Sentences with phrase «more exhibitions worth»

More exhibitions worth visiting for the immersive quality of their installations are Joanna Malinowska's Not a Metaphorical Forest at Canada (through March 12), and Dana Yago's The Lusting Breed at bodega (through April 2).

Not exact matches

MAXSPORT will also release very new developments on the exhibition stage worth tasting: well seasoned Protein chips with multiple consumption benefits, convenient capsule Protein coffee with yummy taste, crunchy breakfast Protein cereals and more.

«Now I see that the tale told in The Homeric Hymn is more of an ongoing truth than a myth,» Coffey writes in an essay included with the exhibition, and it's worth wondering if the opposite will ever be true.

• 484,594 serviced apartments in 6,426 locations across The Americas and Canada, together with 70,300 corporate housing units • US accounts for 25 per cent of the $ 100 billion global vacation rental sector, which is expected to be worth $ 170 billion by 2019 • Region accounts for region accounts for 58.61 per cent of the global serviced apartment inventory • US corporate housing Average Daily Rate was $ 150 in 2016 • 800 extended stay hotels in Hilton portfolio, with more than 500 in the pipeline, representing 15 per cent of the Hilton portfolio • 1 serviced apartment, branded residence, aparthotel, corporate accommodation and short - term rental conference and exhibition for the Americas • US corporate housing inventory is estimated at 66,863 units • Around 7,700 serviced apartments in 95 locations across LATAM region • US corporate housing revenues increased 10.2 %, to $ 3.2 billion in 2016 • Canadian corporate housing revenue is an estimated $ 278 million.

Research conducted by Reed Travel Exhibitions in London, has revealed that the annual Arabian Travel Market, which takes place in Dubai each May witnessed more than 2,700 exhibitors sign business deals worth more than $ 2.1 billion with 23,500 visitors at the 2014 event.

Angel Otero: Everything and Nothing, the artist's first survey exhibition, encompasses more than a decade's worth of painting and sculpture.

ARCHIVE: The Louise Bourgeois Archive is comprised of more than a century's worth of personal writings, letters, family photographs, exhibition announcements, and diaries.

The juror of selection and awards this year is renowned watercolor artist Kathleen Conover, who will select the winners of the Gold Medal ($ 1,200 prize), Silver Medal ($ 900 prize), and Bronze Medal ($ 600 prize) and 19 other designated awards worth more than $ 8,000 in cash and sponsored prizes.Throughout the exhibition, visitors will have the opportunity to cast a vote for their favorite painting in order to select the winner of the «People's Choice Award.»

The work by Lisa Gordon has been featured in solo exhibitions and museum shows across the United States, including Coors Western Art Exhibit & Sale in Denver, CO (2016 & 2017), Cowgirl Up at the Desert Caballeros Western Museum in Wickenburg, AZ (2006 & 2007), Heart of the West at the Cowgirl Hall of Fame in Fort Worth, TX (2005 - 2007), Originals at the Albuquerque Hall of Fame in Albuquerque, NM, and more.

1995 Cotter, Holland, Beneath the Barrage, The Modern's Little Show, The New York Times, April 7, p. C27 Hainley, Bruce Next to Nothing: The Art of Tom Friedman, Artforum, November, pp. 4 - 5, pp. 73 - 77 Kastner, Jeffrey, lo - fo, Frieze, September / October, pp. 72 - 73 Kim Levin, Choices, The Village Voice, May 2, p. 11 Mitchell, Charles Dee, «Critical Mass»: More Than Meets the Eye, Dallas Morning News, February 3 Narbutas, Siaurys, Modernus Menas Padeda Atlaidziau Zvelgti I Pasauli, Lietuvos Rytui, August Rich, Charles, At MoMA: A «Mad» Muse, The Hartford Courant, April 1 Schjeldahl, Peter, Struggle and Flight, The Village Voice, April 18, p. 79 1994 Connors, Thomas, Evanston Art Center, New Art Examiner, May Green, David, Doors of Perception, Burelle's, May, p. 18, p. 23 Mollica, Franco, Tema Celeste, Autumn, p. 64 Perretta, Gabriele, Flash Art (Italian edition), Summer Romano, Gianni, Tom Friedman, Zoom, no. 12 Romano, Gianni, In and Out Liquid Architectures (Through a Few Objects, Temporale, no. 31, pp. 34 - 37 Romano, Gianni, Interactive Child, Arquebuse, May, pp. 24 - 25 Tager, Alisa, Emerging Master of Metamorphosis, The Los Angeles Times, May 3, p. F1, p. F8 Trione, Vincenzo, De Soto, Ulisside del Bello, Il Mattino, May 27 1993 Artner, Alan, Sharp Conceptual Show Dares to be Different, The Chicago Tribune, January 22, section 7, p. 56 Auer, James, There's No More Than a Hairbreath Between Art, Reality in This Exhibit, Milwaukee Journal, January 17 Blair, Dike, review, Flash Art, November / December, pp. 112 - 114 Flynn, Patrick J.B. review, Hair, Artpaper, February Heartney, Eleanor, New York, Dans les Galeries, Art Press, October, pp. 24 - 28 Humphrey, David, New York Fax, Art issues, May / June, pp. 32 - 33 Levin, Kim, Choices, The Village Voice, February 23, p. 65 Lillington, David, Times, Time Out, June 16 Lillington, David, Times, Metropolis M, Winter, pp. 47 - 49 Nesbitt, Lois, Artforum, Summer, pp. 111 - 112 Paine, Janice T. Hair Pieces: Exhibition Worth Combing, Mikwaukee Sentinel, January 8, p. 8D Shepley, Carol Ferring, Tom Friedman Shapes Art Out of Everyday Things, St. Louis Post - Dispatch, January 14, p. 3E Southworth, Linda, An Extraordinary Exhibition at Arts and Letters, The Washington Heights Citizen & The Inwood News, February 28, pp. 10 - 11 1992 Bernardi, David, News Reviews, Flash Art, May / June, p. 149 Cameron, Dan, In Praise of Smallness, Art & Auction, April, pp. 74 - 76 Faust, Gretchen, New York in Review, Arts, March, p. 79 Kahn, Wolf, Connecting Incongruities, Art in America, November, pp. 116 - 121 Marrs, Jennifer, Simple Style With a Complex Meaning, Courier, October 2, p. 15, p. 18 Smith, Roberta, Casual Ceremony, The New York Times, January 3, section C 1991 Artner, Alan, Friedman Debuts with Winning Simplicity, The Chicago Tribune, February 22, section 7, p. 56 Barckert, Lynda, The Work of Art, The Reader, March 1 Brunetti, John, New City, March 14, p. 14 Heartney, Eleanor, Art in America, December, p. 118 Hixson, Kathryn, Chicago in Review, Arts, May, p. 108 Levin, Kim, Choices, The Village Voice, September 17, p. 104 McCracken, David, Gallery Scene, The Chicago Tribune, February 8, section 7, p. 68 McCracken, David, Gallery Scene, The Chicago Tribune, August 30, section 7, p. 54 Goings On About Town, The New Yorker, September 23, p. 12 Palmer, Laurie, Artforum, May, p. 151 Patterson, Tom, Trio of Solos: Thoughts on Three Current Shows at SECCA, Winston - Salem Journal, September 1, p. C6 Smith, Roberta, Art in Review, The New York Times, September 13, p. C5 1990 Harris, Patty, Four Summer Art Shows, Downtown, August 29, pp. 12A - 13A Levin, Kim, Choices The Village Voice, August 7, p. 102

In an otherwise arbitrary - feeling exhibition, it feels deliberate and important — and maybe worth one more last - minute trip to Chelsea.

The Amon Carter Museum of American Art in Fort Worth presents American Vanguards: Graham, Davis, Gorky, de Kooning and Their Circle, 1927 — 1942, an exhibition, on view from June 9, 2012, that brings together more than 60 pioneering works of American modernism.

That Turner exhibition would be worth a lot more than 20 minutes of an intelligent person's time.

In some cases these shows are little more than a chance to bring languishing inventory out of the back room, but, fortunately, many galleries mount serious thematic exhibitions that are well worth a visit.

More than half a million people viewed Archibald Motley: Jazz Age Modernist, the groundbreaking exhibition that originated at the Nasher Museum and traveled to the Amon Carter Museum of American Art in Fort Worth, Texas; the Los Angeles County Museum of Art; the Chicago Cultural Center and the new Whitney Museum of American Art in New York.

Selected solo exhibitions include Louisiana Museum of Modern Art, Humlebæk, Denmark (1975); Des Moines Art Center, Iowa (1977); Corcoran Gallery of Art, Washington, D.C. (1978); Whitney Museum of American Art, New York (1979); Kunsthaus Wien, Austria (1992); Montreal Museum of Fine Arts, Canada (1994, travelled to Modern Art Museum of Fort Worth, Texas); Daimaru Museum of Art, Tokyo (1995, travelled to Genichiro - Inkuma Museum of Contemporary Art, Kagawa; and Kintetsu Museum of Art, Osaka); Saatchi Gallery, London (1997); «Duane Hanson, A Survey of his Work from the 30's to the 90's,» Museum of Art, Fort Lauderdale (1998, travelled to Flint Institute of Arts, Michigan; Whitney Museum of American Art, New York; and Memphis Brooks Museum of Art, Memphis); and «Duane Hanson: More than Reality, 2001,» Schirn Kunsthalle, Frankfurt (2001, traveled to Padiglione d'Arte Contemporanea, Milan; Kunsthal Rotterdam, The Netherlands; National Galleries of Scotland, Edinburgh; and Kunsthaus Zürich).

As museums have mounted more exhibitions from their permanent collections, revisiting their archives and breathing new life into years» worth of holdings, this generation's artists are also looking back - revisiting materiality, composing and recombining nontraditional materials, perhaps out of necessity, or as a comment on a collective loss of intimacy through lives lived online.

More recently in 2001 an exhibition of his drawings was held at the Modern Art Museum, Fort Worth.

The exhibition features 48 artworks, revealing powerful responses to China today, as well as perspectives and attitudes towards tradition.The exhibition is the culmination of more than a decade's worth of exploration and research by art collectors Don and Mera Rubell.

The video by Lex Brown (whose YouTube channel is worth your whole morning) is a triumphant send - up of absurdist, dysfunctional film theory and DIY cultural appropriation, or more accurately and as the exhibition essay by Jill Moniz keenly observes, re-appropriation.

The Michelangelo Pistoletto exhibition at San Giorgio is more than worth the visit.

From 2010 to 2013, that exhibition traveled to Italy, Spain, and Japan, then to Nashville, Fort Worth, and Tampa, and was seen by more than 300,000 people.

Organized by the Modern Art Museum of Fort Worth, the exhibition follows Guston's movement from figuration to abstraction, as well as his later, more controversial return to figuration and the grand still lifes and landscapes that occupied him throughout the 1970s.

www.kawsone.com Born 1974 Jersey City, New Jersey Lives and works in Brooklyn, New York Education 1996 BFA School of Visual Arts, New York, NY Grants 1998 Pernod Liquid Art Award Solo exhibitions 2018 Galerie Perrotin, Hong Kong 2017 WHERE THE END STARTS, Yuz Museum, Shanghai Contemporary Art Museum St. Louis, Missouri 2016 WHERE THE END STARTS, Modern Art Museum of Fort Worth, Fort Worth, Texas; Yuz Museum, Shanghai BFF, Central Embassy, Bangkok Galerie Perrotin, Seoul Yorkshire Sculpture Park, West Yorkshire 2015 Permanent Vacation II, Eden Rock St. Barths, St Jean Bay, St Barthélemy, French West Indies Along the Way, Brooklyn Museum, Nueva York Newcomb Art Gallery at Woldenburg Art Center, Tulane University, New Orleans, Louisiana Clean Slate, La Nave, Las Salinas, Ibiza Clean Slate, Shanghai Times Square, Shanghai 2014 Man's Best Fiend, Honor Fraser Gallery, Los Angeles, California Clean Slate, Harbour City, Hong Kong Final Days, CAC Málaga - Centro de Arte Contemporáneo, Málaga PLAY YOUR PART, Galería Javier López, Madrid 2013 Mary Boone Gallery, New York; in collaboration with Galerie Perrotin Pass the Blame, Galerie Perrotin, New York Ups and Downs, Nerman Museum of Contemporary Art, Overland Park, Kansas KAWS @ PAFA, Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania KAWS: Giswil, More Gallery, Giswill, Switzerland Ohhh..., Kaikai Kiki Gallery, Tokyo 2012 Imaginary Friends, Galerie Perrotin, Paris Companion (Passing Through), The Modern Art Museum of Fort Worth, Fort Worth, Texas The Nature of Need, Galerie Perrotin, Hong Kong KAWS: Down Time, High Museum of Art, Atlanta, Georgia 2011 KAWS: Companion, High Museum of Art, Atlanta, Georgia Focus: KAWS, The Modern Art Museum of Fort Worth, Fort Worth, Texas Hold the Line, Honor Fraser Gallery, Los Angeles, California Companion (Passing Through), The Standard, New York; Aldrich Museum of Contemporary Art, Ridgefield, Connecticut 2010 Companion (Passing Through), Harbour City, Hong Kong KAWS, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut Pay the Debt to Nature, Galerie Perrotin, Paris KAWS, Galería Javier López, Madrid 2009 The Long Way Home, Honor Fraser Gallery, Los Angeles, California 2008 KAWS, Gering & López, New York Saturated, Galerie Emmanuel Perrotin, Miami, Florida; travelling, curated by Pharrell Williams 2003 Original Fake, BAPE Gallery, Tokyo 2002 # @!

Whether you were lucky enough to get an early preview or you are awaiting the appointed day when your timed pass will allow you to gain entry into the nation's much - anticipated African American museum, to complement your experience, there are more than 10 African American art exhibitions in Washington worth visiting now and in the weeks and months to come.

Sticky Drama was commissioned for this exhibition and can not be seen online or in any other space while the exhibition continues, making the visit just that much more worth your while.

But it's worth it, as the annual fair — and perhaps more importantly, the hundreds of off - site exhibitions and events that come with it — define furniture design as we know it.