Sentences with phrase «as exhibition references»

With items ranging from bestselling novels to avant - garde jazz albums to a tarot deck, the Blue Black Library includes the selections of more than a dozen guest contributors, as well as exhibition references, visitor recommendations, and a Spotify playlist.

Not exact matches

Mr. Jackson (also known as Sekou Molefi Baako) is an East Elmhurst resident with a long history of community service, including 36 years as Executive Director of the Queens Library's Langston Hughes Community Library and Cultural Center, a full - service, general circulation library with an extensive reference collection of materials related to African American history and culture, and a cultural arts program that offers a variety of programming of independent film video screenings, stage presentations, panel discussions, concerts, art exhibitions and more.

As cofounder of the Center for Historical Reenactments (CHR), an independent project based in Johannesburg, Ngcobo curated «PASS - AGES: references & footnotes» at the old Pass Office in Johannesburg and contributed to the ongoing project «Xenoglossia, a research project,» culminating this year in an exhibition in Johannesburg.

The exhibition title references the currently popular wave of woman - led activism, as well as women who have been steadily claiming their own ground for centuries, sometimes alone and sometimes collectively.

As we look forward to the fall season our enthusiasm for things to come has led to ON DECK, a group exhibition referencing baseball terminology for the next batter in line.

Whilst taking Neel's work as a point of reference, the exhibition aims to open up possibilities for reading figuration and portraiture in contemporary painting, to assert the continued relevance of these modes of practice, and to re-consider Neel's work in relation to artists working today.

The largest survey of Nari Ward «s work to date, this traveling exhibition «focuses on vital points of reference for Ward, including his native Jamaica, citizenship, and migration, as well as African - American history and culture, to explore the dynamics of power and politics in society.»

With the selection of Gabi Ngcobo, the Berlin Biennale continues its mission of serving as an experimental platform for exploring and expanding the format of the exhibition and a curatorial agenda as well as for examining current global discourses and developments in relation to Berlin as a local point of reference.

Taking this intergenerational artistic milieu as its point of departure, this exhibition brings together works by artists whose output subverts a rigorous formalism through references to subjectivity, narrative, and process.

I have only just thought that the title of this exhibition may well be a pun, as well as a reference to the Robert Frost poem of the same name.

Situating itself within current art historical and political debates, the exhibition considers work by self - taught, spiritually inspired and incarcerated artists, alongside other projects based in performance, socially engaged practice and the archive, as well as painting, drawing, sculpture and assemblage, that make insistent reference to place.

Charlie Was a Sailor also references and underscores earlier works in the exhibition such as Places (2005), which deals with the notions of absence / presence, loss and memory in combination with the exploration of the meaning of «place» and the possibility of rendering this philosophical concept into a work of art, and Places [Lost](2010), which explores places of memory that concentrate meanings, events and fragments of experience.

CIMA's first two - person exhibition pairs the Metaphysical painter Giorgio de Chirico with the contemporary conceptual artist Giulio Paolini, who has described de Chirico as an «illustrious model» and has incorporated overt and coded images and references to de Chirico in his work for years.

He often works with found objects and materials drawn from stereotypical references to African American culture such as chicken wings, dreadlock clippings and Night Train liquor bottles and the outdoors have served as his exhibition space where he has sold snow balls in the street and installed real porcelain urinals on trees.

A «catalogue raisonné» is a systematic and comprehensive scholarly reference text in which each work known to have been executed by a particular artist is illustrated, thoroughly documented and described, giving information such as title, alternative titles, date, medium, size, inscriptions, provenance, exhibition history, and publication history, and in which each work is assigned a permanent reference number.

David Joselit worked as a curator at The Institute of Contemporary Art in Boston from 1983 to 1989 where he co-organized several exhibitions including «Dissent: The Issue of Modern Art in Boston,» «Endgame: Reference and Simulation in Recent Painting and Sculpture,» and «The British Edge.»

In Bigg's second exhibition with the gallery, A Step on the Sun, Bigg's multi-channel video installation shows miners extracting hardened sulfur at Indonesia's Ijen volcano; the video references natural beauty as a...

Every piece, as the exhibition title's reference to foodstuffs might suggest, bears a history of function that precedes its current status as art: a curvy - bladed knife, a mezzaluna, to chop garlic with, perhaps; or a piece of fine china designed for a particular dish.

In reference to traditional (char) coal making, ongoing for many days, the exhibition is planned as a non-stop process.

The exhibition's title, like Bernstein's work, carries an explicit meaning as a sexual reference.

The exhibition title «+ «has to be understood as an ironic reference to the rich exhibition history about swiss art at home and abroad (Freie Sicht aufs Mittelmeer, Swiss Made - Präzison und Wahnsinn, Beispiel: Schweiz, Saus und Braus etc.).

The exhibition will include both student work and later professional achievements of such alumni and faculty as: Gertrude Jekyll, Sir Edwin Lutyens, Eric Ravilious, Edward Bawden, Hans Coper, Ossie Clark, Bill Gibb, Zandra Rhodes, Sir James Dyson, Eric Parry, David Adjaye, Tord Boontje, Ron Arad, Graphic Thought Facility and Neville Brody from the broad disciplines of Design, Architecture and Applied Art; Lady Elizabeth Butler, Dame Barbara Hepworth, Henry Moore OM, David Hockney OM, Bridget Riley, Eduardo Paolozzi, Tracey Emin (whose 2001 work The Perfect Place to Grow, is both exhibited and referenced in the exhibition title), Chris Ofili, George Shaw and Spartacus Chetywnd will be represented from the field of Fine Art in the sections on Personal and Political Expression.

For an exhibition earlier this year, Bas presented works referencing the American Transcendentalists (Emerson, Thoreau, Alcott)- or, in Bas's words, the «original hippies», as their writing suggests a «back to nature» perspective.

The exhibition title references many facets of arts and culture traditions from ancient history to the modern day, arising out of Smith's meditations on the number's spiritual significance as a marker of immortality, as well a number of noteworthy cultural and historical facts and figures featuring the number itself.

Described as a «modern - day dandy» and is known for exhibitions combining sculpture, film and performance, many referencing pop culture icons such as the Simpsons and Felix the Cat.

Other highlights include «LA / LA and Institutional Collaboration», which will use Pacific Standard Time: LA / LA as a reference point to examine how institutions can encourage the growth of regional art scenes; «Digital Museums and Virtual Audiences», focusing on digital innovation and how new technology is starting to leave a deeper mark on the museum world; and «I Was Raised on the Internet», which brings together curators from three major institutions that collaborate on exhibitions investigating the effects of the Internet on contemporary art.

It's a «generative» phenomenon — as curator Joshua Friedman references in a brief prospectus for this group exhibition curated for the Kohn Gallery.

This exhibition brings together work on paper, small object sculpture and painting, and focuses on landscapes, textiles, and reference books as its main...

According to a MOAFL spokesperson, the exhibition title references the first cloned sheep, mischievously named Dolly after Dolly Parton, as it was cloned from a mammary cell.

As with previous exhibitions, McGee's installation at MCASB will reflect the surrounding environment and particular histories of the region; references to Santa Barbara's past and cultural oddities like the The Reagan Ranch Center will inform this dynamic exhibition.

The exhibition traces the digressing and rhizomatic nature of historical narrative as the malleable material of contemporary interpretation, able to be revisited, remembered and redefined through individual and collective reference.

Referencing the «male gaze» — a term coined by feminist film critic Laura Mulvey to describe the way in which women become framed and understood from a male perspective — this exhibition reverses stereotypical gender roles to treat the male body as the subject of our collective viewing.

Other highlights of the exhibition include Robot Bodies, Piper's 1988 seminal interactive digital work — updated and re-programmed for this exhibition — in which the robot, android and cyborg are examined as metaphorical carriers of contemporary anxieties around racial difference; and a series of mixed media works on un-stretched canvas, «future projected history paintings of the present», that reference 19th century history painting and have been commissioned by Bluecoat and Iniva.

She named an early solo exhibition The Battle of Faith and Doubt, and even if you don't think those terms are a binary, still her reference to the dark night of the soul, as a metaphor for artistic creation, is reminiscent of lines by the poet from Soho and Lambeth — which sounds a lot like Lambent, come to think of it.

The exhibition features a new installation referencing the changing environment of Samb's atelier as well as showing archival materials and films made during his unique collaboration with French artist / director Jean Michel Bruyère.

The exhibition references the «Manifesto Antropófago» by the Brazilian poet Oswald de Andrade as well as Francis Picabia's dada review «Cannibale».

The upcoming 2018 Gwangju Biennale (its 12th edition) has announced further details: 11 curators are responsible for seven exhibitions responding to the theme of «Imagined Borders», a reference both to the work of historian Benedict Anderson (particularly his 1983 book on nationalism, Imagined Communities) as well as the theme of the inaugural 1995 Gwangju Biennale, «Beyond the Borders».

As part of the ongoing exhibition Studio Systems, artist Dawn Kasper performs a new, site - specific sound composition and sculptural environment exploring historical references to the philosophy of desire.

The six institutions were selected for their established interest in studying and featuring contemporary art from Latin America; the regional influence of their art collections, exhibitions, and programs; and for serving as important references for an international artistic community.

«Exhibitions involved both internationally renowned names and those who work and study in the University's Art History department, helping put the department on the contemporary art world map,» the website notes and includes references to the recent exhibitions «Display: Marketing as Art» and «UncaExhibitions involved both internationally renowned names and those who work and study in the University's Art History department, helping put the department on the contemporary art world map,» the website notes and includes references to the recent exhibitions «Display: Marketing as Art» and «Uncaexhibitions «Display: Marketing as Art» and «Uncanny.»

As of November 2017, this website now contains reference images and information on all 584 numbered works published in Francis Bacon: Catalogue Raisonné, 2016, including the exhibition history of each painting.

By revealing cultural references influential to his work such as theoretical texts, art historical documents, exhibition press releases, digital images, etc., Evans creates a web of interconnected ideas.

The Venice Beach Biennial (VBB), a weekend event that makes tongue - in - cheek reference to the «real» Venice Biennale in Italy, treats the famed Venice Beach boardwalk, Ocean Front Walk, as an outdoor exhibition venue.

Please visit our 2013 group exhibitions for reference: Wonder Cabinet, Kitty City, Untitled (As of Yet), and Log!c?

[i] Bunga's retransformation is an appropriate first exhibition, delicately balancing the context of the space while referencing its dual aesthetic through the forms he uses: classical colonnade and apse, as well as contemporary building scaffolding.

The exhibitions» title «Dark Matters Without Time» takes this reference further, building on the relationship dark matter has as an unseen yet binding force in the universe and the parallel references in Torreano's abstraction of undefined space as being enigmatic yet universal.

Taking note from Marcel Duchamp, who first utilized the found object as readymade, Broodthaers reworked its implementation and used groups of objects and even entire exhibitions as readymades, as in Section des Figures (1972), installed by his «fake» art museum referenced above.

Each of the four mantels in the exhibition takes on a different shape or surface — referencing the design and political ideologies of International Style and Memphis Group along with the high / low aesthetics of Pop and ornamentation — acting as a pedestal, a sculpture of an object, an image of an object, and so on.

The Hammer originally identified Durham as «a Native American of Cherokee descent» on its website, and the exhibition's wall text and 300 - page catalog make reference to his Native identity.

As referenced in its title, the exhibition also sheds light onto the work of Edmundo «Mundo» Meza (1955 — 1985), a central figure within his generation.