Sentences with phrase «with introduction to the exhibition»

In this video we attend the opening reception of the show, and Alessia Stilli provides us with an introduction to the exhibition.

Deichtorhallen Director Dr. Robert Fleck, who knows Erwin Wurm since a very long time provides us with an introduction to the exhibition.

We also had the chance to speak with the Director of the Salzburger Kunstverein and curator of the show, Séamus Kealy, who provides us with an introduction to the exhibition.

PS: A video with an introduction to the exhibition with Martin Schwander is available after the break (in German language).

In this video, Clare Kenny provides us with an introduction to the the exhibition and her work in general.

In this video, Roxana Marcoci, Curator, Department of Photography, provides us with an introduction to the exhibition.

In this video we attend the opening reception of the exhibition, and Eckhard Schneider, (General Director of the PinchukArtCentre) provides us with an introduction to the exhibition.

In this video, Yasmil Raymond (Curator, Dia Art Foundation) provides us with an introduction to the exhibition and Carl Andre's work.

Not exact matches

Patrick Heron wrote an introduction to a Wynter exhibition catalogue for the New Art Centre, March — April 1982 and devoted most of his text to a consideration of the sort of shapes and marks most identified with the artist.

Another of Walker's students was Arthur Watson, now president of the Royal Scottish Academy; in the introduction to Downie's exhibition catalogue for her 2013 show Walk Through Resonant Landscape, the consequence of her Chinese residency and travels, Watson observes the contribution made by Walker to her students» ability to perceive and explore the unique landscape of Scotland and for the primacy of drawing: «With a base on the island of Tiree, [Frances Walker] ranged across the West Coast and Western Isles interrogating the coastal margins — the rhythm of pebbles across a storm beach or the fractured architecture of a rocky foreshore, meticulously recorded through a vocabulary of precise but unforgiving ink lines.»

Online exhibition Listen to the exhibition audio guide narrated by co-curator and acclaimed novelist Colm Tóibín with an introduction by Colin B. Bailey, Director of the Morgan Library & Museum.

It includes a reassessment of Rauschenberg's work as a sculptor by author and painter Mimi Thompson, an essay by Trisha Brown, an illustrated exhibition history, a preface by Philip Rylands and introduction by Susan Davidson that focuses on Rauschenberg's relationship to the Guggenheim and the artist's engagement with Venice in particular.

Listen to the exhibition audio guide narrated by co-curator and acclaimed novelist Colm Tóibín with an introduction by Colin B. Bailey, Director of the Morgan Library & Museum.

Eduardo Paolozzi, talks and events (February — May) A number of events expand on the themes explored in the exhibition, including an evening of performance featuring artist Anthea Hamilton (30 March, 7 pm, # 5 / # 3.50 concs) an introduction to Paolozzi with the exhibition curator Daniel F. Herrmann (18 February, 3 pm, # 12.50 / # 10.50 concs), and a day - long symposium inspired by the artist's 1985 exhibition Lost Magic Kingdoms and Six Paper Moons from Nahuatl (25 March, 2 — 6 pm, # 15.50 / # 13.50 concs).

In this video, Emi Fontana, an Italian curator who lives in Los Angeles and worked closely with Mike Kelley during the last fifteen years of his life, provides us with a short introduction to the exhibition.

Every day they offer open introductions aiming to provide the visitor with different entry points and perspectives on the exhibition.

The exhibition, curated by the University of Arkansas's Alissa Walls, Ph.D, Assistant Professor of Art History, also features a library section, which serves as an introduction for those not as familiar with the artist's work, as well as an opportunity for those desiring a deeper level of investigation to study further.

Thurs, May 25, 7PM Swiss Institute / CONTEMPORARY ART, New York 102 Franklin Street, Front 1, New York NY 10013 Please join us for an evening to celebrate the launch of The Exhibitionist: Journal on Exhibition Making / / The First Six Years with an introduction by founding editor Jens Hoffmann, a discussion of the history of the history of exhibitions with Amara Antilla, and a roundtable conversation on exhibiting exhibitions with Ruba Katrib, Mia Locks and Lauren Cornell, moderated by Piper Marshall.

The exhibition opens with an introduction to monotype print — made by mechanically transferring to paper a drawing done on a metal plate.

In this video, we have a look at the exhibition, and the curator of the show, Thibaut Verhoeven, provides us with an introduction to the artist and his work.

Elana Katz: My residency in Cluj last year was an impressionable introduction to the cultural scene and local history, and I'm working with collaborators on planning a future exhibition there.

In this video Marco Castillo and Dagoberto Rodríguez speak about their exhibition, and Alan Faena provides you with an introduction to the Faena Arts Center.

The exhibition will be accompanied by a fully illustrated two - volume publication: a catalogue with an introduction by the three curators, and an essay by Briony Fer, and a subject index, a second volume in the form of a glossary that is devoted to important ideas in Horn's practice or that relate to individual works.

As an introduction to the project «L'Europe des Artistes» which will end up as a large exhibition where artists from all over Europe will be presented the Astrup Fearnley Museum initiated what will be a series of presentations, discussions and related events with a presentation of the contemporary art scene in France.

This exhibition highlights Maine's artistic legacies in the making, featuring established artists with strong Maine ties as well as the first major institutional appearance for several young, emerging artists — showcasing the next wave of Maine artists and affording them the opportunity to make initial introductions to national art audiences.

This unique publication includes an introduction to themes presented in Rose's work and the exhibition Palisades by the exhibition's curator Emma Enderby, along with an essay by SculptureCenter curator Ruba Katrib that contextualises A Minute Ago and Palisades in Palisades.

Accompanying the color plates are an introduction and chronology of the artist's work by exhibition curator Rachel Hooper, an essay tracing Coolquitt's connections to other contemporary artists and designers by Frieze magazine senior editor Dan Fox, an in - depth exploration of Coolquitt's concepts and process by art writer Jan Tumlir, an interview with Coolquitt by director and chief curator of White Columns Matthew Higgs, and Coolquitt's biography and bibliography.

Trained in twentieth - century Modernist avant - garde movements, she has continued her investigations of subcultures, outsider artists, and emerging art movements with such original work as the essay «A Partial and Incomplete Oral History of the Mission School» in the BAMPFA catalog Barry McGee; the exhibition catalog Energy That Is All Around; and the introduction to Bruce Conner: The Afternoon Interviews.

This warm - hearted, pre-Christmas evening also offers an introduction of Sternfeld's work in the 2013 Carnegie International by co-curator Tina Kukielski, as well as a visit with Wade to the very exclusive Founders Room, where his second contribution to the exhibition is located.

In this video, we have a look at the exhibition, and curator Germano Celant provides us with an introduction to the show.

Betty Parsons, the director of the Wakefield Gallery and Bookstore, gave Stamos his first solo exhibition, in 1943; and when Parson opened her own gallery a few seasons later, he continued to show with her — an association that gave him an introduction to Barnett Newman and Gottlieb.

The final exhibition in this student - led format was staged in 1986 with a catalogue which contained a historical introduction (and post-script), to the exhibition by Andrew Lambirth, New Contemporaries Past and Present.

This video provides you with an exhibition walkthrough and an introduction to the show by Bruno Brunnet (Director, Contemporary Fine Arts).

A color catalogue expanding on Barrada's recent film - and - performance Tree Identification for Beginners (2017), with an introduction by Adrienne Edwards, will be published to coincide with the opening of the exhibition.

Victoria Miro presents British artist David Harrison's second solo exhibition at the gallery to coincide with the publication of a major monograph on the artist with texts by Alistair Robinson, an introduction by Lucinda Lambton and an interview with Peter Doig.

In the introduction to his catalogue for Information, often considered the first exhibition of Conceptual Art at a major museum, curator Kynaston McShine places Reinhardt among those who marked the intellectual climate that produced Conceptualism, along with Marcel Duchamp, Buckminster Fuller, Marshall McLuhan, the I - Ching, the Beatles, Claude Levi - Strauss, John Cage, Yves Klein, Herbert Marcuse, Ludwig Wittgenstein, and others.

The curator of the exhibition, Anita Haldemann, provides us with a short introduction to the work of the artist.

The catalog is by Karen K. Butler in collaboration with Renée Maurer and includes contributions by Karen K. Butler, Patricia Favero, Uwe Fleckner, Gordon Hughes, Narayan Khandekar, Renée Maurer, Erin Mysak, and Éric Trudel, as well as first - time English translations of Jean Paulhan's Braque le Patron (1945) and Carl Einstein's introduction to Braque's 1933 retrospective exhibition at the Kunsthalle Basel.

In this video we have a look at the exhibition and Dr. Corinna Rösner, Chief Curator of Die Neue Sammlung provides us with an introduction to Giampaolo Babetto's work.

The pair is presenting a selection of «influential artists who began working with video early in its development and traces a line up through 1990, bracketing an important period for this medium and a fertile time for artistic activity on Long Island,» according to the introduction to the exhibition.

The selection of photographs provides an introduction to some characters that crop up repeatedly in the exhibition, such as Paul Cadmus (who designed the organza men's sailor suit, another photograph of which is found inside) and Jared French, who together with his wife Margaret Hoening French and Cadmus, formed the photography collective PaJaMa.

See also VernissageTV's interview with Joan Young, Associate Curator of Contemporary Art at the Solomon R. Guggenheim Museum: In the first part of our coverage of the exhibition Joan Young gives us an introduction to the work of Julie Mehretu in general and her suite of paintings Grey Area in particular.

In 1953 he was at the Gallery of the Naviglio in Milan, with an introduction by Peggy Guggenheim and Virgilio Guidi and he was also invited to the Italy - France exhibition in Torino, where he exhibited in the room near that of Hans Hartung.

In this video, Jamie Martinez provides us with an introduction to the space and a short tour of the exhibition.

This video provides you with an exhibition walk - through, and Dorothea Apovnik (head of press at Schirn) gives an introduction to the show.

This video provides you with an exhibition walkthrough, and an introduction to Noah Purifoy and his work by Franklin Sirmans, Co-curator of the exhibition.

In his introduction to the exhibition, sociologist and philosopher Bruno Latour (who co-curated the show with Claude d'Anthenaise and Anne de Malleray) writes, «If I say to you, «We must save nature,» you will say without thinking, «Yes, yes, of course» — and then you will move on to something more important.

(«For an exhibition seeking to emphasize nonverbal, visual plasticity, ambiguity and multivalence, a catalogue with only analytical essays would seem inappropriate,» Kertess wrote in his introduction.)

My first introduction to Matt Noonan's paintings was an eclectic arrangement of oils with dense imagery and rich colors on wood or canvas in the group exhibition Arcadia: Thoughts on the Contemporary Pastoral, curated by Steve Locke and recently on view at the Boston Center for the Arts.

In the introduction to the exhibition Still's then friend Mark Rothko related Still's new art to the epic and transcendent dimension of «Myth» and explained how Still, «working out West, and alone,» had, with «unprecedented forms and completely personal methods,» arrived at a completely new way of painting.