Sentences with phrase «as ikon»

Santiago Sierra's performances, installations and interventions have been featured internationally at venues such as Ikon Gallery, P.S. 1 / MoMA, Museo Rufino Tamayo, the Irish Museum of Modern Art, the Museo Nacional Centro de Arte Reina Sofia, the ICA (London), and the Sharjah and Moscow biennials.

Perhaps because of the incandescence of the YBAs in the 1990s, British art in the 1980s often gets short thrift in terms of column inches in histories of modern and contemporary art, but — as Ikon's new show on the decade should demonstrate — it was a period of free - wheeling experimentation, in which figurative painting made a comeback, the variety of abstract styles increased, installation art grew in ambition and cut - and - paste appropriation prevailed.

Not exact matches

It doesn't even help much to say that he denied God and affirmed Christ, because in place of the denied God he put his own passionate Karamazov God; and, as we have seen, the Christ he affirmed is a strange and elusive combination of a principle of freedom, an ugly Russian ikon, and a suffering nation.

The new gearbox and engine combo make the overall experience so much better compared to the old setup that you'll start thinking that it is time for Ford to slap on «The Josh Machine» sticker that came on the windscreen of the Ikon on the Freestyle as well!

As an owner of the «17 / ’18 M.A.X. Pass, I heard many people talking about a new Ikon Pass and guessing what resorts will be included.

Penjweny, who also worked as a news photographer for Reuters, had a solo exhibition that included the «Saddam» series at the Ikon Gallery in Birmingham, England, earlier this year.

Ruya Foundation's chairman Tamara Chalabi writes about her research trip in Baghdad with curator Jonathan Watkins, for the for the Pavilion of Iraq at the 55th Venice Biennale: With Jonathan Watkins, Director of Ikon in Birmingham and curator of the pavilion, we travelled as a team to Iraq for the first time in December 2012,...

She deploys it as the font for the Ikon exhibition and it appears here, forming a link between the two.

João Maria Gusmão (b. 1979, Portugal) & Pedro Paiva (b. 1977, Portugal) live and work in Lisboa; In the last decade the duo has participated in international contexts such as the 27th Bienal de São Paulo, the 6th Mercosul Biennial, Manifesta 7, PhotoEspaña 08 along with exhibitions at CCA Wattis Institute for Contemporary Arts, San Francisco and Kunstverein Hanover, or the Ikon Gallery.

«As the inaugural exhibition for Ikon Arts Foundation, we wanted to show the breadth of high - quality work that is being produced in Croatia, as well as its relevance in the contemporary art scene in New York City», writes Linda Mateljan, Ikon Arts Foundation directoAs the inaugural exhibition for Ikon Arts Foundation, we wanted to show the breadth of high - quality work that is being produced in Croatia, as well as its relevance in the contemporary art scene in New York City», writes Linda Mateljan, Ikon Arts Foundation directoas well as its relevance in the contemporary art scene in New York City», writes Linda Mateljan, Ikon Arts Foundation directoas its relevance in the contemporary art scene in New York City», writes Linda Mateljan, Ikon Arts Foundation director.

In February 2017 she was also in the Palm Springs Popup exhibition at Ikon, Ltd., in Santa Monica alongside artists such as Richard Prince, Ellsworth Kelly, and Bruce Nauman.

as a departure point, Ikon's exhibition explores Flavin's straightforward rejection of illusionism whilst asserting the importance of the context of artistic experience over art for art's sake.

Regarding Creed's paint choice, the critic Michael Archer has linked the artist's approach to that of an acknowledged influence, the abstract painter Frank Stella (born 1936) who once said that in each of his canvases he was trying to «keep the paint as good as it was in the can» (cited in Ikon Gallery 2008, p. 36).

Creed's relationship with the Ikon Gallery began when he crafted an earlier musical piece for the museum: Work No 409, better known to its fans on YouTube as the «Singing Lift».

Step inside the Ikon elevator and one's journey is accompanied by the voices of the Birmingham choir Ex Cathedra, rising as the lift rises and descending as it falls.

An upcoming reading will take place in the Oratorio di San Ludovico Dorsoduro, Venice as part of the 57th Venice Biennale [organized by Ikon Gallery, Birmingham, England].

I am proud to be exhibiting as one of the «Ikon's Icons» (definitely feeling my age).

Two of Richard Billingham's videos, Ray in Bed (1999) and Tony Smoking Backwards (1998), as well as a photographic triptych of Ray's hands, were in the artist's show at the Ikon Gallery in Birmingham last year; the show finished an international tour this June.

Hannah Collins» career began in the UK, and her institutional recognition has been marked by solo exhibitions at Ikon Gallery, 1988; ICA London 1989; Chisenhale Gallery, 1996; Cornerhouse Gallery, Manchester, 1996; Contemporary Art Centre, Glasgow, 1996; as well as a nomination for The Turner Prize in 1993.

2008 Heralded as the new black, Ikon Gallery, Birmingham, UK Heralded as the new black, South London Gallery, London, UK Something Vague, St Gallen Kunstverein, Switzerland, CH Something Vague, Bonner Kunstverein, Bonn, DE How I learnt to use my senses, how I learnt to think and how I learnt to feel, Taro Nasu Gallery, Tokyo, JP Championed by Rigour, Tanya Bonakdar Gallery, New York, US And it came to life, Marz Galleria, Lisbon, PT Basquiat, STORE Gallery, London, UK 2007 GHOSTWRITER SUBTEXT (TOWARDS A SIGNIFICANTLY MORE PLAUSIBLE INTERROBANG), Taro Nasu Gallery, Tokyo, JP More than the weight of your shadow, DAIWA Press Viewing Room, Hiroshima, JP Passengers, CCA Wattis Institute for Contemporary Arts, San Francisco, US Short cut through the trees, MUMOK, Vienna, AT The Last Work, Stedelijk Museum, Amsterdam NL Of Any Actual Person, Living or Dead (with Aurélien Froment), STORE, London, UK 2006 Ryan Gander, Massimo De Carlo, Milan, IT Ghostwriter Subtext, Premier Container, Art Basel Premier with STORE, Miami, US Didactease, Marc Foxx, Los Angeles, USCinema Verso, Whitechapel East Wing, London, UK Spencer, forget about good, Art Basel Unlimited with Annet Gelink Gallery, Basel, CH The title taken from reading that book (with George Henry Longly), Elisabeth Kauffman, Zurich, CH Is This Guilt In You Too --(The study of a car in a field), MUMOK, Vienna, AT Your clumsiness is the next man's stealth, Annet Gelink Gallery, Amsterdam, NL Nine Projects for the Pavilion de l'Esprit Nouveau, MAMbo, GAM, Bologna, IT

Join artist Edmund Clark as he discusses with Jonathan Watkins, Director of Ikon Gallery, his artistic practice, which combines a range of reference and forms including photography, video, found image, text and installation.

Following studies in Fine Art (Sculpture) & Exhibition Design, he has spent the last 15 years facilitating exhibition making at galleries around the country, including Ikon Gallery, Birmingham, Hayward Gallery, London and Carroll / Fletcher, London as well as overseeing many international projects.

Taking his statement «It is what it is and it ain't nothing else» as a departure point, Ikon's exhibition exemplifies Flavin's emphasis on the importance of the context of artistic experience, capitalising on the variety of interiors that Ikon Gallery has to offer.

Funding for this year included Helen Marten: Drunk Brown House at Serpentine Gallery, Flesh at York Art Gallery, and Becky Beasley: OUS at Towner Art Gallery, as well as projects at Whitechapel Art Gallery, The Hepworth Wakefield, The Bluecoat, Whitworth Art Gallery, Ikon Gallery, and The Tetley.

As Exciting As We Can Make It: Ikon in the 1980s, currently on display at Ikon Gallery, Birmingham, is a departure from the solo and two - person exhibitions that have become synonymous with Ikon's programme.

As a charity, Ikon relies on donations from individuals and businesses.

Published to coincide with the 40th anniversary of Ikon Gallery, founded in 1963 as a «gallery without walls», and started as a co-operative of artist - volunteers to challenge a conservative local art world.

Ikon Gallery is a registered charity and as such, needs to raise funds each year from a range of sources including trusts and foundations, corporate sponsorship, individual supporters and our trading activities, alongside its core funding as one of the Arts Council England's National Portfolio Organisations.

Ikon Gallery's Slow Boat has recently undergone a transformation as it embarks on its next three year programme, Looping the Loop.

Known for their collaborative approach, Plinth has previously worked with artists such as Cornelia Parker and Richard Deacon to create editions for Ikon Gallery.

Taking his statement «It is what it is and it ain't nothing else» as a departure point, Ikon's exhibition demonstrates Flavin's emphasis on the importance of the context of artistic experience capitalising on the variety of interiors that Ikon Gallery has to offer.

This book contains the essay «Beatriz Milhazes or The Advantages of Never Leaving the Labyrinth in Painting,» by curator Frédéric Paul; as well as the re-edition and the first translation to Spanish of two key texts about the artist: «Beatriz Milhazes — The Brazilian Trove» by critic and curator Paulo Herkenhoff, first published in 2001 for her exhibit at the Ikon Gallery (England) and at the Birmingham Museum of Art (United States), and an interview with fashion designer Christian Lacroix, which was originally published in Beatriz Milhazes / Avenida Brasil (Frédéric Paul ed., Domaine de Kerguéhennec, Centre d'art contemporain, 2004).

Other important solo presentations include the artist's major commission as part of the permanent sculpture program at the List Visual Arts Center at Massachusetts Institute of Technology in Cambridge, MA (2011), Martin Boyce and Ugo Rondinone: We Burn, We Shiver at SculptureCenter in New York (2008), This Place is Close and Unfolded at Westfalischer Kunstverein in Munster, Germany (2008), Out of This Sun, Into This Shadow at Ikon Gallery in Birmingham, UK (2008), A Lost Cat and Alleyways, Back Gardens, Pools and Parkways at Centre d'Art Contemporain Genève in Switzerland (2007), For 1959 Capital Avenue at Museum für Moderne Kunst in Frankfurt (2002), and Our Love is Like the Flowers, the Rain, the Sea and the Hours at Tramway in Glasgow (2002).

Art delight at pounds 1m win; BIRMINGHAM MUSEUM: Bonanza for collections Birmingham Evening Mail (England); November 6, 2007; Gary Marks; 429 words... Birmingham Museum & Art Gallery, Ikon Gallery and the New Art Gallery, Walsall... the museum, first proposed by Ikon Gallery last year, is about to begin... former Municipal Bank building in Broad Street has been suggested as one possible...

(News) The Birmingham Post (England); November 6, 2007; 428 words... Birmingham Museum & Art Gallery, Ikon Gallery and the New Art Gallery, Walsall... the museum, first proposed by Ikon Gallery last year, is about to begin... former Municipal Bank building on Broad Street has been suggested as one possible...

Their aesthetic proposition was neatly summarised: «Ikon is intended as an antithesis to exclusive art establishments and galleries... [it] has been formed because of the need for an accessible place where the exchange of visual ideas can become a familiar reality.»

Taking the idea of an «ikon» as a mobile art object focused towards a local audience — as opposed to an exclusive approach of «art for art's sake» — it asserted a refreshing realism with respect to the place of art in society.

As in the early years, Ikon's current artistic programme features solo projects, offering opportunities for more in - depth consideration of each artist's work whilst giving rise to telling juxtapositions.

Under the directorship of Elizabeth MacGregor (1989 — 1999) Ikon developed its reputation as a venue primarily for new and innovative work by living artists involving a range of media: painting, sculpture, video, installation and photography.

The four artists officially listed as the founders of Ikon — Jesse Bruton, Robert Groves, Sylvani Merilion and David Prentice — were joined by several others in order to help develop and articulate the original vision.

Ikon's current Director Jonathan Watkins (1999 --RRB- has ensured that Ikon continues to, as ever, asserts a dynamic relationship with art, aspiring as much to accessibility as it does to excellence.

Ikon started as a co-operative of volunteers, managerially democratic and non-hierarchical, at once aesthetically adventurous and accessible.

Click here to see a short film about Ikon's development from a small artist - led space in the Bullring in the 1960s to its current position as an internationally renowned art gallery at the heart of Birmingham's cultural scene.

Ikon was first conceived of as a «gallery without walls», a headquarters for a fluid artistic programme touring to non-art venues.

While Ikon has the big names, the art school's International Project Space is all about under - the - radar talent, staging shows by the likes of cult New York design outfit Dexter Sinister, as well as rising star Emily Wardill.

As an editorial photographer, he found himself working with teenage fathers and elderly prisoners, and this set him on his route to working with terror suspects, prisoners in Guantánamo Bay, and, most recently, a three - year residency at the UK's only wholly therapeutic prison, HMP Grendon, where he worked with the inmates to produce four new bodies of challenging work, each employing methods new to his practice, which are now on show at the Ikon Gallery, Birmingham.

The judicious survey of early drawings, studies, sculptural pieces and ambitious installations — including a new commission made for Ikon — showcases the visually compelling and intellectually sharp works which have established Lee Bul as one of the most important artists of her generation.

But Ikon had bought the advertising time, as well as the other products and services in the coupon deal, at an even larger discount than what the coupon allowed the retailer.»