Sentences with phrase «architecture exhibitions at»

A mid-career partial retrospective of the work of the Donegal born Danish based artist, comprising of work in a rage of media on the subject of architecture, as part of a series of art & architecture exhibitions at this year's festival.

Since the first architecture exhibition at the Pavilion in 1991, the British Council has invited high profile names to curate and show.

BOOKSHELF Milton Curry contributed to «Harlemworld: Metropolis as Metaphor,» the catalog for the 2004 architecture exhibition at the Studio Museum in Harlem.

Not exact matches

This spring, 77 students in Iowa State University's second - year architecture studios designed, built and installed a 1,300 - square - foot structure at Reiman Gardens for its «Forces of Nature» kinetic art exhibition, on display April 28 through Nov. 3.

Whether you are researching the latest museum exhibition to catch, or seeking a behind - the - scenes look at the architecture of an iconic monument — even hunting for the absolute perfect road - trip playlist to download, Travel + Leisure is here with the answers.

For many recent exhibitions, including Portrait of a Young Man at the Bass Museum of Art, Miami Beach, URANIBORG at the Galerie nationale du Jeu de Paume, Paris, France and the Montreal Museum of Contemporary Art, Canada and, most recently, Disasters and Miracles at the Kunsthaus Baselland, Switzerland, Grasso has acted as a co-curator in conjunction with the museums, altering the architecture of the exhibition spaces and merging his works with pieces in the permanent collections of the institutions in order to create a unique and dynamic viewing experience.

Uniting painting with architecture, New York based artist MarkusLinnenbrink has transformed two exhibition spaces at the kunsthalle, nürnberg into a walk - all - over canvas.

Upcoming shows include Alexandro Jodorowsky at CAPC Bordeaux, 2015 (exhibition architecture); 12th Baltic Triennial at CAC Vilnius, 2015 (exhibition architecture); and Supersuperstudio at PAC, Milano, 2015 (co-curator, exhibition architecture).

After all, the last couple of years have seen three major exhibitions in London art museums that have focused on architecture («Sensing Spaces» at the RA, «Ruin Lust» at Tate Britain, «Constructing Worlds» at the Barbican), and smaller shows regularly claim some sort of interrogative capacity for exploring the interaction between these two broad categories of material culture.

The International Center for Photography is currently presenting a large exhibition of Latin American photography, the Museum of Modern Art has devoted its main exhibition space to Brazil's Lygia Clark, and the Bronx Museum of the Arts is looking at the legacy of modernist architecture in Latin American cities.

CAS's inaugural exhibition Event One, held at the Royal College of Art in 1969, was interdisciplinary, incorporating architecture, sculpture, theatre, graphics, music, poetry, film, performance and dance.

Between 2005 and 2012 Volz served as Artistic Director at the Instituto Inhotim where he has co-curated a series of large - scale site - specific projects on art and architecture with artists, including Adriana Varejão, Dominique Gonzalez - Foerster, Doris Salcedo, Doug Aitken, Hélio Oiticica, Lygia Pape, Matthew Barney, Rirkrit Tiravanija and Tunga, as well as numerous exhibitions from the collection.

Recent exhibitions include System of Objects, The Dakis Joannou Collection Reloaded by Andreas Angelidakis at DESTE Foundation in Athens (co-curator and exhibition architecture), 2013; DO - IT Moscow at Garage, 2014 (exhibition architecture); Crash Pad, A preliminary statement for the 8th Berlin Biennial, 2014 (artist); Every End is A Beginning at National Museum of Contemporary Art Athens, 2014 (artist, co-curator); Fin de Siècle at Swiss Institute / Contemporary Art, New York, 2014 (curator, exhibition architecture); and 1:1 Period Rooms at Het Nieuwe Instituut, Rotterdam, 2015 (artist, curator).

From 1991 - 2001, Hodge was director of exhibitions and publications at Harvard University's Graduate School of Design, where she also held the positions of adjunct curator of architecture at the Fogg Art Museum and assistant dean of arts programs at the Graduate School of Design.

Together, the film «Substance», the sculptural grid fragments, and the object at the Metropolitan Museum engage a multi-layered conversation between histories of exhibition sites; concepts of public space and private property; and the paradoxical legacies of historicism and modernism in architecture and design.

Within an exhibition architecture designed by sculptor Manfred Pernice, the show occupies both levels of the Nord gallery at Fondazione Prada in Milan.

His photographs are elements at play in a larger system including architecture, exhibition design, books, posters, videos, vitrines and signage that investigates the stage sets of the art world and the publicity structures on which they rely.

For his exhibition at the foundation, titled Reality projector (2018), Eliasson has conceived of a seemingly simple, yet complex installation that uses projected light and the existing architecture of the space to create a dynamic shadow play.

The audio will be played throughout the exhibition space, creating an architecture of sound whose ambience acts as a transition between the depicted scene and the exhibition at large, and complements the physicality of the adjoining installations.

Recent exhibitions include solo shows at Chisenhale Gallery, London and mother's tankstation, Dublin (both 2016); «Architectures of Credibility», Helga Maria Klosterfelde Edition, Berlin (2015); and «Free Traveller», Cell Projects, London (2014).

And the Pulitzer Goes To... — Phillip Kennicott, the Washington Post journalist who pens the paper's column on art and architecture, has been awarded this year's Pulitzer award for criticism based on his articles on the Kevin Roche exhibition at the National Building Museum, photography at the Corocoran Gallery, and representations of the first family in contemporary images, stating that he was «especially happy to win at a time when arts criticism is not doing well.»

In 2001, with my exhibition at the Bard Center for Curatorial Studies, I felt for the first time successful at incorporating architecture into my art.

Earlier exhibitions included Wood: The Cyclical Nature of Materials, Sites, and Ideas at the Het Nieuwe Instituut, Rotterdam (2014), which explored links between wood in design and architecture and the economic, politi ¬ cal, natural, and cultural cycles that surround its production, circulation, and consumption.

This environmental approach to the installation and their shared belief that their art was closely allied to the forms and materials of modern architecture was central to their contribution to the seminal exhibition This is Tomorrow held at the Whitechapel Art Gallery, London in 1956.

Two years later, Mucha, adding several interior architecture details that had been characteristic of the presentation of the Block Beuys (an ensemble that was temporarily put in storage) at the Hessisches Landesmuseum, Darmstadt, conceived an exhibition of his pieces at Galerie Sprüth Magers, Berlin, where he installed an environment that faithfully recreated the dimensions and proportions of Galerie Grässlin's main showroom.

The current exhibition at the Contemporary Arts Center is called Buildering: Misbehaving the City, and as Curator Steven Matijcio tells Jane Durrell, this multi-artist collection spotlights the unsanctioned use of architecture — fusing the words «building» and «bouldering» into a rapidly growing movement that reformulates how we live our cities.

The project started in 1998, when Olivier Vadrot, Lionel Mazelaygue and Gwenaël Morin, who were then students at Lyon's school of architecture, decided to open an exhibition space in what used to be the bathroom (salle de bain) of a ground - floor apartment in the historic centre of the city, where they would invite artists who inspired their work as architects to create site - specific proposals in response to the 40sqm space.

Blurring the boundaries between painting, sculpture and architecture, Stockholder's current exhibition at Mitchell - Innes & Nash emphasises process, form, and, above all, gravity.

In Hiato [Hiatus] a new exhibition by Rodrigo Matheus at Fortes D'Aloia & Gabriel Galpão, materials from urban architecture are rearticulated in works that evoke the domestic environment.

Well versed in the architecture of the screen, Martine Syms» first solo exhibition in New York titled Vertical Elevated Oblique is currently on view at Bridget Donahue gallery until the first of November.

The price of admission includes an audio guide with explanations of the Guggenheim Museum Bilbao's architecture and exhibitions, allowing visitors to enjoy a self - guided tour at their own pace.

Wrona's project, the first in the Méthode Room series, featured the exhibition Georges Bataille, Architecture, Chicago and World Order — An Essay on General Economy at Rebuild's Archive House and the launch of an architecture TV channel....

From 1983 to 1999, she was a curator at The Museum of Contemporary Art, Los Angeles, where she organized numerous exhibitions in the visual arts and architecture.

The exhibition at Kunsthaus Bregenz, Austria, is a major solo show that presents four key bodies of work: Body and Fruit, Critial Mass, Allotment II and Clearing V. «Embedded in the context of Peter Zumthor's architecture, they challenge the fine line in the human psyche that marks the mental balance between asserting oneself as an individual and blending into the masses.»

For this exhibition, the hallmarks of these large scale building projects and grand architecture reveal themselves in the architect's use of a new spatial paradigm at all scales, and in a myriad of materials resulting in a multitude of forms of domestic reverie.

Back to the Future at the Museum of Architecture in Wrocław, Poland is an exhibition about the Polish poet and philosopher, architecture visionary, dreamer and idealist Jan Gluszak (1937 - 2000).

The annual student exhibition at the end of the school year — referred to colloquially as the End of the Year Show — is mounted throughout the school's exhibition, studio and classroom spaces and features the work of art, architecture and engineering students at all levels.

As a 1969 architecture graduate from Melli University (National University), Mousavi mounted his first painting exhibition in the late nineteen - sixties, and he expressed his opinions on art in forms of writing and open discussions mostly held at the avant - garde artist - run Ghandriz Gallery in Tehran.

Uniting painting with architecture, New York based artist Markus Linnenbrink has transformed two exhibition spaces at the Kunsthalle, Nürnberg into a walk - all - over canvas.

The Old Man's House Exhibition at the RHK The Old Man's House exhibition, created by the Office of Public Works, is an exhibition which tells the story of the Royal Hospital Kilmainham (RHK) one of the most iconic Dublin buildings and Ireland's foremost example of fine 17th century architecture — now home to the Irish Museum of MExhibition at the RHK The Old Man's House exhibition, created by the Office of Public Works, is an exhibition which tells the story of the Royal Hospital Kilmainham (RHK) one of the most iconic Dublin buildings and Ireland's foremost example of fine 17th century architecture — now home to the Irish Museum of Mexhibition, created by the Office of Public Works, is an exhibition which tells the story of the Royal Hospital Kilmainham (RHK) one of the most iconic Dublin buildings and Ireland's foremost example of fine 17th century architecture — now home to the Irish Museum of Mexhibition which tells the story of the Royal Hospital Kilmainham (RHK) one of the most iconic Dublin buildings and Ireland's foremost example of fine 17th century architecture — now home to the Irish Museum of Modern Art.

At a moment in which workers are increasingly likely to carry their professions on their bodies at all times, the exhibition includes artwork that negotiates the architectures, tools, equipment or language of the office, pointing to moments of aspiration and depression as work continually collapses into lifAt a moment in which workers are increasingly likely to carry their professions on their bodies at all times, the exhibition includes artwork that negotiates the architectures, tools, equipment or language of the office, pointing to moments of aspiration and depression as work continually collapses into lifat all times, the exhibition includes artwork that negotiates the architectures, tools, equipment or language of the office, pointing to moments of aspiration and depression as work continually collapses into life.

This object - heavy approach is generous to lay viewers unaccustomed to the dense theoretical wall texts and schematic drawings that often stifle architecture exhibitions; at the same time, none of the towers were accompanied by a wall text, so visitors to the opening wandered through them as if lost in a maze, stopping to snap selfies for Instagram.

She was previously a curator at The Drawing Center in New York City, where she co-directed Open Sessions, a two - year residency / exhibition hybrid program organized with local, national, and international artists, supporting drawing practices in relation to film, architecture, sculpture, music, and other fields.

an exhibition at RIBA's Architecture Gallery engages with conservatism though pseudo-Georgian architecture and design

1995 Cotter, Holland, Beneath the Barrage, The Modern's Little Show, The New York Times, April 7, p. C27 Hainley, Bruce Next to Nothing: The Art of Tom Friedman, Artforum, November, pp. 4 - 5, pp. 73 - 77 Kastner, Jeffrey, lo - fo, Frieze, September / October, pp. 72 - 73 Kim Levin, Choices, The Village Voice, May 2, p. 11 Mitchell, Charles Dee, «Critical Mass»: More Than Meets the Eye, Dallas Morning News, February 3 Narbutas, Siaurys, Modernus Menas Padeda Atlaidziau Zvelgti I Pasauli, Lietuvos Rytui, August Rich, Charles, At MoMA: A «Mad» Muse, The Hartford Courant, April 1 Schjeldahl, Peter, Struggle and Flight, The Village Voice, April 18, p. 79 1994 Connors, Thomas, Evanston Art Center, New Art Examiner, May Green, David, Doors of Perception, Burelle's, May, p. 18, p. 23 Mollica, Franco, Tema Celeste, Autumn, p. 64 Perretta, Gabriele, Flash Art (Italian edition), Summer Romano, Gianni, Tom Friedman, Zoom, no. 12 Romano, Gianni, In and Out Liquid Architectures (Through a Few Objects, Temporale, no. 31, pp. 34 - 37 Romano, Gianni, Interactive Child, Arquebuse, May, pp. 24 - 25 Tager, Alisa, Emerging Master of Metamorphosis, The Los Angeles Times, May 3, p. F1, p. F8 Trione, Vincenzo, De Soto, Ulisside del Bello, Il Mattino, May 27 1993 Artner, Alan, Sharp Conceptual Show Dares to be Different, The Chicago Tribune, January 22, section 7, p. 56 Auer, James, There's No More Than a Hairbreath Between Art, Reality in This Exhibit, Milwaukee Journal, January 17 Blair, Dike, review, Flash Art, November / December, pp. 112 - 114 Flynn, Patrick J.B. review, Hair, Artpaper, February Heartney, Eleanor, New York, Dans les Galeries, Art Press, October, pp. 24 - 28 Humphrey, David, New York Fax, Art issues, May / June, pp. 32 - 33 Levin, Kim, Choices, The Village Voice, February 23, p. 65 Lillington, David, Times, Time Out, June 16 Lillington, David, Times, Metropolis M, Winter, pp. 47 - 49 Nesbitt, Lois, Artforum, Summer, pp. 111 - 112 Paine, Janice T. Hair Pieces: Exhibition Worth Combing, Mikwaukee Sentinel, January 8, p. 8D Shepley, Carol Ferring, Tom Friedman Shapes Art Out of Everyday Things, St. Louis Post - Dispatch, January 14, p. 3E Southworth, Linda, An Extraordinary Exhibition at Arts and Letters, The Washington Heights Citizen & The Inwood News, February 28, pp. 10 - 11 1992 Bernardi, David, News Reviews, Flash Art, May / June, p. 149 Cameron, Dan, In Praise of Smallness, Art & Auction, April, pp. 74 - 76 Faust, Gretchen, New York in Review, Arts, March, p. 79 Kahn, Wolf, Connecting Incongruities, Art in America, November, pp. 116 - 121 Marrs, Jennifer, Simple Style With a Complex Meaning, Courier, October 2, p. 15, p. 18 Smith, Roberta, Casual Ceremony, The New York Times, January 3, section C 1991 Artner, Alan, Friedman Debuts with Winning Simplicity, The Chicago Tribune, February 22, section 7, p. 56 Barckert, Lynda, The Work of Art, The Reader, March 1 Brunetti, John, New City, March 14, p. 14 Heartney, Eleanor, Art in America, December, p. 118 Hixson, Kathryn, Chicago in Review, Arts, May, p. 108 Levin, Kim, Choices, The Village Voice, September 17, p. 104 McCracken, David, Gallery Scene, The Chicago Tribune, February 8, section 7, p. 68 McCracken, David, Gallery Scene, The Chicago Tribune, August 30, section 7, p. 54 Goings On About Town, The New Yorker, September 23, p. 12 Palmer, Laurie, Artforum, May, p. 151 Patterson, Tom, Trio of Solos: Thoughts on Three Current Shows at SECCA, Winston - Salem Journal, September 1, p. C6 Smith, Roberta, Art in Review, The New York Times, September 13, p. C5 1990 Harris, Patty, Four Summer Art Shows, Downtown, August 29, pp. 12A - 13A Levin, Kim, Choices The Village Voice, August 7, p. 1At MoMA: A «Mad» Muse, The Hartford Courant, April 1 Schjeldahl, Peter, Struggle and Flight, The Village Voice, April 18, p. 79 1994 Connors, Thomas, Evanston Art Center, New Art Examiner, May Green, David, Doors of Perception, Burelle's, May, p. 18, p. 23 Mollica, Franco, Tema Celeste, Autumn, p. 64 Perretta, Gabriele, Flash Art (Italian edition), Summer Romano, Gianni, Tom Friedman, Zoom, no. 12 Romano, Gianni, In and Out Liquid Architectures (Through a Few Objects, Temporale, no. 31, pp. 34 - 37 Romano, Gianni, Interactive Child, Arquebuse, May, pp. 24 - 25 Tager, Alisa, Emerging Master of Metamorphosis, The Los Angeles Times, May 3, p. F1, p. F8 Trione, Vincenzo, De Soto, Ulisside del Bello, Il Mattino, May 27 1993 Artner, Alan, Sharp Conceptual Show Dares to be Different, The Chicago Tribune, January 22, section 7, p. 56 Auer, James, There's No More Than a Hairbreath Between Art, Reality in This Exhibit, Milwaukee Journal, January 17 Blair, Dike, review, Flash Art, November / December, pp. 112 - 114 Flynn, Patrick J.B. review, Hair, Artpaper, February Heartney, Eleanor, New York, Dans les Galeries, Art Press, October, pp. 24 - 28 Humphrey, David, New York Fax, Art issues, May / June, pp. 32 - 33 Levin, Kim, Choices, The Village Voice, February 23, p. 65 Lillington, David, Times, Time Out, June 16 Lillington, David, Times, Metropolis M, Winter, pp. 47 - 49 Nesbitt, Lois, Artforum, Summer, pp. 111 - 112 Paine, Janice T. Hair Pieces: Exhibition Worth Combing, Mikwaukee Sentinel, January 8, p. 8D Shepley, Carol Ferring, Tom Friedman Shapes Art Out of Everyday Things, St. Louis Post - Dispatch, January 14, p. 3E Southworth, Linda, An Extraordinary Exhibition at Arts and Letters, The Washington Heights Citizen & The Inwood News, February 28, pp. 10 - 11 1992 Bernardi, David, News Reviews, Flash Art, May / June, p. 149 Cameron, Dan, In Praise of Smallness, Art & Auction, April, pp. 74 - 76 Faust, Gretchen, New York in Review, Arts, March, p. 79 Kahn, Wolf, Connecting Incongruities, Art in America, November, pp. 116 - 121 Marrs, Jennifer, Simple Style With a Complex Meaning, Courier, October 2, p. 15, p. 18 Smith, Roberta, Casual Ceremony, The New York Times, January 3, section C 1991 Artner, Alan, Friedman Debuts with Winning Simplicity, The Chicago Tribune, February 22, section 7, p. 56 Barckert, Lynda, The Work of Art, The Reader, March 1 Brunetti, John, New City, March 14, p. 14 Heartney, Eleanor, Art in America, December, p. 118 Hixson, Kathryn, Chicago in Review, Arts, May, p. 108 Levin, Kim, Choices, The Village Voice, September 17, p. 104 McCracken, David, Gallery Scene, The Chicago Tribune, February 8, section 7, p. 68 McCracken, David, Gallery Scene, The Chicago Tribune, August 30, section 7, p. 54 Goings On About Town, The New Yorker, September 23, p. 12 Palmer, Laurie, Artforum, May, p. 151 Patterson, Tom, Trio of Solos: Thoughts on Three Current Shows at SECCA, Winston - Salem Journal, September 1, p. C6 Smith, Roberta, Art in Review, The New York Times, September 13, p. C5 1990 Harris, Patty, Four Summer Art Shows, Downtown, August 29, pp. 12A - 13A Levin, Kim, Choices The Village Voice, August 7, p. 1at Arts and Letters, The Washington Heights Citizen & The Inwood News, February 28, pp. 10 - 11 1992 Bernardi, David, News Reviews, Flash Art, May / June, p. 149 Cameron, Dan, In Praise of Smallness, Art & Auction, April, pp. 74 - 76 Faust, Gretchen, New York in Review, Arts, March, p. 79 Kahn, Wolf, Connecting Incongruities, Art in America, November, pp. 116 - 121 Marrs, Jennifer, Simple Style With a Complex Meaning, Courier, October 2, p. 15, p. 18 Smith, Roberta, Casual Ceremony, The New York Times, January 3, section C 1991 Artner, Alan, Friedman Debuts with Winning Simplicity, The Chicago Tribune, February 22, section 7, p. 56 Barckert, Lynda, The Work of Art, The Reader, March 1 Brunetti, John, New City, March 14, p. 14 Heartney, Eleanor, Art in America, December, p. 118 Hixson, Kathryn, Chicago in Review, Arts, May, p. 108 Levin, Kim, Choices, The Village Voice, September 17, p. 104 McCracken, David, Gallery Scene, The Chicago Tribune, February 8, section 7, p. 68 McCracken, David, Gallery Scene, The Chicago Tribune, August 30, section 7, p. 54 Goings On About Town, The New Yorker, September 23, p. 12 Palmer, Laurie, Artforum, May, p. 151 Patterson, Tom, Trio of Solos: Thoughts on Three Current Shows at SECCA, Winston - Salem Journal, September 1, p. C6 Smith, Roberta, Art in Review, The New York Times, September 13, p. C5 1990 Harris, Patty, Four Summer Art Shows, Downtown, August 29, pp. 12A - 13A Levin, Kim, Choices The Village Voice, August 7, p. 1at SECCA, Winston - Salem Journal, September 1, p. C6 Smith, Roberta, Art in Review, The New York Times, September 13, p. C5 1990 Harris, Patty, Four Summer Art Shows, Downtown, August 29, pp. 12A - 13A Levin, Kim, Choices The Village Voice, August 7, p. 102

An innovative new exhibition at MOCA Los Angeles charts radical experimentation in southern Californian architecture since 1980.

At 46, Angelidakis has a growing reputation for designing brilliantly inventive exhibition installations (for Dakis Joannou's Deste Foundation and the Swiss Institute, for instance) and fulfilling imaginary architecture commissions for patrons.

Johnson is the author of Nobody Sleeps Better Than White People from Inpatient Press and Meet in the Corner, a VR book that is part of the exhibition at HeK and has been issued by Publishing House, a framework that aims to build context around the publishing of text as object, architecture, and event.

Tags: architectural paintings, architecture, bella easton, elena shchukina, Gallery Elena Shchukina, mayfair Posted in Exhibition, London Comments Off on Bella Easton's «These Outer Shells» at Gallery Elena Shchukina (25 / Aug -16 / Sep)

Fowler's walls are at once architecture, a sculpture, an exhibition space, an object, and a subject, while Rees's paintings are simultaneously performative site - specific installations and painterly objects that are tethered to the gallery space and the temporality of the show.