Sarah Greenough, senior curator and head of the department of photographs, National Gallery of Art.

Lecture Introduction to the Exhibition March 4 at 2:00 p.m. East Building Auditorium Sarah Greenough, senior curator and head of the department of photographs, National Gallery of Art

Not exact matches

Patrick Heron wrote an introduction to a Wynter exhibition catalogue for the New Art Centre, March — April 1982 and devoted most of his text to a consideration of the sort of shapes and marks most identified with the artist.

Eduardo Paolozzi, talks and events (February — May) A number of events expand on the themes explored in the exhibition, including an evening of performance featuring artist Anthea Hamilton (30 March, 7 pm, # 5 / # 3.50 concs) an introduction to Paolozzi with the exhibition curator Daniel F. Herrmann (18 February, 3 pm, # 12.50 / # 10.50 concs), and a day - long symposium inspired by the artist's 1985 exhibition Lost Magic Kingdoms and Six Paper Moons from Nahuatl (25 March, 2 — 6 pm, # 15.50 / # 13.50 concs).

The programme will include a visit to the Rosa Barba exhibition in Void in March 2018, and an introduction to the Shirt Factory history of the Void premises in Patrick Street.

March 20 - December 8 This exhibition, drawn from LACMA's permanent collection, presents an introduction to Egyptian art with a focus on myth and funerary practice.

Born in 1958, Chicago, IL Recent locations include Los Angeles; New Orleans; Baja California, Mexico; San Juan Islands, British Columbia and Portland SOLO EXHIBITIONS 2011 Loose Lips Do Sink Ships, Laurel Gitlen, New York Sorry We're Closed, Brussels, Belgium (forthcoming) 2010 Timothy Taylor Gallery, London 2009 Galerie Laurent Godin, Paris Laurel Gitlen, New York Sorry We're Closed, Brussels, Belgium 2008 State of the Union, Small A Projects, Portland, OR 2007 White Columns, New York SELECTED GROUP EXHIBITIONS 2011 Sex Drive, Haverford College, Haverford, PA (curated by Stuart Horodner) 2010 Bienniale de Belleville, Paris 2009 Sign of the Times, Monique Meloche Gallery, Chicago Diabolique, Dunlop Art Gallery, Regina, Saskatchewan, Canada; Galerie de L'UQAM, Montreal, Canada; Military Museums, Calgary, Canada (curated by Amanda Cachia) Salvador Diaz Gallery, Madrid (curated by Rikrit Tiravanija) 2008 Say Goodbye To..., Clifford Gallery, Colgate University, Hamilton, NY 2008 Altoids Award, The New Museum of Contemporary Art, New York Ambivalent Figuration, Samson Projects, Boston, MA 2007 Memorial to the Iraq War, ICA London (with Harrell Fletcher) BIBLIOGRAPHY Free Speech Zone: Michael Patterson - Carver, monograph edited by Harrell Fletcher, with contributions by Fletcher, Matthew Higgs, and an introduction by Michael Patterson - Carver, (London: Four Corners Books, 2010) Cachia, Amanda, Diabolique, exhibition catalogue, (Dunlop Art Gallery, 2009) Dexter, Emma, «Michael Patterson - Carver» in 60: Innovators Shaping Our Creative Future, edited by Lucas Dietrich, (London: Thames and Hudson, 2009) «Michael Patterson - Carver,» (review) The New Yorker, October 19, 2009 Anne Doran, «Michael Patterson - Carver,» (review) Time Out New York issue 732, October 8 - 14, 2009 Sanders, Gabriel, «Trader Joe's Treasure,» The Forward, July 2008 Yim, Su - jin, «Political Artist Moves in Higher Circles» (Michael Patterson - Carver), The Oregonian, April 2008 Vogel, Carol, «Inside Art: Altoids Award» (Michael Patterson - Carver), New York Times, March 2008 Yim, Su - jin, «An Artist, Discovered» (Michael Patterson - Carver), The Oregonian, August 2007 PUBLIC COLLECTIONS American Folk Art Museum, New York City of Paris Permanent Collection FRAC Bretagne, Châteaugiron, France Museum of Everything, LondTo..., Clifford Gallery, Colgate University, Hamilton, NY 2008 Altoids Award, The New Museum of Contemporary Art, New York Ambivalent Figuration, Samson Projects, Boston, MA 2007 Memorial to the Iraq War, ICA London (with Harrell Fletcher) BIBLIOGRAPHY Free Speech Zone: Michael Patterson - Carver, monograph edited by Harrell Fletcher, with contributions by Fletcher, Matthew Higgs, and an introduction by Michael Patterson - Carver, (London: Four Corners Books, 2010) Cachia, Amanda, Diabolique, exhibition catalogue, (Dunlop Art Gallery, 2009) Dexter, Emma, «Michael Patterson - Carver» in 60: Innovators Shaping Our Creative Future, edited by Lucas Dietrich, (London: Thames and Hudson, 2009) «Michael Patterson - Carver,» (review) The New Yorker, October 19, 2009 Anne Doran, «Michael Patterson - Carver,» (review) Time Out New York issue 732, October 8 - 14, 2009 Sanders, Gabriel, «Trader Joe's Treasure,» The Forward, July 2008 Yim, Su - jin, «Political Artist Moves in Higher Circles» (Michael Patterson - Carver), The Oregonian, April 2008 Vogel, Carol, «Inside Art: Altoids Award» (Michael Patterson - Carver), New York Times, March 2008 Yim, Su - jin, «An Artist, Discovered» (Michael Patterson - Carver), The Oregonian, August 2007 PUBLIC COLLECTIONS American Folk Art Museum, New York City of Paris Permanent Collection FRAC Bretagne, Châteaugiron, France Museum of Everything, Londto the Iraq War, ICA London (with Harrell Fletcher) BIBLIOGRAPHY Free Speech Zone: Michael Patterson - Carver, monograph edited by Harrell Fletcher, with contributions by Fletcher, Matthew Higgs, and an introduction by Michael Patterson - Carver, (London: Four Corners Books, 2010) Cachia, Amanda, Diabolique, exhibition catalogue, (Dunlop Art Gallery, 2009) Dexter, Emma, «Michael Patterson - Carver» in 60: Innovators Shaping Our Creative Future, edited by Lucas Dietrich, (London: Thames and Hudson, 2009) «Michael Patterson - Carver,» (review) The New Yorker, October 19, 2009 Anne Doran, «Michael Patterson - Carver,» (review) Time Out New York issue 732, October 8 - 14, 2009 Sanders, Gabriel, «Trader Joe's Treasure,» The Forward, July 2008 Yim, Su - jin, «Political Artist Moves in Higher Circles» (Michael Patterson - Carver), The Oregonian, April 2008 Vogel, Carol, «Inside Art: Altoids Award» (Michael Patterson - Carver), New York Times, March 2008 Yim, Su - jin, «An Artist, Discovered» (Michael Patterson - Carver), The Oregonian, August 2007 PUBLIC COLLECTIONS American Folk Art Museum, New York City of Paris Permanent Collection FRAC Bretagne, Châteaugiron, France Museum of Everything, London

T01868 CANTUS FIRMUS 1972 — 3 Inscribed «Riley 73» on stretcher Cryla on Canvas, 95 × 85 (240.3 × 216) Purchased from the artist through the Rowan Gallery (Grant - in - Aid) 1974 Exh: La Peinture Anglaise Aujourdhui, Musée d'Art Moderne de la Ville de Paris, Paris, February — March 1973 (55); Bridget Riley, Arts Council touring exhibition, April 1973 — January 1974 (64) Lit: Bryan Robertson, «Bridget Riley: Colour as Image», Art in America, LXIII, March — April 1975, pp. 69 — 71; «Bridget Riley in conversation with Robert Kudielka», Catalogue introduction to Bridget Riley, Arts Council touring exhibition, April 1973 — January 1974 Since 1969 an important aspect of Bridget Riley's work has been its concern with the interplay between light and colour.

Other exhibitions organized by Cameron since joining the New Museum include: Wim Delvoye: Cloaca (Jan 2002); William Kentridge (Jun. 2001); Paul McCarthy (Mar. 2001); Pierre et Gilles (Sept. 2000); Cildo Meireles (Nov. 1999); Open House: Michael Smith and Joshua White (April 1999); Fever: the Art of David Wojnarowicz (Jan. 1999); Xu Bing: Introduction to New English Calligraphy (Oct. 1998); Bili Bidjocka / Los Carpinteros / Rivane Neuenschwander (June 1998); Unland: Doris Salcedo (March 1998); Enclosures: Teresita Fernandez, Nedko Solakov, Hale Tenger (Nov. 1996); and Carolee Schneemann: Up to and Including her Limits (Nov. 1996).

Study day An Introduction to Afro Modern: Journeys through the Black Atlantic 13 March 2010 10.00 — 16.00 Admission # 30, booking required Price includes entry to the exhibition In partnership with the University of Liverpool This study day will introduce the exhibition's key theme, an interpretation of the Black Atlantic as a network of surrounding and interconnecting cultures spanning Africa, Europe, North and South America, and the Caribbean, which played an important role in the development of Modern art.