Sentences with phrase «other pieces in the exhibition»

Other pieces in the exhibition include Money, Head Honcho, Silent, Amazing, Obscene, Sputter, and more.

Not exact matches

Andy Warhol's 1979 BMW M1 Art Car will be the center piece of the exhibition and next to it you will also see the BMW 3.0 CSL that won the Daytona 24 Hour race in 1976, plus tons of other road cars, motorcycles and race cars.

Chihuly Garden and Glass is located next to Seattle's world famous Space Needle and is made up of an exhibition hall, the centerpiece glass house as well as a lush garden that serves as a backdrop for 4 monumental pieces in addition to other installations.

An exhibition, either solo or shared has been the most profitable experience in galleries but I found that it was too long between drinks just having a few pieces on their walls surrounded by many other works, often made up of pieces that had been created to fit in with that years interior design colour schemes and priced accordingly.

The Nevelson piece, Sky Cathedral / Southern Mountain, 1959, which was borrowed from LA MoCA, is installed somewhat differently than these other works, directly on the floor in a portion of the room where the ceiling is lower.It looks consistent with similar Nevelsons I viewed at Pace Gallery or the Jewish Museum in New York during the»80s and»90s, before the advent of the enormity of scale that typifies so many of the new exhibition spaces of today.

The second wall to show up just before Vhils recent exhibition «Dissection ``, was this piece in Alcântara, Lisboa, right on the other side of How &...

It is the specificity of each movement of each piece that turns the entire exhibition into an opportunity in which works affect each other.

The exhibition presents a selected group of each artist's work in relationship and resonance to the other artists» pieces.

And yes, we've all strolled along the Warhol's in this love for the art, but seeing Ileana's portrait in a collection that belonged to her, in a Lisbon exhibition that portuguese António Homem conceived from such rich and historic pieces is more than any other show.

The exhibition offers a selection of more than fifty pieces from the 1990s to the present, some of which the artist has especially reconfigured in order to adapt to the Museum's unique architectural spaces while others were created specifically for the exhibition in Bilbao.

Many of the works in this exhibition were made as side pieces while working on other main bodies of work, thus the literal and conceptual idea of marginalia comes into play.

It will also exhibit works by artists who have had residencies at Rauschenberg's former home in Captiva, Fla.; and it will invite scholars from the Williams College / Clark Art Institute art history program to curate exhibitions of his pieces and art by others to provide a «new view» of Rauschenberg's works.

In 2012, Charrière collaborated with the artist Julius von Bismarck on the site - specific performance piece Some Pigeons Are More Equal Than Others for the 13th International Architecture Exhibition — La Biennale di Venezia.

In its implicit nature as opposed to a brutal revelation, the piece places the home as the centre of the exhibition, to which all the other artworks eventually all adhere.

The Suite of Plant Lithographs, which is the first ensemble of this noted figurative theme in Kelly's work, is a testament to the clarity and visual strength of these pieces, and their adjacency to the other black and white works underscores their alliance with the strict abstraction that characterizes the rest of the exhibition.

The 1951 three - panel White Painting is believed to have been painted over almost immediately as Untitled [matte black triptych](ca. 1951, fig. 2).6 In fact, there is no exhibition history or any other evidence to indicate that White Painting [three panel] was extant between 1951 and 1968; 7 in those years, most of the original White Paintings had slipped out of existence, their canvases used as the supports for other pieces.8 Though artists throughout history have created new works on used canvases, Rauschenberg did so with an unusual frequency and ease, particularly in the early 1950s.9 Looking back at that period some ten years later, he commented, «Today I wouldn't do that..In fact, there is no exhibition history or any other evidence to indicate that White Painting [three panel] was extant between 1951 and 1968; 7 in those years, most of the original White Paintings had slipped out of existence, their canvases used as the supports for other pieces.8 Though artists throughout history have created new works on used canvases, Rauschenberg did so with an unusual frequency and ease, particularly in the early 1950s.9 Looking back at that period some ten years later, he commented, «Today I wouldn't do that..in those years, most of the original White Paintings had slipped out of existence, their canvases used as the supports for other pieces.8 Though artists throughout history have created new works on used canvases, Rauschenberg did so with an unusual frequency and ease, particularly in the early 1950s.9 Looking back at that period some ten years later, he commented, «Today I wouldn't do that..in the early 1950s.9 Looking back at that period some ten years later, he commented, «Today I wouldn't do that....

Located in the Allen Institute building at the corner of Westlake and Mercer in the South Lake Union area of Seattle, the 3,000 - square - foot exhibition space will be devoted to contemporary art and culture in the widest possible sense, featuring work from private and public collections in Seattle and other parts of the world, as well as pieces from the Allen Family Collection.

As the artist makes clear in her exhibition statement: «I work from the simple assumption that the collective story of my little piece of geography with its many inhabitants shares fundamental similarities to other closely observed locations.

That piece and others in the exhibition explore the notion of pop portraiture, which, Zabel writes, is «more about the power of the media to package an image for distribution and consumption than about the individual represented.»

Since its first showing of pieces in 1959 at the Whitney, the collection traveled to Latin America, and then made itself available to other museums in the U.S. through a rigorous 25 - year exhibition program.

These pieces (including a replica of his 1914 Bottlerack) are installed together with iconic works by all eight of the artists who were featured in the New Painting exhibition, as well as other pivotal Pop artists.

Several pieces by the artist Trixia Lara combine the mournful and celebratory tones of other works in the exhibition with a marked defiance in the face of the reality of gendered violence.

For the wooden piece in this exhibition, Bourgeois describes a «human kind of radar,» in which individual units relate as people do, «aware of each other, perceiving each other, and constantly adjusting to each other, as if by radar.»

The highest - profile victory, however, went to performance artist and «dancing economist» Tino Sehgal for his piece in Massimiliano Gioni's «The Encyclopedic Palace» exhibition featuring a man and a woman sitting on the floor, one of them rhythmically uttering incantatory sounds of a vaguely Eastern, quasi-spiritual tenor while the other strikes poses that could possibly be derived from historical artworks.

Honors: Guggenheim Fellowship Two National Endowment for the Arts grants, among other commendations Public collections Solomon R. Guggenheim Museum, New York, New York Los Angeles County Museum of Art, California The Museum of Modern Art, New York, New York National Gallery of Victoria, Melbourne, Australia San Francisco Museum of Modern Art, California Walker Art Center, Minneapolis, Minnesota Whitney Museum of American Art, New York, New York Retrospective: traveled to Irish Museum of Modern Art, Dublin The Van Abbemuseum, Eindhoven, The Netherlands Le Consortium, Dijon, France Museum of Art, Rhode Island School of Design, Providence New Museum, New York, New York The Museum of Contemporary Art, Los Angeles Roberta Smith wrote in The New York Times on Feb. 17, 2011 of Benglis» retrospective, «Whether you have been watching Ms. Benglis» varied career for decades or know her primarily from the latex pieces and her star turn in Artforum, this exhibition pulls together and elaborates her remarkable career in a thrilling way.

It functions as a platform and resource for an international community of artists, curators, museologists and other specialists, sharing diverse perspectives in the format of exhibition reviews, interviews, previews, special features, academic pieces and creative texts.

Her Dance Constructions and other performance pieces such as Huddle, Hangers, Accompaniment for LMY, Rollers, Slant Board, Censor, and Platforms are being enacted in the museum and in public spaces in Salzburg by students at the SEAD (Salzburg Experimental Academy of Dance) during the duration of the exhibition, which runs until September 11, 2014.

No offense to the other great artists in the «Juxtapoz x Superflat» exhibition, but Devin Troy Strother is the best in the world at naming his paintings, sculptures, installations, and neon pieces.

It brought, among other artworks, those that had been in recent exhibitions at its bases in Berlin and London, including pieces by Bill Viola, Francesco Clemente and Tim Noble and Sue Webster.

After the inaugural exhibitions — some of which run through the fall, others into 2017 — curators will be free to integrate Fisher Collection works with pieces from the permanent collection in a range of exhibitions, and Campaign for Art donations — some of which are gifts, others pledges or bequests — will be part of the permanent collection depending on arrangements made with their benefactors.

Works from the collection, as well as pieces on long - time loans from other institutions, are displayed in a semi-permanent exhibition, usually completely renovated every 2 or 3 years.

Mr. Malouf's mushroom paintings also appear in a moody, tightly organized exhibition of six promising artists in the back galleries of Greene Naftali, though they are not quite as dominant a force there, given the presence of two laser lights by Sam Pulitzer (who has a nearly invisible co-authored piece in the Feuer show, runs a vitriolic blog with Mr. Malouf and others, and is also a dealer, again with Mr. Malouf, operating the William gallery out of a garbage can in a Chinatown building).

If you wish to have your work in the other exhibition, do not submit your piece to the FAC for inclusion in the exhibition.

Sometimes in painting exhibitions, one piece jumps out to indicate a direction the other paintings might have taken but didn't.

After the scale of some of the other work in Feral 4 Ryan's work was small, limited to a number of small boxes containing a number of found objects, collections of words, black ink and the bits and pieces of an exhibition space, masking tape threads etc..

The piece featured in this exhibition concentrates on contrasting different characters of painting and digital screen, asking how painting can be understood about other image systems; from television screens to billboards, to the infinite scroll of a mobile phone screen.

The Botín Foundation's collection is focused primarily on contemporary fine art and comprises paintings, drawings, sculptures and installations by renowned international artists such as Miroslaw Balka, Tacita Dean, Carlos Garaicoa, Mona Hatoum, Joan Jonas, Jannis Kounellis, Julie Mehretu, Antoni Muntadas, Gabriel Orozco, and Juan Uslé, among others; pieces from the collection are usually showcased through thematic temporary exhibitions in the galleries on the upper floor of the west wing.

Both her sound piece in the exhibition at Hotel Indigo and her related performance at MCASB's main location explore the beauty, absurdity, torture, and miraculousness of what it means to be human, both within our own skin and as we connect to others in the world.

Other works in the exhibition include wall pieces and a gridded platform on the floor making use of two - way mirrors to create the illusion of fragmentary architectural structures repeating and receding into infinite space.

Other pieces Doeringer copied and showcased at the Los Angeles exhibition were John Baldessari's Throwing Three Balls in the Air to Get a Straight Line, On Kawara's I Went, Richard Prince's Cowboy photographs, and several of Edward Ruscha's books.

I have two pieces Matrix 10 and Volcanic Mangrove (both below) in the New Hampshire Institute of Art's Biennial exhibition with 30 other artists and juried by Anthony Apesos.

In terms of contemporary art, exhibitions include mixed media pieces, print works and a selection of innovative photography from notable exhibitors such as Blain Southern with a showcase of recent works by Abdoulaye Konaté, Sean Kelly presenting photography by James Casebere and Marina Abramovic, and David Zwirner with a variety of pieces by Francis Alÿs, Carol Bove, Donald Judd, Yayoi Kusama, Wolfgang Tillmans and others.

Around 25 pieces in the exhibition belong to the museum's collection, while others were borrowed from US museums, private collections, artists» estates and from the artists themselves.

In his current solo exhibition, Please, now at The Situation Room, there are a grid of 25 PB&J sandwich photos, and another 25 - photo grid depicting other photos from Kaufman's Instagram work, including his plate pieces.

Showcasing work by 29 artists of varying race, ethnicity and gender (including David Hammons, Lorna Simpson, Robert Mapplethorpe, Pat Ward Williams, Jean - Michel Basquiat, Lyle Ashton Harris and Andres Serrano, among others), the show, through installation pieces, photography, sculpture, film and video, presents a range of representation — images that «challenge and transform the «negative» stereotypes,» «real and imagined,» writes Golden in the exhibition catalogue.

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.

This stage in the carving may be dated to mid 1933, when the publication of Unit One was first proposed, as most of the other pieces in the photograph were shown with Seated Figure in the joint exhibition with Nicholson in October rather than the comparable show of 1932.

The Frick Collection has one of the most important American collections of sculptures, which is presented in the exhibition with several other top pieces, including Francesco Laurana's moving portrait bust of Beatrice van Aragon, and the bronze Hercules of Antico, both from the fifteenth century.

Perhaps less successful as part of a group exhibition is Duncan Campbell's hour long film, It For Others (2013, which is difficult viewing in a similar way to the 2012 entry by Luke Fowler, a 90 minute cinema piece surrounding psychology.

Othoniel's exhibition features a fountain in a blue grotto, wall and floor pieces of mirrored glass bricks, tornado sculptures made of chrome painted aluminium beads, and suspended glass beads knots, among others.