Sentences with phrase «artists in this exhibition clearly»

The 29 artists in this exhibition clearly have a story to tell but ultimately leave the viewer to imagine and speculate; posing questions rather than revealing answers.

Not exact matches

The exhibition intends to feature both artists who clearly use traditional drawing methods to forge their artistic language, and artists — who although not traditional draughtsmen, have produced works which can be closely related to a vision of what does, in fact, constitute a drawing.

Saturday was marked by migrating crowds of various sizes that moved from building to building, from floor to floor taking in exhibitions at small make - shift art collective show spaces, artist studios and some more clearly identified art galleries like the Fuchs Project and Robert Henry Contemporary.

The seven drawings created for his exhibition at the Hammer Museum clearly demonstrate the artist's fluency in various dialects of the common abstract language, resonating with Constructivist and Minimalist tones and with a few refrains in less analytical abstract traditions.

While the work in the exhibition was clearly conceptualized by the artist, it would seem unfair to call it a «solo,» as Thomas did not create this exhibition alone.

However, the divide between the collaborative and relatively more open atmosphere of the West Coast artists and the New York School is clearly on display in this exhibition and its related materials.

The Tate exhibition clearly demonstrates that many of these artists are key figures deserving of a place in the canon of art history and a great deal more attention and study.

There are plenty of metaphors to be contemplated when looking at Tomek's work, and this exhibition seems to clearly capture a pivotal point in the artists progression.

Of course, this is for the most part misremembered bunk: Flavin was no mystic and his work — as this recent exhibition, the first appearance of the late artist at David Zwirner since the gallery began representing his estate, clearly demonstrated — is in practice more correctly aligned with the unadorned, system - based Minimalist programs of Sol LeWitt, Carl Andre, or Donald Judd than with any of the

We have here a kind of stereotype that is perceptible in his work, and that may represent an important complicating factor of reflection, as well as an assessment for this Neapolitan exhibition, where Wade Guyton clearly appears as what he is: a leading American artist.

This tendency is most clearly encapsulated in the artist's abstract stencils of Baroque - style decorative motifs, which recall the wallpaper - inspired paintings of his contemporary Christopher Wool, as well as in the highly patterned carpets that recently graced the walls and floors of Stingel's 2013 solo exhibition at the Palazzo Grassi, Venice.

The title of the show hints at something never clearly articulated in the exhibition itself: the fact that the gender of artists is as much at stake as that of the subjects.

According to Nye, soft power rests on several resources, one of them being its culture (in places where it is attractive to others), which is clearly demonstrated by artists in this exhibition.

At the Hayward Gallery in 1989 was Ades's show (on which Brett was a key collaborator) Art in Latin America: The Modern Era, 1820 - 1980, while in 1990 Brett curated the smaller but also influential Transcontinental: Nine Latin American Artists at the Ikon Gallery in Birmingham, following it in 1999 with a solo exhibition of the work of Victor Grippo, also at the Ikon, and with Force Fields: Phases of the Kinetic in 2000 at the Hayward Gallery, London, the exhibition which most clearly continued the aesthetic concerns first raised through Signals.

Art about the institutions of art, both physical and discursive, is hardly a new phenomenon, but unlike Marcel Broodthaers and Hans Haacke, cited by Doeringer as predecessors for the work included in this exhibition, what emerges most clearly here is not «institutional critique» but a sense of anxiety or anger about the artists» own marginalization and lack of mainstream success.

e are told by Jennifer R. Gross, in the catalogue accompanying this focused exhibition of Jim Nutt's work (even with 70 paintings and drawings it is not a retrospective or a survey), that the artist «has expressed surprise that his unidentified women have been seen as male rather than as the clearly female subjects he intended.

When, in his pompous, post-September 11th introduction to the exhibition, chief curator Lawrence Rinder writes that «what is American art, what is an American artist, and what is a museum of American art have taken on a keen and tragic importance,» he is clearly aware of this conundrum and of the need to move away from a centralized, institutional conception of American and American art.

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While Spaces — a recent exhibition at the Contemporary Arts Center highlighting the artists and galleries of St. Claude — may not completely capture the raucous spirit of the downtown art scene, a weekend protest by some of the artists involved in the show more clearly illustrates the divide between St. Claude Avenue and Julia Street.

This follows her participation in the gallery's fifth themed group exhibition «Around Drawing», which gathered artists who clearly use traditional drawing methods to forge their artistic language, and artists — who although not traditional draughtsmen, have produced works which can be closely related to a vision of what does, in fact, constitute a drawing.

The final artist in the series is Luc Tuymans, who - like all the artists in the exhibition - is clearly interested in images not as a semblance of reality, but as they might be imagined.

Whereas Rowland's 2016 exhibition at Artists Space, «91020000», clearly established the benches as an artwork, Lawler again alters their museum context to challenge the viewer to consider both what it means to have a body that sees, and the space in which that body sees.