Sentences with phrase «whitechapel gallery collections»
The Whitechapel Gallery Collections programme is generously supported by Hiscox.
http://www.contemporaryartsociety.org/ Not exact matches
His work is in the permanent collection of New York's Museum of Modern Art and the British Museum and has been exhibited at the Tate, Centre Pompidou, MoMA, Whitney Museum of American Art, Berlin Kunsthalle, PS1, Whitechapel Gallery, and London's Institute of Contemporary Arts.
The publication brings together photographs of Tuttle's personal collection of textiles, images of works from the Whitechapel Gallery exhibition, and documentation of the sculpture at Tate Modern.
(Note — see Gilda Williams» «The Gothic» from the Whitechapel Gallery's Documents of Contemporary Art series for a collection of writings examining this «Gothic» phenomenon in art today.)
Jointly commissioned by the Whitechapel Gallery and Phillips, Fair Warning plays with expectations of popular online questionnaires or personality tests, to examine the use of data collection when attempting to represent user tastes.
The artist was chosen as the third Whitechapel Gallery Art Icon by a panel of art experts chaired by Iwona Blazwick, including Stephen Deuchar, Director, The Art Fund; Ann Gallagher, Director of Collections (British Art), Tate; and Jackie Wullschlager, Chief Art Critic, The Financial Times.
Photography and video works drawn from the collection of the National Museum of Women in the Arts, Washington, D.C. go on display at the Whitechapel Gallery 18 January -16 April.
2017 Like (curated by Richard Kern), Galerie Sebastien Bertrand, Geneva ISelf Collection Displays, Whitechapel Gallery, London Selected works from the Murderme collection, Newport Street Gallery, London
- ISelf Collection displays: The exhibition continues the Whitechapel Gallery's dedicated collections programme in Gallery 7, which reveal rarely - seen works from around the world.
The Whitechapel Gallery, The Royal Academy of Arts, as well as several other galleries across the UK hosted the show which was a success and many works became part of the leading public collections in the country.
Instead of simply clearing the decks for a tranche of this private collection, as other museums had in the past — the Whitechapel Art Gallery, the Guggenheim in Bilbao — the curators decided to match his art to their own.
Exhibiting the full collection of Imprint 93 editions for the first time the Whitechapel Gallery's archive display offers a unique insight into a period significant to the development of the British art scene of the 1990s, and beyond.
Guests included artists Michael Craig - Martin, Hamish Fulton, Antony Gormley, Michael Landy, Heather Phillipson, Bob and Roberta Smith, Gillian Wearing, Sue Webster, Rachel Whiteread and Lynette Yiadom - Boakye alongside Richard Long's friends and supporters including Alan Cristea (Gallerist), Ann Gallagher (Curator and Head of Collections at Tate), Nicholas Logsdail (Gallerist), Farshid Moussavi (Architect), Maureen Paley (Gallerist), Colin Renfrew (Lord Renfrew of Kaimsthorn), David Rocksavage (David Cholmondeley, 7th Marquess of Cholmondeley), Alex Sainsbury (Chair of the Board of Trustees, Whitechapel Gallery), Victoria Siddall (Director, Frieze Fairs), Lydia Yee (Curator, Whitechapel Gallery) and many more.
Continuing the Whitechapel Gallery's programme of opening up rarely seen collections from around the world, this is the second of four exhibitions drawn from the ISelf Collection.
This display highlights works in The National Museum of Women in the Arts collection — the only international museum dedicated to the exhibition, preservation, and acquisition of works by women artists of all nationalities and periods - as part of the Whitechapel Gallery's programme of opening up rarely seen collections from around the world.
It is a touchstone for contemporary art internationally, plays a central role in London's cultural landscape and is pivotal to the continued growth of the world's most vibrant contemporary art quarter.The Whitechapel Gallery does not own a Collection, but has a dedicated gallery for opening up public and private collections, including five displays from the British Council Collection from April 2009 — May 2010; four displays from The D. Daskalopoulos Collection, Greece, from June 2010 — May 2011; five displays from the Government Art Collection, from June 2011 — September 2012; four displays from the Collection Sandretto Re Rebaudengo from September 2012 — September 2013; four displays drawn from member museums of the Contemporary Art Society from September 2013 — August 2014 and four displays of works from the V - A-C Foundation collection from September 2014 — AugusGallery does not own a Collection, but has a dedicated gallery for opening up public and private collections, including five displays from the British Council Collection from April 2009 — May 2010; four displays from The D. Daskalopoulos Collection, Greece, from June 2010 — May 2011; five displays from the Government Art Collection, from June 2011 — September 2012; four displays from the Collection Sandretto Re Rebaudengo from September 2012 — September 2013; four displays drawn from member museums of the Contemporary Art Society from September 2013 — August 2014 and four displays of works from the V - A-C Foundation collection from September 2014 — Augusgallery for opening up public and private collections, including five displays from the British Council Collection from April 2009 — May 2010; four displays from The D. Daskalopoulos Collection, Greece, from June 2010 — May 2011; five displays from the Government Art Collection, from June 2011 — September 2012; four displays from the Collection Sandretto Re Rebaudengo from September 2012 — September 2013; four displays drawn from member museums of the Contemporary Art Society from September 2013 — August 2014 and four displays of works from the V - A-C Foundation collection from September 2014 — August 2015.
Drawn from the Barjeel Art Foundation collection of modern and contemporary Arab art, this is the final display in a year - long series at the Whitechapel Gallery.
The Whitechapel Gallery presents photography and video works from the collection of the National Museum of Women in the Arts, Washington, D.C., the only international museum dedicated to women artists, on display in spring 2017.
Announcing highlights from Whitechapel Gallery's Spring / Summer 2017 programme: A major retrospective of Eduardo Paolozzi; «Terrains of the Body», a display drawn from collection of the National Museum of Women in the Arts; plus archive displays, commissions and special events
Continuing the Whitechapel Gallery's programme of opening up rarely seen collections from around the world, the four exhibitions are each titled after a key artwork in each display.
The Whitechapel Gallery presents a display of photography and video works drawn from collection of the National Museum of Women in the Arts, Washington, D.C. Works by seventeen contemporary artists from five continents capture women on camera in domestic spaces and expansive landscapes.
Continuing the Whitechapel Gallery's programme of opening up rarely seen collections from around the world, this is the third of four exhibitions drawn from the ISelf Collection.
Hodgkin was chosen by a panel of art experts chaired by Iwona Blazwick, Director, Whitechapel Gallery; Stephen Deuchar, Director, The Art Fund; Ann Gallagher, Head of Collections (British Art), Tate; and, Jackie Wullschlager, Chief Art Critic, The Financial Times.
Shown in a dedicated Collections Gallery as part of the Whitechapel Gallery's programme opening up rarely seen art collections for everyone, from around the world this final exhibition follows three previous displays Barjeel Art Foundation: Debating Modernism I (8 September — 6 December 2015), Barjeel Art Foundation: Debating Modernism II (15 December -17 April 2016) and Mapping the Contemporary I (26 April — 14 AuCollections Gallery as part of the Whitechapel Gallery's programme opening up rarely seen art collections for everyone, from around the world this final exhibition follows three previous displays Barjeel Art Foundation: Debating Modernism I (8 September — 6 December 2015), Barjeel Art Foundation: Debating Modernism II (15 December -17 April 2016) and Mapping the Contemporary I (26 April — 14 Aucollections for everyone, from around the world this final exhibition follows three previous displays Barjeel Art Foundation: Debating Modernism I (8 September — 6 December 2015), Barjeel Art Foundation: Debating Modernism II (15 December -17 April 2016) and Mapping the Contemporary I (26 April — 14 August 2016).
Continuing the Whitechapel Gallery's programme of opening up rarely seen collections from around the world, this is the first of four exhibitions drawn from the ISelf Collection.
Mike Nelson selects from the V - A-C collection at Whitechapel Gallery.
While contemporary artist Pawel Althamer's depiction of three figures around a campfire becomes a focal point around which the other sculptures — by artists including Petr Galadzhev and Anatoly Osmolovsky — seem to be gathered.The display highlights the V - A-C collection, Moscow, as part of the Whitechapel Gallery's programme of opening up rarely seen collections from around the world.
Full interview available in the exhibition catalogue Mike Nelson: Again, more things (a table ruin), published by the Whitechapel Gallery and V - A-C collection.
Lynette Yiadom - Boakye: Natures, Natural and Unnatural is the third of four unique monographs documenting four contemporary artist's selections from Moscow's V - A-C collection and their subsequent display at Whitechapel Gallery during 2014/2015.
Mike Nelson pictured with works from the V - A-C collection at the Whitechapel Gallery.
Published by the Whitechapel Gallery and V - A-C collection 2014
The role of philanthropy in public collections across England is explored in this landmark collaboration between the Contemporary Art Society and the Whitechapel Gallery.
Continuing the Whitechapel Gallery's programme opening up rarely seen art collections for everyone, a series of four chronological displays launching this September highlights works from the Barjeel Art Foundation's rich collection.
The first in a series of five displays, At Work is part of the Whitechapel Gallery's on going programme opening up important public and private collections for everyone.
C.R.W Nevinson's Battlefields of Britain, part of the Government Art collection, on display at the Whitechapel Gallery, London, in 2012.
Mark Dion's immersive Wunderkammer at Whitechapel Gallery is a collection examining our fraught relationship with nature
The presentation of the ISelf Collection is part of the Whitechapel Gallery's ongoing programme of opening up rarely - seen collections from around the world in a dedicated Collectiocollections from around the world in a dedicated CollectionsCollections Gallery.
Surreal Science continues the Whitechapel Gallery's commitment to showing rarely seen public and private collections, and presents objects from the George Loudon Collection selected by the artist Salvatore Arancio (b. 1974, Italy).
Continuing the Whitechapel Gallery's programme opening up rarely seen art collections, this series of four chronological displays highlights works from the Barjeel Art Foundation collection.
Continuing the Whitechapel Gallery's programme opening up rarely seen art collections for everyone, a series of four chronological displays launching this September and concluding in January 2017, highlights works from the Barjeel Art Foundation's rich collection.
The Whitechapel Gallery's new autumn 2017 collection display takes its name from Lebanese artist Akram Zaatari's photographic series, The End of Love (2012).
The Whitechapel Gallery is pleased to present The Upset Bucket, a new display continuing the Gallery's commitment to showing art from exceptional but rarely - seen public and private collections.
This series of exhibitions at the Whitechapel Gallery features over 60 artists and 100 works of art from the collection, and explores four different themes, which examine ways of defining Arab art from its early modernist beginnings and geographies.
Hosted by Harris Museum & Art Gallery, Preston Initiated by the Contemporary Art Society and Whitechapel Gallery, London As part of the Whitechapel Gallery's ongoing programme to open up public and private collections to wider audiences, the Gallery presents a curatorial collaboration with the Contemporary Art Society.
AWAD Members visited Terrains of the Body at the Whitechapel Gallery, an exhibition drawn from the National Museum of Women in the Arts (Washington, U.S.), this collection display showcases photography and video work by seventeen contemporary artists from around the world.
The collection partnered with London's Whitechapel Gallery to institute the Max Mara Art Prize for Women, which is awarded biannually to a female artist working in the United Kingdom.
For a period of 12 months from September 2013 onwards, the Contemporary Art Society will present a series of four displays at the Whitechapel Gallery, drawing on works from collections held by the Contemporary Art Society's membership of 65 publicly funded museums and galleries across England.
In 2015, Richards was invited by London's Whitechapel Gallery to make an exhibition working with the Russian V - A-C art collection.
The show is the second in a series of five at the Whitechapel Gallery in London in which different people are let loose among the 14,000 works in the collection.
Liversidge's recent projects include The Bridge, a choral performance of 500 singers at Tate Modern; Notes on Protesting, a performance with 60 children at Whitechapel Gallery, London, which was centred around the ways of expressing their discontent with various rules they were expected to follow; and Surface Mail, an exhibition of his postal objects from a private collection at Van Abbemuseum, Eindhoven.