Sentences with phrase «about exhibition making»

It was very important to me to not be understood like that, as my desire was to diversify curating and talk about exhibition making, not art making.

But the Ernst Busch school gave me the chance to study Brecht in depth which had a big influence on how I think about exhibition making.

Not exact matches

The exhibition makes us think about the visual aspect to our everyday kitchen table experience that maybe we take for granted, as well as showing how conflict and suffering have always formed a rich source of subject matter in art.

Cunningham have done several exhibitions through the years and in 2010 a documentary about his life was made.

India About Blog Automation Expo, the largest Automation & Instrumentation exhibition of South - East Asia is all set to make a mark in 2017 as well.

London, England About Blog Nadia Attura is a Fine Art Photography Blog talking about my work drawing with light mark making painting exhibitions art for sale and publications Frequency about 1 post per month Since Sep 2009 Website nadiaattura.com + Follow Facebook fans - 1About Blog Nadia Attura is a Fine Art Photography Blog talking about my work drawing with light mark making painting exhibitions art for sale and publications Frequency about 1 post per month Since Sep 2009 Website nadiaattura.com + Follow Facebook fans - 1about my work drawing with light mark making painting exhibitions art for sale and publications Frequency about 1 post per month Since Sep 2009 Website nadiaattura.com + Follow Facebook fans - 1about 1 post per month Since Sep 2009 Website nadiaattura.com + Follow Facebook fans - 1,344.

«They're taking different approaches to it too — Amazon is getting a lot of credit right now in the press for their commitment to the theatrical exhibition of their film, it's not just about the digital platform, where Netflix is taking a slightly different approach — although they're doing limited theatrical with stuff too — it'll be interesting to see what the long - term end result is for those two approaches and where it all ends up, but I think right now it's great for our filmmakers and our producers to make their money back and they have a chance to reach massive audiences through these digital platforms.»

I give the team behind the new sports movie, «When the Game Stands Tall» a lot of credit for pulling - off something nearly impossible: they've made a film about the most successful high school football team of all - time that's about as exciting as a 0 - 0 tie in an NFL exhibition game.

The first Open Doors evening took place in March 2011 and included the performance of a play by the children of Bond primary school in Mitcham and our pupils, short films made by our pupils about the art and poetry created by students at Perseid and Cricket Green special schools with our pupils» support, a performance by a primary school choir coached by sixth - formers, and an exhibition of art made at the two special schools.

The company made the announcement at its inaugural Tech Fest, a series of debates and a free public exhibition about the future of mobility.

There hasn't been too much detail revealed about the exhibition so far, but we've been to a few of these in our day, and suspect it'll have some combination of key art, making - of footage, life - size Naruto statues, and, of course, lots of merch.

India About Blog Automation Expo, the largest Automation & Instrumentation exhibition of South - East Asia is all set to make a mark in 2017 as well.

While I was still wondering about this question, time was running and all of a sudden there was just one week left to the exhibition — and I still had not made any decision in regard of presenting me and my blog.

But talking of Pong, WWMnA also points out Pong Mythos, which is an entire exhibition «about one ball, two bats, a playing field and our situation in a digital world», and opens in Stuttgart next month, before making a stop at the gigantic consumer / trade Game Convention (think - a European E3!)

With Aftershock over and done with we cover both the King of Fighters XIII and Ultimate Marvel vs Capcom 3 NorCal vs SoCal exhibitions talking about what went down in both and overall what made it such an awesome event.

This game is fun as hell, the exhibition mode is fun (with friends), classic fights are a good way to get someone who wasn't into MMA interested in it (e.g. me) Career mode is fun but the problem is that you don't age is kinda dumb to be honest, you're «CRED» has no real purpose other than to get you new equipment, sponsors, sparring partners and opportunities to increase your «CRED» the controls are confusing to someone who's never played a game like this A.K.A me but I'll give it credit for innovation, you can go to training camps which upgrade you're striking and grappling which gives you new moves, their is a few exploits in the game No. 1 if you manage to get all the sponsors you can use them in create a fighter (which by the way has a decent enough amount of options) you can put all of the sponors that give the most cred and get everything easily and I mean everything No. 2 when you go to a training camp all you have to do is watch two demonstrations by the camp fighter and you have full stamina No. 3 any fighter you can beat within a minute of the first round you can beat a few times and shoot up the ranks, the music is good but you'll soon get sick of it and turn it off cause it repeats itself soo often, they didn't add intro walks, music and cage entries which would've made you feel more like an actual UFC fighter, but overall its a fun game but there's a few missed opportunities and not many fighting styles to choose from but rent it if you are curious about the game.

I guess that's one of the things that makes them different from photographs, in that a photograph might be a record, a snap, one moment — a painting I think is about creating a small world around that photo... I really like that idea of something that you can enter like a box or an exhibition space, and enter these little rooms which for me are memories, but it's not about nostalgia — it's more about setting up something that's still living — so it's almost they're all in the present, rather than in the past.»

Kessler writes that the exhibition «is not only about a group of Mark Rothko paintings done at the peak of his career, but it's also about an ingenious restoration technique — a way to restore the color of these faded murals via non-invasive digital projections... The exhibition features a much - damaged five - panel mural that Rothko was commissioned to make in 1961 - 62 for the penthouse dining room of Harvard University's Holyoke Center... 38 studies for the murals... And, presented here for the first time, a sixth [undamaged] mural which was painted for the commission and held in reserve until Rothko decided which five paintings he wanted for the final installation.»

The sculptures on view will continue changing over the course of the exhibition's run, and will be accompanied by a video Canell made with Robin Watkins about slugs.

A chronological recounting of the artist's short career came next, followed by the story of how he began making the type of work he is best known for, and finally some information about upcoming institutional exhibitions overseas.

Hunter writes: «In the show, twelve recent, mostly large - scale, conventionally stretched works share fast - looking brush strokes; few visible layers of oil or acrylic; a graphic, flat appearance that emphasizes surface; and the impression — confirmed in the curatorial statement — that these paintings did not take long to make... The works in the exhibition raise the question, for me, of what it is that we value about painting right now — where we locate meaning and value in paintings made quickly.»

It influences our thinking on multiple levels and, for the Whitney, translates directly into the choices we make about our exhibitions and collections.

For further information about sponsoring this exhibition or making a gift to the VMFA Exhibition Fund, please contact Jayne Shaw, Director of Development, at 804.340.5529 or jayne.shaw@VMexhibition or making a gift to the VMFA Exhibition Fund, please contact Jayne Shaw, Director of Development, at 804.340.5529 or jayne.shaw@VMExhibition Fund, please contact Jayne Shaw, Director of Development, at 804.340.5529 or [email protected].

Dumas grasped as well as anyone what made Neel unique, and she writes about it in the catalog for Alice Neel: Painted Truths, a knockout of an exhibition at the Museum of Fine Arts, Houston.

In an illuminating interview with Barbara Takenaga, which is included in the catalogue accompanying her exhibition of New Paintings at DC Moore Gallery (September 5 — October 5, 2013), Robert Kushner makes an observation that goes to the heart of a question that I want to raise about the artist's recent work:

Select Group Exhibitions 2017 Monarchs: Brown and Native Contemporary Artists in the Path of the Butterfly, Bemis Center for Contemporary Art, Omaha, NE 2017 Buffalo in the American Living Room, Plains Art Museum, Fargo, ND 2017 All That Glitters, work on display in contemporary galleries at St. Louis Art Museum 2017 Now is the Time: Investigating Native Histories and Visions of the Future, IAIA Museum of Contemporary Native Arts, Santa Fe, NM 2016 Culture Shift, Art Mür, Montreal, Canada 2016 From the Belly of Our Being: art by and about Native creation, Oklahoma State University Museum of Art, Stillwater, OK 2016 Back Where They Came From, Sherry Leedy Contemporary, Kansas City, MO 2016 - 15 Woven Together, Regional Studies Museum Yekaterinburg, Orenburg Museum, Surgut Museum, Chelyabinsk State Regional Studies Museum, Izhevsk Municipal Exhibition Center Gallery, Glazov, Udmurt Republic, Yamal - Nenets Museum and Exhibition Center Salekhard, Orenburg Oblast, Russia 2015 Arriving at Fresh Water, Minneapolis Institute of Arts, Minneapolis, MN, Plains Art Museum, Fargo, ND 2015 superusted: the 4th Midwest Biennial, Soap Factory, Minnneapolis, MN, Urban Institute for Contemporary Art, Grand Rapids, MI 2014 Minnesota Biennial, Minnesota Museum of American Art, Minneapolis, MN 2014 McKnight Visual Artists Fellowship Exhibition, Minneapolis College of Art and Design, Minneapolis, MN 2013 Air, Land, Seed, 516 Arts, Albuquerque, NM and University of Venice, Ca» Foscari, Italy 2013 Dyani White Hawk and Philip Vigil, Shiprock Santa Fe Gallery, Santa Fe, NM 2012 Encoded, Tweed Museum of Art, Duluth, MN 2011 Soul Sister: Reimagining Kateri Tekakwitha, Museum of Contemporary Native Arts, Santa Fe, NM 2008 Playing, Remembering, Making: Art in Native Women's Lives, Museum of Indian Arts and Culture with School for Advanced Research Santa Fe, NM 2007 War Paint, Institute of American Indian Arts Museum, Santa Fe, NM

In addition to curating, she has written about a number of artists — five of her texts can be read in the Made in LA 201 catalog — and her essay on artist Valerie Piraino appears in the Studio Museum's Fore exhibition catalog.

«Collaboration isn't just about two people or a group of people making a single object,» Thomas says, during a walk - through of the exhibition, suggesting that collaboration can be just as much about the process itself than about a single outcome.

Initiating the education program last month, the Hammer Museum presented Conversations: Desert X Preview with Desert X Artistic Director Neville Wakefield and Executive Director Elizabeta Betinski in conversation with participating artists Will Boone, Glenn Kaino, Sherin Guirguis and Tavares Strachan about their work and the cultural and philosophical issues that make the Coachella Valley a vibrant and exciting backdrop for the desert - wide exhibition.

Building on Artists Space's history as an institution whose program has increasingly emphasized community participation and political organization (see last year's Decolonize This Place, which turned the gallery into a weekly activist meeting hub), Coop Fund foregoes traditional media like painting or sculpture in favor of video, art - science hybrids, updated junk sculpture, and institutional critique, making an implicit statement about these media that, for their associations with high - modernist seriousness, are appropriate to a politically engaged exhibition.

This exhibition is about the practice of making art during tumultuous times.

is vital reading for arts professionals, art and curatorial studies students, art historians, practicing artists, and anyone curious about exhibition - making today.

Repeating a 1970s - era tradition of feminist exhibition - making — one that is as entangled in debate as the long modernist tradition and its claims, critiques, and counterclaims about the studio — «Revolution in the Making: Abstract Sculpture by Women, 1947 — 2016» assembles thirty - four artists who were in each case selected for their work, but were also selected for being artists who are making — one that is as entangled in debate as the long modernist tradition and its claims, critiques, and counterclaims about the studio — «Revolution in the Making: Abstract Sculpture by Women, 1947 — 2016» assembles thirty - four artists who were in each case selected for their work, but were also selected for being artists who are Making: Abstract Sculpture by Women, 1947 — 2016» assembles thirty - four artists who were in each case selected for their work, but were also selected for being artists who are women.

These works, made during the height of the international Concrete poetry movement, appeared alongside his sculptures in exhibitions and were excerpted in scholarly writings about the artist.

«One knows that, by some accidental brushmarks, suddenly appearance comes in with a vividness that no accepted way of doing things would have brought about» — Francis Bacon This, according to Francis Bacon, is «the mystery of appearance in the mystery of making» — the title and structuring concept for the major new exhibition of -LSB-...]

I didn't make my most recent trip to Tokyo to see or write about a Gerhard Richter exhibition.

Making a Scene is an exhibition about breaking decorum.

This show adopts a progressive stance on exhibition - making, allowing new ways of thinking about art by African diaspora practitioners.

Based on a dialogue with the audience about the making of choices, a couple of works on paper in the exhibition will be replaced by others.

HangarBicocca, the contemporary art space in Milan supported by Pirelli, presents bau bau, Céline Condorelli's solo exhibition, comprising about twenty works made between 2008 and 2014, as well as a selection of the artist's writings.

In that exhibition you showed two different series of works made during a residency in two factories in Nove (Stabila and Stylnove), could you tell me something about the experience at NUOVE / / Recidency and about the two series?

With the two recent exhibition of work currently on view from the eighties — is it only twenty or thirty years later that we can really think about whatever was made then?

As I said, some of it was expected, but curators don't necessarily want to make exhibitions that they know the art community is going to have a big fight about.

Made in Germany is structured as dialogical exhibition encompassing approximately 50 artists, of whom about half are German and the other half foreigners who live and work in Germany.

The exhibition title «+ «has to be understood as an ironic reference to the rich exhibition history about swiss art at home and abroad (Freie Sicht aufs Mittelmeer, Swiss Made - Präzison und Wahnsinn, Beispiel: Schweiz, Saus und Braus etc.).

In a way, this Turner Prize has the makings of a thematic exhibition about place and history, in a city that, in regenerating and reinventing itself, is also flattening much of its centre.

Dean said it was a great honour to make the exhibitions for the three galleries: «It has been a huge pleasure developing the structure of these exhibitions with everyone involved and daring to gently nudge pre-existing orthodoxies about what constitutes a landscape, portrait and still life.»

This touring exhibition will be a kind of «survey» of my work, but it will be structured around a series of new works that each rebound off some of my work to date, thus attempting to critique the usual static nature of institutionalized surveys or retrospectives, while at the same time allowing some rethinking to take place about conditions and the sound of my own making.

So, when the rents for my three spaces on Grand Street, Wooster Street, and Windward Avenue combined were under $ 50,000, that allowed me to maintain the program that I want to maintain, which means being able to afford doing exhibitions that do not sell work and being able to show whatever I want at any art fair without worrying about making sales or not making sales.

The works on display in this exhibition demonstrate how contemporary artists can question established assumptions about what a sculpture can be, what it is made of and how it should look and be displayed.