Sentences with phrase «while earlier exhibitions»

While earlier exhibitions used horse racing as a point of departure and a metaphor, perhaps, for the handicapping aspect of the art world, «FROM HERE,»...

Not exact matches

While every five minutes the metro was bringing trade visitors from all over the world to the exhibition site and the halls were filling up, the official opening ceremony of the trade fair duo BioFach und Vivaness was being held in the early afternoon.

A striking new bottle design brings Rabarbaro Zucca up - to - date while retaining its original heritage by showcasing three medals won during in early 20th Century exhibitions: 1906 Milan International, 1911 Turin International and 1935 Brussels International.

Reed Travel Exhibitions Chairman World Travel Market Fiona Jeffery said: «While it's certainly too early to claim we're fully out of the woods economically, these results are encouraging.

I've been selling my art since my mid teens and had successful exhibitions since the early eighties, and all of this was done while working full time in at least two jobs / careers at a time as well as raising a family.

The whereabouts of the painting after the Armory Show is unclear, but in 2005 the work was exhibited in a major Bluemner exhibition that Barbara Haskell organized at the Whitney Museum of American Art in New York, and while the accompanying catalogue indicates that the painting is one of the 1911 — 1912 canvases that Bluemner reworked in 1916 — 1917, it does not identify the earlier painting as the one that was in the Armory Show.

Although the 2012 retrospective at Tate Modern was rapturously received, bringing with it a renewed reminder of the power of early works such as The Physical Impossibility of Death in the Mind of Someone Living and Mother and Child, Divided, recent exhibitions have been panned — Schizophrenogenesis was condemned for coasting on past glory, while 2012's painting - focused Two Weeks, One Summer received scathing one - star reviews — and there is a nagging sense that these days his art can resemble a factory production line, with endless copies of his popular «spot» paintings churned out in the name of brand recognition.

The exhibition combines a chronological display with a thematic approach, structured in a series of major chapters in the artist's career, with emphasis on two key moments: the period from 1923 to 1933, when Torres - García participated in various European early modern avant - garde movements while establishing his own signature pictographic / Constructivist style; and 1935 to 1943, when, having returned to Uruguay, he produced one of the most striking repertoires of synthetic abstraction.

While the exhibition features all the major pillars of early abstraction, with a loud omission of Georges Braque, the true treasure of this survey are the lesser - known artists.

The first section of the exhibition features these early experiments, conducted in the mid - and late - 50s, while Oiticica was a member of Grupo Frente (The Forward Group), which was led by his teacher, the painter Ivan Serpa, and included such artists as Lygia Clark and Lygia Pape.

While I understood Ha's work on an intuitive level at the time of the exhibition, it was not until my visit to the artist's studio in the winter of 2008 that I began to fully grasp the depth of his earlier burlap and barbed - wire paintings, not only as signs of military repression made evident during the late 1970s, but also as spiritual works focused on transformation and resistance that could be read as icons of the human condition.

A three - part exhibition, the first gallery provides a glimpse of McGinness's studio practice, the second displays a selection of the objects McGinness chose from the museum's collection alongside his sketches and final image, and the last portion features early works the artist made while growing up in Virginia Beach.

Commemorating one of the earliest documented moments of cross-cultural exchange between Japan and the West, this exhibition will unveil a new series by revered photographer Hiroshi Sugimoto while also juxtaposing his monumental black - and - white photographs of early modern European art and architecture with traditional Japanese artworks.

The exhibition begins with the artist's earliest drawings, made in Los Angeles while studying at Otis College of Art and Design under the legendary social realist painter Charles White.

A colossal steel figure outside the museum entrance, Vater Staat (2010), observes visitors as they arrive, while the key work in the exhibition — the monumental bronze sculptures United Enemies (2011)-- originate in his small, sketchy figures with heads of modelling clay made nearly twenty years earlier.

When Artspace visited Morris's immaculate Long Island City studio earlier this month, the artist — looking stylishly severe in a uniform - like black ensemble with a red belt that matched her lipstick — was getting ready for Basel while also working on paintings, researching her next film, and preparing for a solo exhibition that opens in October at the Museum Leuven in Belgium.

While Thomas, who is featured in a solo exhibition at the Studio Museum in Harlem this summer, is best known for her geometric compositions of blazing color, her early paintings from the 1950s are rooted in the AbEx style, which unlocked her nimble experiments with hue and form.

While this epic exhibition makes much of its lesser - known discoveries, such as the early prodigy Richard Pousette - Dart and the later painter Joan Mitchell, it's the big boys (and they are all boys) who we're most interested in.

A three - part exhibition, the first gallery provides a glimpse of McGinness» studio practice, the second displays a selection of the objects McGinness chose from the museum's collection alongside his sketches and final image, and the last portion features early works the artist made while growing up in Virginia Beach.

His first mid-career survey «Catholic Tastes» at the Whitney Museum of American Art in 1993 was a marker of his reception and influence in the early 1990s, while his contribution to Sonsbeek 93 — an exhibition called «The Uncanny» — demonstrated his acumen for creating a critical curatorial framework.

Cumulatively, the works in the exhibition continue Hammond's post-minimal engagement with materials and process and a survivor aesthetic that began with her fabric sculptures in the early 1970s while also anticipating her materially informed paintings of the last decade.

According to the guidelines in the exhibition, «while the dancer performs, visitors become bystanders and etiquette decrees that during that time, no one except the performer can set foot in the space», and the way the visitors are guided to circulate is reminiscent of Bronstein's earlier work, Concept for a Public Square (2005) where visitors could not step across, but had to skirt around a low wall demarcating an area of dead space.

Gagosian Gallery has dedicated itself to organizing important exhibitions of contemporary art, while presenting earlier works of art from the modern era.

The retrospective exhibition showcases about 270 works, including seven large early paintings Kusama created while she was staying in New York.

The space is divided into two conjoined galleries, one of which hosts the third solo exhibition of Ryan Travis Christian — whose drawings and paintings are clearly influenced by early Disney animation, George Condo, and the Chicago Imagists — while the smaller gallery hosts text - heavy prints by Steve Reinke.

Still, by focusing on the 1970s, while placing it against an earlier context, the exhibition taught me to see the later works differently.

While the exhibition includes pieces from centuries past, to highlight early use of the ancient geological material, the exhibition focuses on contemporary art from the 1970s onward.

The exhibition brings together early still - life imagery and depictions of the Kansas Flint Hills as well as images created while working in Italy.

In addition to exploring cross-connections among LeWitt's peers, the exhibition presents contributions by older artists whose methods inspired LeWitt, as well as younger artists whose approaches are in dialogue with earlier generations while extending the medium in new directions.

Produced over a quarter of a century beginning in 1964, the maquettes offer a unique view into the sculptor's creative process: some illustrate the origins of compositions for monumental works, while others document ideas not realized ultimately in large scale or provide fascinating examples of early sculptural ideas that underwent significant transformation as they emerged as full - scale sculptures in the exhibition chronicle Arneson's evolution as an artist and the development of his freewheeling creativity and prodigious imagination.

The early, investigative works in this exhibition relate to Minimalism and Conceptual Art while also quietly transgressing the rules that defined other works of this era.

This companion volume to the artist's largest exhibition to date is a feast taken from countless visual documents of Kelley's early formation, such as his involvement with the experimental band Destroy All Monsters (DAM), which also featured Jim Shaw, Cary Loren, and Niagara (born Lynn Rovner) in 1973 while Kelly and Shaw were students at the University of Michigan in Ann Arbor; early performative sculptures and objects; drawings; paintings; handmade dolls and stuffed animal sculptures; photography; videos; and endless inventive installations in various forms and shapes that explore and deal with the themes of self - destruction, repression, class relations, sexuality, religion, politics, and whatever else lies between the grotesque and the sublime, the sacred and the profane.

This exhibition explores the paramount role of Jewish women in the creation of Vienna's salon culture — social hotbeds of political discourse and a culture from the late 18th to the early 20th century held in private homes — while foregrounding the hostesses» contribution to the capital's cultural, commercial and political life even in the face of sexism and facism.

While shows such as the Tate's 2010 «Art and the Sublime» chose the more marketable monumental expressions of the Romantic Sublime — the huge canvases of John Martin or Francis Danby — this exhibition chooses to focus on what curator Matthew Hargraves describes as the «quiet transformation» of landscape in the late 18th and early 19th century.

In this, her third solo exhibition in as many years, Brown's paintings continue to have a raw energy while the graphic and sexually charged depictions of the earlier work has morphed into a more ambiguous vision.

While SFMOMA undergoes a three - year expansion effort, through early 2016, it has opened a temporary exhibition in Silicon Valley called «Project Los Altos» (through March 2).

Some of Broodthaers's earliest pieces, which were on display in the exhibition's second gallery, take national identity as their key subject, while simultaneously portraying the artist as subject to his national identity.

While earlier group exhibitions at the Allan Gallery in 1901 and the National Arts Club in 1904 had not been motivated by a particularly anti-Academy sentiment, the desire for a group show now was quite clear.

For his most recent exhibition, which ended last month at David Kordansky Gallery in Los Angeles, he presented found images, like a set of early headshots of the actor Anthony Perkins smiling while holding an armful of milk and juice cartons, as well as a set of charcoal drawings presented alongside small sculptures that looked like bed frames.

While its building is temporarily closed for construction from the summer of 2013 to early 2016, SFMOMA will present a dynamic slate of jointly organized and traveling exhibitions; outdoor and specially commissioned projects; and newly created education programs throughout the Bay Area and beyond.

The exhibition at Ambika P3 will showcase work from established artists like Thomas Ruff and Barbara Probst while also providing a platform for artists at earlier stages of their career like Miki Soejima and Jorge Luis Dieguez.

In the early 1960s, he moved very quickly into making three - dimensional work, so while the first room in the exhibition is given over to paintings, the second shows his first wall reliefs and sculpture.

From her first exhibitions in the early 1990s, Belmore's work set the stage for a new generation of artists whose work reflects their aboriginal identities while challenging and transcending cultural stereotypes.

The exhibition presents 23 large - scale canvases and 17 works on paper, outlining the development of each painter's formal vocabulary while suggesting deep connections between and among the works of all three which stretches back to the early 1970s, according to the museum.

The video documentation (shown on the 4th floor, below the rest of the exhibition) shows that Barney made the drawing while dressed as General MacArthur (in DR 11 and 12 and the earlier DR 1 - 6 he wore street clothes while performing his athletic drawings).

While I'm less familiar with his earlier work, to see the way selections from his two most recent New York exhibitions — Proper (2005) and Forever: The Management of Magic (2008)-- bleed together at the end of the exhibition clearly demonstrate how much the installation defeats any thematic elucidations.

At a first gaze, the idea of reinterpretation of earlier movements within the genre of figurative sculpture seems to be the main thread of the exhibition; the «Human Statues» by Frank Benson re-visit the classic models of sculpture with a post-modern attitude, suggestions of an archaic past revive in Schütte's warriors, while a Minimalistic taste gives shape to Georg Herold's haggard creatures.

In a 2015 Artforum review of his second solo exhibition at Berry Campbell, Phyllis Tuchman discusses these early paintings: «The bands, circles, and rectangles tend to be shiny and reflect light, while the other parts of these canvases are covered with matte paint.

This feature exhibition celebrates the iconic landscape paintings of Phyllis Shafer, while also carefully examining her early artistic influences shaped by her time spent... more»

While Beck's earlier exhibition Vestige insinuated the body as a remainder, it is the mind that is solicited by Second Hand, with its conceptual matrices, comprised of the discarded paintings Buck recuperates in the spirit of e to u.