Sentences with phrase «often such exhibitions»

Often such exhibitions exist frankly as filler, but often they are among the more satisfying experiences offered.

Not exact matches

It was such a refreshing change of pace from the rarefied atmosphere of the «Fragments of Time and Space» temporary exhibition at the Hirshhorn and their too often BS - ridden text panels.

The exhibition's curator David Francis Taylor, associate professor of English at the University of Warwick, says that Shakespeare has such allure for political commentators because it often offers a «wonderfully concise way of suggesting much more complex political problems».

Single people who are interested in art often come alone to such places and they usually don't mind admiring the exhibition together with some attractive person.

He often works with found objects and materials drawn from stereotypical references to African American culture such as chicken wings, dreadlock clippings and Night Train liquor bottles and the outdoors have served as his exhibition space where he has sold snow balls in the street and installed real porcelain urinals on trees.

Embracing the linear, abstract and geometric, and the human desire to locate order and beauty in a world that often provides neither, Dahlgren's solo exhibition — his second here — features works (many site - specific or performative) that express how an artist can cultivate awe - inspiring impressions stemming from deliberation and recurring tasks, and from the alteration of domestic objects and common items such as weighing scales, coloured pencils and darts.

Cheng's sculptural practice demonstrates a preoccupation with objects people often create to meet basic needs such as: shelter, illumination, warmth, support, nutrition and occasionally diversion Cheng's solo exhibition, entitled Mixtures, involves a sprawling and scattered installation, a single work containing multitudes.

This exhibition is comprised of new mixed media paintings and a sculpture that extend Sarmento's continuing fascination with the transgression of boundaries and the dichotomies those transgressions often illuminate, such as spirituality and eroticism, sexuality and morality, speech and dialogue.

It's not often that such a sprawling narrative emerges from within a work of art, but such is the case with the series of photographs by San Francisco - based artist Danielle Nelson Mourning in her debut solo exhibition at Taylor De Cordoba Gallery in Culver City.

Several women artists who are left out of this exhibition, such as Jenny Holzer or Adrian Piper, have challenged the commodification of text by reclaiming it as representational in contemporary art, often portraying direct, confrontational statements to viewers.

In this regard, the exhibition tries to show how «truth» can be constructed, often between various forms of knowledge... Cartography of Control, thus, addresses notions such as conflict, man made structures, control, rationality / irrationality... This is shown in work such as Cartography of Control, where the manipulation of powerful electric charge embodies itself as a note on trying to control the uncontrollable.

The exhibition includes work by the names often identified with the eighties such as Jean - Michel Basquiat, Sherrie Levine, David Salle, Julian Schnabel and Christopher Wool, as well as many lesser - known painters who exemplify the breakthrough aesthetic of this period.

Mr. Blistène recalled Ms. Balshaw's program at the Whitworth — shows of female artists such as Mary Kelly and the «Trade and Empire: Remembering Slavery» exhibition in 2007 - 08 — as often «political and critical,» yet noted that she managed to appeal to Manchester audiences.

His modular paintings (first shown in the exhibition Kurgan Waves, at the Canada gallery, New York, in 2006) are composed of single - color canvases installed to create geometric, often overtly figural forms, such as the long - legged, slicker - and - galoshes - wearing The Fisherman's Friend from 2005, one of the earliest works in the exhibition.

In gallery news: David Zwirner now represents the Joan Mitchell Foundation, with an exhibition planned for next year in the gallery's New York space — «The gallery is proud to be entrusted to help with the extraordinary legacy of Joan Mitchell, one of the most important and original American painters to emerge in the second half of the twentieth century», Zwirner commented; Lehmann Maupin have announced representation of the Estate of Heidi Bucher — «Her exploration of spaces — often designated as feminine, particularly domestic environments and objects — is very much in line with Lehmann Maupin's programming and closely ties into the work of artists such as Do Ho Suh and Liza Lou,» director Anna Stothart said; New York's James Cohan Gallery represents Matthew Ritchie; LA's Kayne Griffin Corcoran now represents painter Mary Obering (her work is on show at their booth at Frieze New York); London's White Cube have opened an office on New York's Upper East Side; and Mexico City gallery kurimanzutto also opened a space in New York's Upper East Side yesterday, inaugurated with new work by Abraham Cruzvillegas.

And whereas in her work it often appears that art historical references abound (for instance to Donald Judd and Tony Smith, in two pieces in her Kunsthalle Basel exhibition, or to Medardo Rosso and James Turrell in previous works), her resultant still and moving images are not really about such seeming references.

Drawing on the use of elliptical conversations in the 1961 film Last Year at Marienbad by Alain Resnais as a point of departure, the exhibition features works of art that utilize various cinematic conventions, such as editing, character development, narrative, mise - en - scène and montage, to reveal how our understanding of reality is often mediated by those very cinematic techniques.

If Mirren often plays on her Russian heritage in interviews, and draws on her British working class background in other contexts — in what has become a polarised form of role play to manipulate the media's perception of her — then the images used in this exhibition represent her corresponding parts for film and television that show issues of domination, subjugation and control, such as in The Queen, Caligula and Prime Suspect.

Often focusing on key moments of conflict or war, this major exhibition includes installations with lengthy, parable - like titles such as The worst condition is to pass under a sword which is not one's own (2009) connecting costume designs from Star Wars to uniforms designed by Saddam Hussein's son Uday (an avid George Lucas fan) for Fedayeen Saddam, an elite militia whose members dressed eerily similar to Darth Vader.

The works in the exhibition extend Sarmento's continuing fascination with the transgression of boundaries and the dichotomies those transgressions often illuminate, such as spirituality and eroticism, sexuality and morality.

Specializing in modern and contemporary art, Kukje is very often the first venue presenting prominent artists in Korea, and major exhibitions have been staged to introduce leading international artists such as Anthony Caro, Ugo Rondinone, Alexander Calder, Louise Bourgeois, Donald Judd, Anish Kapoor, Bill Viola, Roni Horn, Candida Höfer, Julian Opie, Paul McCarthy, Jenny Holzer, and Jean - Michel Othoniel.

She often works collaboratively: forthcoming such projects include a public art / activism action in DC (fall 2016, co-organized with Saisha Grayson); a painting exhibition at the American University Art Museum (2017, co-organized with Danielle Mysliwiec); and an oral history of visual arts practices inside the I - 495 Beltway (as part of the DC - based collective FURTHERMORE).

The Galerie Hopkins often lends works for major exhibitions to institutions such as The Metropolitan Museum of Art (New York), the Musée des Beaux - Arts (Montreal), and the Fondation Pierre Gianadda (Martigny, Switzerland).

However, within the wider context of this particular exhibition, such a judgement seems almost secondary because, as is so often the case, the principal issues and concerns arising out of exhibition work by Black artists in white gallery spaces revolve around the «politics» of these exhibitions, rather than the wok itself.

Within the larger scope of Gates» output, this building, alongside the others he has restored, is an integral part of his work: the buildings themselves can be, and are often, categorized as falling within his oeuvre as much as the smaller pieces he will sell in gallery exhibitions or art fairs to fund architectural projects such as the Bank.

[11] In the catalogue Alloway noted, that... «paintings, such as those in this exhibition are not, as has been often claimed, impersonal.

The exhibitions here were often complimented by live performances such as Robin Deacon's Approximating the Art of Stuart Sherman, Jaap Blonk's vocal improvisations and Lee Campbell's and Mel Jordan's «Heckler» symposium.

In addition, awards such as this, with direct financial support to artists, which is critically needed and often overlooked, allow artists to explore new materials, invest in studio spaces, provide solo exhibition opportunities, and connect their work to curators from other cities.»

Works such as Personale (Solo Exhibition)(1995 — 97) highlighted the network of elements often utilized by West.

Indeed, the once overlooked emerging Chinese artists and a number of respectable, established names such as Ai Weiwei, all come from the vibrant grounds of China's capital, often promoted in exhibition spaces of the Danshanzi 798 Art Zone or the up - and - coming Caochangdi District.

Ha has curated and organized more than 100 solo and group exhibitions and exhibited artists such as Sarah Sze, Christoph Büchel, Jessica Craig - Martin, Rachel Feinstein, and Anna Gaskell, often presenting their first solo exhibitions.

Lewis was indeed an aspirational, ambitious artist, whose work was often included among that of fellow abstract painters in exhibitions at major museums, such as LACMA and MOMA, from the late 1940s to the»60s.

Cramming an exhibition space with variations on a less - is - more theme can risk displacing the subtlety of such an artistic project by imparting to the work a possibly misleading but often indelible appearance of slightness.

Through such exhibitions, the Museum continues its policy of focusing on issues prompted by different and often opposing points of view.»

The exhibition will delve into aspects of the Party that are not often told, such as its survival programs, the presence of women and rank and file members, its use of media and art, and its founding Ten Point Program that continues to inform and inspire contemporary movements of change today.

In his third solo exhibition at the gallery, the Los Angeles artist, known for creating works that insert the often invisible laborers who makes luxury possible, is turning his sights to Melrose Avenue — creating a series of paintings that take on iconic sites such as the Paramount Studios and Fred Segal.

The exhibition starts at the beginning, with his enrolment in the «vocational» course at St Martin's school of Art between 1964 - 66 (contemporary with Gilbert & George and Bruce McLean), where he began questioning the nature of sculpture, prioritising process and material over structure, and experimenting with non-conventional, often found stuffs such as sand, felt, or canvas sacks.

Whereas Riddy more often shoots in colour — as seen in earlier bodies of work such as Views from Mount Shin - Fuji (2005)-- the decision to shoot in black and white for this series lends the works in the exhibition a sense of timelessness.

Off the Shelf, Richard Garrison's third exhibition with the gallery, continues his deconstruction and analysis of ubiquitous materials, objects and places from the suburban, most often consumer related, American landscape, such as Sunday newspaper sale circulars, parking lot colors, colors of product packaging, etc..

Today there are many such exhibitions originating from the internet and participants in them are often numerous (JstChillin, BYOB, Speedshows, immaterial surveys, etc.).

Utilizing an assortment of mediums such as sculpture and exhibition / performance, Ullman makes installations that often feature parts of his studio, such as torn drywall fragments.

Although this led to exhibitions such as a recreation of Alfred Stieglitz's «291» gallery, the size of the space was limiting and many exhibitions were forced off - campus, often shown at either Harvard University or Northeastern University's exhibition spaces.

According to the Whitney's exhibition label, Pope.L's work «plays with our tendency to project ourselves onto numbers and stokes our awareness that such counting often lays the groundwork for systematic acts of discrimination.

Cramer, whose works often suggest a subjective perception of the world surrounding us, brings to this exhibition a combination of thoughts represented through a variety of media — from his intimate artist books to site - specific installations such as Empty Room, where for the duration of the exhibition, a room in a house somewhere in the countryside of Portugal is kept completely empty, making one reflect on ideas of presence, absence and the human collective unconscious.

Noted for their touring outdoor exhibitions, the group employed a variety of unusual materials in their works, such as stones, waxed fabric, carboard and rope, and the works themselves were often folded, crushed, burned or dyed and exhibited on the floor or hung without a frame.

Accordingly, the works presented in the exhibition are often made as empathetic responses to events such as the loss of a loved one, preoccupations of a particular community, or changes that impact the world more broadly.

The artists in the exhibition engage with a variety of media, drawing inspiration from diverse sources — such as everyday objects, childhood memories, current and historic events, and the body — often creating parallel or alternate narratives that complicate fact, fiction and memory.