Sentences with phrase «appear in a new exhibition»

He recorded his impressions of the country in countless paintings — some of which appear in a new exhibition at Hepworth Wakefield — and in private travel journals, revealed here for the first time:

Moderated by Wael Hattar, the conversation will explore the conceptual themes and formal dimensions of Alshaibi's work with an emphasis on the layered imagery that appears in her new exhibition.

Not exact matches

It has been listed and exhibited by the American Library Association at the 2017 MidWinter Exhibition and listed to appear in New York Times.

Held in a cavernous exhibition space at the Javits Center, the operation included volunteers (many of whom appeared to be New York State government workers), a National Guard unit and the New York Guard.

Inside the exhibition was an entire room dedicated to the brand's collaboration with cult Russian designer Gosha Rubchinskiy back in June, which focused heavily on the check and appears to have influenced the brand's new direction.

(Cinesauraus courtesy Sundance Institute) A demonstration of Experience Realistic Touch in Virtual Reality, by Andrew Mitrak, Greg Bilsland, Joe Michaels and Jake Rubin, which will appear in the New Frontier Exhibitions program of the 2018 Sundance Film Festival.

(courtesy Sundance Institute) A title card from Hero, by Navid Khonsari and Vassiliki Khonsari, which will appear in the New Frontier Exhibitions program of the 2018 Sundance Film Festival.

(courtesy Sundance Institute) A flattened 360 - degree image from Gabo Arora's Zikr: A Sufi Revival, which will appear in the New Frontier Exhibitions program of the 2018 Sundance Film Festival.

In the past two years Landers» solo exhibitions have appeared at China Art Objects, Los Angeles; Andrea Rosen Gallery, New York; Taka Ishii Gallery, Tokyo; as well as Greengrassi, London.

Her art has appeared in numerous solo and group exhibitions (including traveling exhibitions) throughout the United States: California; New York; Chicago, IL; Cincinnati, OH; Baltimore, MD; Washington DC; Boston; Louisville, KY; and Virginia, among others.

For the artist's first solo exhibition in New York, C24 Gallery will present texts from billboards that appeared on the streets of Berlin, London, and Paris as well as major new light works, and a large - scale «Fire Poem.&raqNew York, C24 Gallery will present texts from billboards that appeared on the streets of Berlin, London, and Paris as well as major new light works, and a large - scale «Fire Poem.&raqnew light works, and a large - scale «Fire Poem.»

Emily Stamey, Curator of Exhibitions at the Weatherspoon Art Museum, has selected my paintings to appear in New American Paintings, No 124, Southern Issue.

The following review originally appeared in the November 18, 2008 edition of The New York Observer and is posted here on the occasion of Calder 1941, an exhibition at the 57th Street outpost of Pace Gallery (until December 23, 2011).

Each of these artists has appeared in many group shows and solo exhibitions, both here in the Berkshires as well as in New York City, and will be represented by paintings and drawings.

She was a staff writer for Rhizome and her other writings on contemporary art and new media have appeared in a wide range of periodicals and other international publications including: The Believer, Art Lies, Cory Arcangel: A New Fiesta in the Making (exhibition catalog), Nam June Paik: Global Groove 2004 (exhibition catalog) and an upcoming edition of the Documents of Contemporary Art series published by Whitechapel Gallery and MIT Prenew media have appeared in a wide range of periodicals and other international publications including: The Believer, Art Lies, Cory Arcangel: A New Fiesta in the Making (exhibition catalog), Nam June Paik: Global Groove 2004 (exhibition catalog) and an upcoming edition of the Documents of Contemporary Art series published by Whitechapel Gallery and MIT PreNew Fiesta in the Making (exhibition catalog), Nam June Paik: Global Groove 2004 (exhibition catalog) and an upcoming edition of the Documents of Contemporary Art series published by Whitechapel Gallery and MIT Press.

His work has appeared in solo and group exhibitions in Hawaii and was featured in traveling exhibitions in New Zealand and Canada.

Work in this exhibition appears courtesy of Tanya Bonakdar Gallery, New York and Lora Reynolds Gallery, Austin.

Her work has appeared in dozens of international biennials and exhibitions all over the world and is included in the collections of the Museum of Modern Art in New York, the Hirshhorn Museum in Washington, D.C., the Whitney Museum of American Art in New York, the Solomon R. Guggenheim Museum in New York, the San Francisco Museum of Modern Art, and Museum of Fine Arts Boston, among many others.

Recently he wrote «We Are More Than This,» an essay for the Tate Modern on the occasion of the museum's exhibition, «Soul of a Nation: Art in the Age of Black Power» and is in conversation with filmmaker and artist Arthur Jafa in the Dallas Museum of Art's «Truth: 24 frames per second» exhibition catalogue.His writing has appeared in the New Yorker and The New York Times.

Reviews of the gallery's exhibitions have appeared in Art News, Art in America, Artforum, Modern Painters, The Nation, New York Times and the New Yorker among many other publications.

When his remarkable exhibition «Home and Garden» appeared at the New Museum in mid-2015, however, the darkest ramifications of the era had not yet arisen, and his show retained a jaunty, exploratory cast that was essentially neutral about the value of its portents.

His work has also appeared in numerous group exhibitions including Jack Hanley, New York; The Art Institute of Chicago, Chicago; Venus Over Los Angeles, Los Angeles; Karma, New York; and Gavin Brown's Enterprise, New York.

In an artist's statement that appeared in the exhibition catalogue, Philip Guston: Drawings 1947 — 1977 (New York, David McKee Gallery, 1978), Guston stateIn an artist's statement that appeared in the exhibition catalogue, Philip Guston: Drawings 1947 — 1977 (New York, David McKee Gallery, 1978), Guston statein the exhibition catalogue, Philip Guston: Drawings 1947 — 1977 (New York, David McKee Gallery, 1978), Guston stated:

His photographs have appeared in gallery and museum exhibitions worldwide as well as many international publications such as The New York Times, Vogue Italia, TIME and Numéro.

Text originally appeared in the catalogue for the exhibition Willem de Kooning: Ten Paintings, 1983 — 1985, Gagosian 980 Madison Avenue, New York, November 8 — December 21, 2013.

He was one of the thirteen «Irascibles» to appear in Nina Leen's Life photograph; his work was included in MoMA's Abstract Painting and Sculpture in America; and in 1958, he was also part of the museum's New American Painting international traveling exhibition.

Reviews of some of the exhibitions have appeared in The New York Times, The New York Observer, The Brooklyn Rail, Art in America, The New Yorker, The New Art Examiner, Artcritical, Hyperallergic, Two Coats of Paint, Painter's Table, The Partisan Review, Art News, Art Forum, Cover Magazine, Artcritical, Hyperallergic, Two Coats of Paint, Painter's Table, and Artspiel among others.

The light bulb is the subject of Johns» first sculpture, «Light Bulb I,» created in 1958, the year of Johns» first exhibition in New York at the fledgling Leo Castelli Gallery, and has appeared in various media throughout his long career.

Pier's work has been shown in numerous group exhibitions and has been reviewed and appeared in The New Yorker, The New York Times, The Paris Review, Art in America, and Town & Country, along with other publications.

Varela's work has appeared in a solo show at Borem Studios, New York, NY and in many group exhibitions, including the Amagansett Historical Association and at Ashawagh Hall, Amagansett, NY.; Guild Hall, and Solar Gallery, East Hampton, NY; the Celadon Gallery, Watermill, NY; the Harlem ArtWalk and New Century Artists Gallery, New York, NY; and the Brentwood Art Center, Los Angeles, CA.

His work is appears in prestigious institutional collections throughout Europe and the United States, including the Museum of Modern Art, New York, Moderna Museet, Stockholm, Centre Georges Pompidou, Paris, the Royal Museums of Fine Arts of Belgium, Brussels, and the Tate, London, and was recently recognized by comprehensive solo exhibitions at the Museum of Modern Art, New York, the Menil Collection, Houston, and the Art Institute of Chicago, beginning in 2013.

Recent solo exhibitions have appeared at 1 / 9unosunove gallery in Rome, Scaramouche Gallery in New York, and the Albright Knox Art Gallery in Buffalo.

The exhibition presents Plensa's installation and monumental sculpture in a new configuration, where the source material for the work appears alongside the finished sculptures.

His work has been featured in solo exhibitions throughout Europe, including retrospectives at the Musée d'Art Moderne de la Ville de Paris, the Serpentine Gallery, London, and the Museo d'Arte Contemporanea Donnaregina, Naples, and appears in established institutional collections including the Tate Modern, London, the Museum of Modern Art, New York, Stedelijk Museum, Amsterdam, and Galleria Civica d'Arte Moderna e Contemporanea, Turin.

This exhibition is the second to appear at Bridget Donahue's new space on the Bowery, following a monographic survey of the artist and filmmaker Lynn Hershman Leeson, another heretofore overlooked artist pioneering in extreme multimediality.

Dijsktra's work has appeared in numerous international exhibitions, including the 1997 and 2001 Venice Biennales, the 1998 Bienal de Sao Paulo, Turin's Biennale Internationale di Fotografia in 1999, and the 2003 International Center for Photography's Triennial of Photography and Video in New York.

In 1961, the Solomon R. Guggenheim Museum, New York gave him a one - man exhibition; in 1964, his work appeared in the Venice Biennale; he participated in Dokumenta IV (1968) and V (1972); he had two traveling retrospective exhibitions during his lifetime; and in 1985 — four years after his death — the Guggenheim also organized a major retrospectivIn 1961, the Solomon R. Guggenheim Museum, New York gave him a one - man exhibition; in 1964, his work appeared in the Venice Biennale; he participated in Dokumenta IV (1968) and V (1972); he had two traveling retrospective exhibitions during his lifetime; and in 1985 — four years after his death — the Guggenheim also organized a major retrospectivin 1964, his work appeared in the Venice Biennale; he participated in Dokumenta IV (1968) and V (1972); he had two traveling retrospective exhibitions during his lifetime; and in 1985 — four years after his death — the Guggenheim also organized a major retrospectivin the Venice Biennale; he participated in Dokumenta IV (1968) and V (1972); he had two traveling retrospective exhibitions during his lifetime; and in 1985 — four years after his death — the Guggenheim also organized a major retrospectivin Dokumenta IV (1968) and V (1972); he had two traveling retrospective exhibitions during his lifetime; and in 1985 — four years after his death — the Guggenheim also organized a major retrospectivin 1985 — four years after his death — the Guggenheim also organized a major retrospective.

Fabricated curtain formations appear throughout Its Last Move, framing the exhibition as an imminent curtain call on adolescence (his, before moving to New York in the 1980's), autonomy (his mother's, before moving to a senior residence), as well as the fixed boundary between memorialization and celebration, nostalgia and immediacy, comedy and tragedy.

Reviews of the galleries» exhibitions have appeared in the New York Times, San Francisco Chronicle, The Los Angeles Times, The Wall Street Journal, ARTnews, Art in America, The New Yorker, The Huffington Post, Blouin ArtInfo, Art Newspapers, SFWeekly, among many other publications.

A video from his first show at New York's Perry Rubenstein Gallery in 2004 depicts two boys who appear to swing off the handlebars of a bicycle, which is chalked on the ground.In the years since, Rhode's profile has grown steadily, with a solo exhibition at the Haus der Kunst in Munich and group shows at the Museum of Modern Art in New York and the Nasher Museum of Art at Duke University.

Cross-pollination in Philadelphia is an interesting new development, and we are very happy to announce that gallery artist Anthony Campuzano will be appearing at the Cerealart Project Room in»25 x 25,» an exhibition of 25 works from the last 25 years by 25 artists who have shown with or are associated with White Columns, New Yonew development, and we are very happy to announce that gallery artist Anthony Campuzano will be appearing at the Cerealart Project Room in»25 x 25,» an exhibition of 25 works from the last 25 years by 25 artists who have shown with or are associated with White Columns, New YoNew York.

Reviews of her exhibitions have appeared in Artforum, The New York Times, The New Yorker, and Time Out New York, and she has published artist projects in Cabinet, Documents, Open City and The Literary Review.

In 2004 his work appeared in Self Evidence: Identity in Contemporary Art, DeCordova Museum, Lincoln, Massachusetts; Buy American, Gallerie Chez Valentin, Paris; Cool Intentions, Sandroni Rey Gallery, Los Angeles, California; Behind Closed Doors, Katonah Museum of Art, Katonah, New York; Upstream: Idea Drawings, Hayworth Gallery, Los Angeles; and has an upcoming solo exhibition at Wallspace Gallery in New YorIn 2004 his work appeared in Self Evidence: Identity in Contemporary Art, DeCordova Museum, Lincoln, Massachusetts; Buy American, Gallerie Chez Valentin, Paris; Cool Intentions, Sandroni Rey Gallery, Los Angeles, California; Behind Closed Doors, Katonah Museum of Art, Katonah, New York; Upstream: Idea Drawings, Hayworth Gallery, Los Angeles; and has an upcoming solo exhibition at Wallspace Gallery in New Yorin Self Evidence: Identity in Contemporary Art, DeCordova Museum, Lincoln, Massachusetts; Buy American, Gallerie Chez Valentin, Paris; Cool Intentions, Sandroni Rey Gallery, Los Angeles, California; Behind Closed Doors, Katonah Museum of Art, Katonah, New York; Upstream: Idea Drawings, Hayworth Gallery, Los Angeles; and has an upcoming solo exhibition at Wallspace Gallery in New Yorin Contemporary Art, DeCordova Museum, Lincoln, Massachusetts; Buy American, Gallerie Chez Valentin, Paris; Cool Intentions, Sandroni Rey Gallery, Los Angeles, California; Behind Closed Doors, Katonah Museum of Art, Katonah, New York; Upstream: Idea Drawings, Hayworth Gallery, Los Angeles; and has an upcoming solo exhibition at Wallspace Gallery in New Yorin New York.

In 1962, she appeared alongside American Pop artists and European «Nouveaux Réalistes» in Janis's New Realists exhibition of 1962, which brought together a range of artists who used objects and imagery from everyday life in their worIn 1962, she appeared alongside American Pop artists and European «Nouveaux Réalistes» in Janis's New Realists exhibition of 1962, which brought together a range of artists who used objects and imagery from everyday life in their worin Janis's New Realists exhibition of 1962, which brought together a range of artists who used objects and imagery from everyday life in their worin their work.

Critics have often noted that his collages rank among his highest achievements, and few of the works at the Parrish or the late paintings at Ameringer McEnery Yohe in Chelsea compare with collages or the small collection of assemblages that appeared at New York University's Grey Art Gallery under the exhibition title «Concrete Improvisations.»

His writing and photographs have appeared in such publications as Social Science Research, Places, and The New York Times, as well as in numerous exhibitions including the inaugural Belfast Photo Festival and the Museum of Contemporary Photography's Midwest Photographers Project.

Barber's works in the Invitational Exhibition of Visual Arts appear courtesy of Kerry Schuss and Del Deo & Barzune, New York.

Her work has appeared in major exhibitions at the Museum of Modern Art, New York (2007); Detroit Institute of Arts (2006); Walker Art Museum, Minneapolis (2003); and Albright - Knox Art Gallery, Buffalo (2003); among others.

In 1964, the Krasner Gallery in New York mounted Grossman's first solo exhibition, and in 1968, her leather - covered sculpture heads for which she is most noted first appeared at Cordier and Ekstrom Gallery, New YorIn 1964, the Krasner Gallery in New York mounted Grossman's first solo exhibition, and in 1968, her leather - covered sculpture heads for which she is most noted first appeared at Cordier and Ekstrom Gallery, New Yorin New York mounted Grossman's first solo exhibition, and in 1968, her leather - covered sculpture heads for which she is most noted first appeared at Cordier and Ekstrom Gallery, New Yorin 1968, her leather - covered sculpture heads for which she is most noted first appeared at Cordier and Ekstrom Gallery, New York.

Published to accompany the premiere of the exhibition at the Deutsche Guggenheim, Berlin, which was curated by Vivien Greene and will travel to the Guggenheim Museum, New York in the summer of 2007, this focused study of 40 key Divisionist works is the first of its kind to appear in the United States.