Sentences with phrase «although museum exhibitions»

Most are driven by the commercial sector, although museum exhibitions can also be part of the package.

Not exact matches

Exhibition: Thomas Gainsborough at Morgan Library & Museum Although this 18th - century British master is known best for his portraiture and landscape work, his oeuvre extended far beyond his paintings.

This is Bourouissa's first solo exhibition in a French museum, although he has caught the critics» eye many times before.

Although Pettibon is unquestionably a pivotal figure of American art since the 1990s, he has never before had a major museum survey exhibition in New York.

Although decorative objects by Wiener Werkstätte (Vienna Workshop) designers are part of the Neue Galerie's permanent collection, the jewel box museum has never before presented a large - scale exhibition of this early twentieth century collective's elegant, stylized work.

There are currently several small one - person and group exhibitions of women artists and installations of discrete works by women artists scattered around MoMA although perhaps secreted might more accurately reflect the stealth approach to the serious engagement with curation, presentation, and acquisition of works by women artists that the museum is currently engaged in.

This could be because the rhetoric of exhibition display was historically more actively engaged within Europe, although the 1969 Whitney Museum exhibition Anti-Illusion: Procedures / Materials did much to further institutional critique in North America.

Although installed on two floors of the Museum, the exhibition definitely has a sense of cohesiveness thanks to the poppy pink color used throughout the installation, which in turn echoes the catalogue design.

Although he was turned down for a Guggenheim Fellowship in 1927, that same year, Motley's painting Mending Socks was voted the most popular in the Paintings and Water Colors by Living American Artists exhibition at the Newark Museum in New Jersey, and Motley also had his first solo show, at the New Gallery in New York City.

Although she achieved some success in her lifetime, her work is not widely known and so this exhibition, which includes loans from Derby Museum and Art Gallery, hopes to contribute to a history of her work.

The Torrance Art Museum does not accept proposals for solo shows although individual artists can send us a a link to an online portfolio or a package send to the museum for curatorial staff to review for potential inclusion in future exhibiMuseum does not accept proposals for solo shows although individual artists can send us a a link to an online portfolio or a package send to the museum for curatorial staff to review for potential inclusion in future exhibimuseum for curatorial staff to review for potential inclusion in future exhibitions.

At the media preview for the exhibition, Talbott said that although the Fabric Workshop and Museum is well known in the national and international art world, it has not looked toward having an impact in the Philadelphia area, which is something she intends to change.

Although the artist is widely recognized for his mobiles (a term coined by Marcel Duchamp), An Outburst of Color is the second exhibition at Phoenix Art Museum dedicated exclusively to the artist's prints.

Although drawn primarily from the rich holdings of The Mint Museum, this exhibition also includes special loans from private collections and new work by some of today's leading artists who continue to mine and invigorate this approach.

In 2007, he was invited to accompany French president Sarkozy for his trip to China, and although he did not spent much time with him, as he says, he got a chance to meet the head of the Louvre Museum, which eventually lead to his 2009 exhibition in Louvre, The Funeral of Mona Lisa.

Although Rosen has exhibited consistently throughout her career and had work acquired by major public collections including the Museum of Fine Arts, Boston; the Philadelphia Museum of Art; and the Los Angeles County Museum of Art, «in terms of having huge survey exhibitions, that's not something that's ever happened, for some strange reason,» Cassel Oliver said.

No such provincialism here: although the exhibition is firmly rooted in Wales (now in its seventh edition, it has for the past 12 years taken place at the National Museum Cardiff and other nearby arts centres), selected artists not only represent a broad range of national identities, but are also united by their works» concern with what Artes Mundi's director Karen MacKinnon describes as «global issues».

Although the artist died in 1984, the centenary of her birth was marked with a traveling exhibition held at the Whitney Museum of American Art, New York and the Philadelphia Museum of Art, and in many other places.

Although the annual exhibition in Wilton is not to be missed, browngrotta arts partners with public venues like the Morris Museum in New Jersey, the Bendheim Gallery of the Greenwich Arts Council, Connecticut, and the New Bedford Museum of Art in Massachusetts.

«Although she was an important co-founder of AfriCOBRA and contributor to the Black Arts Movement, we wanted to bring attention to her unique artistic accomplishments which had never been presented in a solo museum exhibition.

Although widely considered an Abstract Expressionist, at a recent Drawing Surrealism exhibition at the Morgans Library and Museum in New York several of Gorky's drawings hang side by side with such pillars of the movement as Yves Tanguy, Salvador Dali, Andre Masson among others.

Although The Letter Paintings had been displayed individually, they were first shown as a unit in an exhibition at the Carnegie Museum of Art in 1983.

Although the 2014 Whitney Biennial is effectively organized as three individual exhibitions — curators Stuart Comer, Anthony Elms, and Michelle Grabner each installed and programmed a single floor of the Museum — tracing the connections between artworks on all floors of the Museum can point towards the important questions and concerns that engage today's artists.

Minter made the show's final slow - motion video for the museum's 2014 exhibition of «Killer Heels,» although the motif also appeared in the 2006 Whitney Biennial.

Although enforcing quotas is generally unpopular, curators and museum directors are unafraid of challenging traditional art historical narratives, and women artists have been given more prominence within exhibition schedules and collection re-hangs.

Although the University of California, Los Angeles's Hammer Museum is undergoing a renovation project, its exhibition programming has not lost momentum.

Although the museum's outlay on the exhibition far exceeded its revenues, a trend that continues to this day, the Kunsthaus was nevertheless able to acquire one of the paintings for sale at the show: «Guitare sur un guéridon» (Guitar on a Pedestal), 1915.

The big news here is that although the museum has more than 5,000 square feet of gallery space to host the group survey, the single venue installation created a need for more exhibition space.

Although never giving up on her painting practice, she almost completely withdrew from the public eye and it was not until her inclusion in the 2010 traveling exhibition, Seductive Subversion: Women Pop Artists, 1958 - 1968 presented at the Brooklyn Museum, that her work was re-introduced.

Although the work of both artists has appeared in numerous comprehensive exhibitions at the finest museums in the world, little attention has been paid to their graphic work.

Although Morandi rarely traveled outside of Italy and never beyond Europe, his work was exhibited internationally and was included in a number of landmark presentations in the United States beginning in the late 1940s, such as Twentieth - Century Italian Art, organized by Alfred H. Barr, Jr. and James Thrall Soby at The Museum of Modern Art, New York, in 1949; the important exhibition Painting in Post-War Italy, 1945 - 1957, at the Casa Italiana at Columbia University, New York; and The New Renaissance in Italy at the Pasadena Art Museum, California — both in 1958, which captivated an American audience.

Although it builds upon key resources, such as Ann Eden Gibson's Abstract Expressionism: Other Politics and Marter's 1997 Women and Abstract Expressionism exhibition at the Sidney Mishkin Gallery at Baruch College, Women of Abstract Expressionism is the first exhibition at a major museum with the singular purpose of exploring the contributions women artists made to Abstract Expressionism in America.

The exhibition's significance is not simply that it was the first museum survey of minimalist art — although it was — but that it helped solidify the term itself.

Although not currently a part of the international mainstream, the artists, ranging in age from 28 to 36, have each participated in at least one solo exhibition at a recognized museum or gallery and have received at least one major arts award.

The Guggenheim Museum in New York, which is organized a touring Richard Prince retrospective, also dates the artist's career from 1980 on its Web site: «Since his first solo exhibition, at Artists Space in New York in 1980...» In this, the Guggenheim is following the lead of the Whitney Museum of American Art, which staged the last retrospective of Prince in 1992 and did not include a single early work by the artist, although a few mid-1970s pieces were mentioned in the catalogue.

Although most of Moore's output was destined for these shows he also participated in numerous group exhibitions during the decade, most notably the International Surrealist Exhibition in London and Cubism and Abstract Art at the Museum of Modern Art, New York, both in 1936.

Although, Creed has been the focus of several recent solo exhibitions (Museum De Paviljoens, Almere, 2013; Fruitmarket Gallery, Edinburgh, 2012) this will be the first major survey of his work, and it is a long time coming.

Although most big museum exhibitions take years to organize, Deitch had the idea for this show just a couple of months ago when visiting Schnabel, a longtime friend of Hopper, who, at 73, has advanced prostate cancer.

Although his work has been exhibited in group exhibitions in this country, including the Museum of Modern Art; the Solomon R. Guggenheim Museum; the Walker Art Center; and the 1999 - 2000 Carnegie International.

Although the Whitney has chosen to announce that a «single curatorial vision guides [the] exhibition organisation» (press release, December 11, 1992), the curator, Elizabeth Sussman, worked with a team that included Thelma Golden, John G. Hanhardt, and Lisa Phillips, all members of the Whitney curatorial staff, and a seven - member advisory committee drawn from outside the museum.

The museum's contemporary collection consists of over 5,500 works and is defined as holdings dating from 1970 to the present, although some earlier pieces which would have set the stage for artists working in the subsequent decades are also included in this exhibition, including a 1967 ink drawing by Eva Hesse and a 1959 Robert Ryman painting.

The fact that the attention to this is focused, above all, on exhibitions that are considered important is evident, although there are exceptions in this issue of Stedelijk Studies, which in particular concern exhibitions that are in the shadow of others considered to belong to the canon (Visual Aspects of Science, Stedelijk Museum), or exhibitions which are even considered to be less interesting (documenta 6).

for Truman Capote's writings, shown at the Hugo Gallery in New York) and other sketches, which failed to attract any critical interest, although his works were included in a 1956 group exhibition at the Museum of Modern Art, New York.

Although she has had solo exhibitions at the San Francisco MoMA and the Miami Art Museum, the AGO - organized Wangechi Mutu: This You Call Civilization?

A retrospective of their work was organized by the Walker Art Center in 1996 and subsequently traveled to museums in San Francisco, Boston, Philadelphia, and Columbus, although this exhibition will be their first in New York in five years.

«It takes two or three years to do a real serious exhibition,» he noted — and although he ventured no comparisons between himself and his predecessor, Jeffrey Deitch, the comment, a kind of truism in the art museum world, seemed telling.

Although the exhibition won't be «overtly political,» the museum said in its announcement, «it is inevitably informed by the dramatic shifts in our country since the 2016 election and how they impact the contemporary landscape and culture of California.»

Although 2008 alone witnessed major Koons shows in Chicago, New York, Berlin, and Versailles, this will be the artist's first museum exhibition in London and the first comprehensive look at the ongoing «Popeye» series of sculptures and paintings, begun in 2002.

This is a rare presentation on US soil and, although it obviously precipitates a larger, museum exhibition, it shouldn't be missed.

Although Braque's late paintings and Cubist compositions have come under fresh scholarly scrutiny in recent years, Georges Braque: A Retrospective is the first museum exhibition since 1988 to present the full arc of the artist's career, from his first Fauve paintings of 1906 to 1907, to his final monumental canvases of the 1960s.