Sentences with phrase «additional exhibitions also»

Not exact matches

The V&A and National Gallery also offer free daily tours of their artsy collections, with the latter staging additional weekly music recitals in its exhibition rooms.

TIMA is also developing a nearby larger scale Free Will North Church Project Space which provides additional studio workspace and exhibition opportunities.

Additional contemporary works by Ben Aronson and Scott Fraser will also be displayed as previews for Aronson's and Fraser's upcoming solo exhibitions occurring later this year.

Additional video works — Volcanic Ash, Yellow Stoner and The Softest Thing will also be on exhibition during her residency.

Four additional prints are also included in the exhibition; Geisha (2003), Snow Pines (2004), Japanese Maple (2005), and Weeping Crabapple (2009), which were all printed using only the ukiyo - e woodcut technique.

Other exhibitions and projects During this period Charlottenborg will also exhibit two additional projects.

The exhibition will also feature previous works by three additional shortlisted artists — Sarnath Banerjee, Setareh Shahbazi and Mounira Al Solh.

Additional paintings by Barbara are also on display in the gallery's Salon 2016, a group exhibition, until 2017.

The exhibition will also include additional Command Records album covers designed by other artists, such as Charles E. Murphy, Barbara Brown Peters, and Gerry Olin, as well as photographic reproductions of materials from The Josef & Anni Albers Foundation's archives.

Also the external space was accurately set up, on a design by Arabella Lennox - Boyd; since the Serpentine Galleries use it as an additional open - air exhibition area, it often houses site - specific installations in relationship with the fascinating background of the Kensington Gardens.

Whistler, whose work opened the doors to abstract painting, was also the first artist to use the exhibition space as an additional means of artistic expression as well as to intentionally act so to arise attention on his work such as in 1883, when he used art critics» harsh comments on his work as captions for etchings at an exhibition.

Generous support has also been provided by the Steinhauer Charitable Trust; the Dane County Cultural Affairs Commission with additional funds from the Madison Community Foundation and the Overture Foundation; the Terry Family Foundation; The Art League of the Madison Museum of Contemporary Art; the Exhibition Initiative Fund; the Madison Museum of Contemporary Art's 2003 - 2004 Sustaining Benefactors; and a grant from the Wisconsin Arts Board with funds from the State of Wisconsin.

Additional selections from the Vogel gift will also be on view in «Recent Acquisitions,» and a future exhibition of the entire Vogel gift is planned.

The exhibition, which is conceptually grouped around these three thematic bodies of work, also includes additional artworks that the artist has developed around the idea of rehearsal and re-enactment in relation to progress in art and everyday life.

Past installations have also operated as additional exhibition space for museum shows.

This year's theme «Contemporary Drawing» which was also the thematic focus for applications to the 2016 — 17 Balmoral residency grants, lends itself especially well to reflections on the catalogue format as an additional space for exhibitions.

Additional background information and material on the exhibition and from the Reves Collection can also be accessed by visitors on Wi - Fi enabled smartphones and media players.

This exhibition is presented by Brickell Bank, Member FDIC with additional support provided by Knight Foundation and Podhurst Orseck P. A. Individual support provided by Dorothy and Aaron Podhurst and Rajendra and Padma Vattikuti is also gratefully acknowledged.

It also helps museums share their collections with wider audiences by supporting a range of tours and exhibitions, including ARTIST ROOMS and the 2013 - 18 Aspire tour of Tate's Salisbury Cathedral from the Meadows by John Constable, and makes additional grants to support the training and professional development of curators.

The exhibition also presents additional significant gifts from the Novak / O» Doherty Collection, David Kronn Collection, the Graphic Studio and a diplomatic gift of works from the Federal Government of Mexico.

It also helps museums share their collections with wider audiences by supporting a range of tours and exhibitions, including ARTIST ROOMS and major works by John Constable and William Stott of Oldham, and makes additional grants to support the training and professional development of curators.

The Visual Arts Center also features an additional gallery space currently used for a group exhibition investigating forms of making and unmaking.

This is Kogelnik's first solo exhibition in the UK, with additional pieces simultaneously on show in London, as part of Tate Modern's «International Pop» survey (also reviewed in this issue); let's hope that more will follow.

This additional exhibition site also refers to the idea of cleansing the body, rubbing off the extra layer of skin, which in a sense implies moulting.

Although the respective exhibitions include additional works by Fast, the examination of this single work allows not only for a consideration of his broader practice, but also an extensive examination of the subject of the work.

Given that exhibition curator Marvin Sadik wrote that The Portrayal of the Negro in American Painting was conceived to be a «social document dealing with one of the decisive issues of our time,» it seems appropriate to investigate additional museum exhibitions that focused on not only the representation of African Americans, but also the work of African - American artists.

Additional new works by Nadim Abbas, Sophia Al - Maria, Ketuta Alexi - Meskhishvili, Olga Balema, Frank Benson, Sascha Braunig, José León Cerrillo, Onejoon CHE, Tania Pérez Córdova, DIS, Aleksandra Domanović, Casey Jane Ellison, Exterritory, Shadi Habib Allah, Lena Henke, Josh Kline, Eva Koťátková, Oliver Laric, Rachel Lord, Ashland Mines, Avery K. Singer, Martine Syms, and Lisa Tan have also been commissioned or produced for the exhibition.

The exhibition also includes the work of three additional voices: the photographer Ming Smith, @nemiepeba — the Instagram feed of artist Frida Orupabo — and content from the YouTube channel of Missylanyus.