Sentences with phrase «as exhibition reviews»
Materials include exhibition announcements, press releases and other promotional material, as well as exhibition reviews and photographic documentation.
http://www.bard.edu/ Not exact matches
We have a few outstanding cases with the district registration review officer; objections to people's names and deletions in the just ended exhibition of the voters register, as soon as this is accomplished, the register will be finalized for the political parties,» Director of Communications at the EC, Eric Kofi Dzakpasu told Citi News.
The scientist and futurist talks about self - regulating Gaia, climate change and peer review, as an exhibition featuring him opens April 9 in London
The web magazine offers insights and articles on a wide range of subjects, such as market updates, how - to's and tech tips to company activities, reviews of exhibitions and new products.
I'm a former museum publicist who could get museum exhibitions review in all the media in the Bay Area and many across the nation, as well as p.r. for that museum's published books — and a former journalist with good press rapport — yet the book is still blanked by the media.
The web magazine offers insights and articles on a wide range of subjects, such as market updates, how - to's and tech tips to company activities, reviews of exhibitions and new products.
In our review we praised Pro Evo's on - field play — this year's edition really does have the talent to challenge FIFA (we rated both games 8 out of 10), Now, with the release of this free to play version, you can try out exhibition matches and training mode, as well as enter into the new... Read More»
Of course, there were many other great posts including exhibition reviews and commentary - a lively group as always.
His work has been exhibited internationally in solo and group exhibitions, and reviewed in publications such as The Guardian, The Telegraph, and The Huffington Post.
Reviewing a 2010 exhibition, Lance Esplund wrote that in Chaet's paintings, «light sparkles through porous forms, which wrap and twist together as if earth, ocean and sky were a single organism.»
NEW YORK — David Hartt's Stray Light exhibition at the Studio Museum in Harlem recently reviewed by Eva Díaz as an Artforum.com Critic's Pick.
The six paintings featured in this exhibition not only received extensive exposure in their time, but they also serve as incontestable examples of the most important phases of Denny's career in their most accomplished resolution, allowing us to experience and review the full scope of his impressive legacy.
No one, myself included, seems to have been bowled over by these paintings, which should serve as a cautionary note that there is an occult or shadow history, which is not a chronicle of rave reviews, glitzy museum exhibitions and news - making auction records, paralleling the conventional one.
This essay by Mark Strand was originally written for The New York Review of Books as a review of the exhibition of Edward Hopper's drawings at the Whitney Museum of American Art inReview of Books as a review of the exhibition of Edward Hopper's drawings at the Whitney Museum of American Art inreview of the exhibition of Edward Hopper's drawings at the Whitney Museum of American Art in 2013.
The Arts Desk reviews all the major exhibitions of art and photography as well as interviewing leading creative figures in depth about their careers and working practices.
In his review of the exhibition in The New York Times, Holland Cotter writes, «the grid as a form gets an impressive pre-Minimalist workout in 1940s room dividers made of cellophane and horsehair by the incomparable weaver, printmaker, art historian, philosopher, teacher, theorist and life - student Anni Albers.»
Local History takes its name from an exhibition review Judd wrote in 1964, which came to be interpreted as a manifesto for a new kind of art removed from the prevailing concerns of medium specificity and expression.
Chicago — Magalie Guerin's exhibition at Corbett vs. Dempsey was recently reviewed by Matt Morris as an Artforum.com Critic's Pick.
In her New York Times review of the exhibition she later wrote of the piece: «As consciousness raising, this is fairly simple - minded.
Raymond Pettibon: A Pen of All Work, the solo exhibition by «the enigmatic, fantastically erudite artist,» as Peter Schjeldahl wrote in his review in The New Yorker, traveled to the Bonnefantenmuseum Maastricht in The Netherlands following its critically acclaimed debut at the New Museum in New York.
During the 1990s she managed Laurie Anderson's studio, wrote reviews for Art in America, worked as an educator at MoMA, curated exhibitions at pop - up sites, conducted salons for artists and writers, taught art history, while completing her master's and doctorate in art history, from the Institute of Fine Arts, New York University, under the mentorship of Linda Nochlin.
At the same time, I appreciate blogs that keep me informed about a wide range of art and art news, such as Hyperallergic; painter Sharon Butler «s blog Two Coats of Paint; and critical writing that does keep current with art exhibitions but in an idiosyncratic way, like painter Bradley's Rubenstein «s reviews on Culture Catch.
Since opening on November 12, 2016, the exhibition has earned extensive media coverage and rave reviews, in publications such as The Wall Street Journal; London - based Burlington Magazine, billed as the world's leading monthly publication devoted to the fine and decorative arts; and Hyperallergic, an online forum with perspectives on art and culture around the globe.
Also available as resources for your discussion are our Family Review and Teacher's Guide for each exhibition, where you will find information about the artists, key questions, and specific curriculum connections.
As part of our ongoing partnership with Art Practical, today we bring you a review of Will Rogan's solo exhibition Stay Home, at Altman Siegel, in San Francisco.
Related reviews look at that last exhibition in full and other 2012 summer sculpture in the parks, as well as Tom Sachs a few years later at the Noguchi Museum.
As one women photographers exhibition draws to a close (see the review of Feminist Avant - Garde of the 1970s at The Photographers» Gallery and our take on its undebated Eurocentric perspective), the Whitechapel Gallery opens Terrains of the Body.
Featuring Adam Fearon, Vanessa Safavi, Richard Frater, Renata Har and Clémence de La Tour du Pin among others, the exhibition follows last year's Blue Majik, which aqnb reviewed here as the second iteration a project series exploring «the ongoing dissolution between the biologic and the synthetic.»
Reviewing the exhibition in the Burlington Magazine, Richard Shone characterised the «essential fuel» of Hirst's work as «uncertainty, contradiction, mortality, unease — transformed from personal phobias into compelling art.»
Although the 2012 retrospective at Tate Modern was rapturously received, bringing with it a renewed reminder of the power of early works such as The Physical Impossibility of Death in the Mind of Someone Living and Mother and Child, Divided, recent exhibitions have been panned — Schizophrenogenesis was condemned for coasting on past glory, while 2012's painting - focused Two Weeks, One Summer received scathing one - star reviews — and there is a nagging sense that these days his art can resemble a factory production line, with endless copies of his popular «spot» paintings churned out in the name of brand recognition.
Each issue includes original articles and reviews of recent exhibitions, editions, and books, as well as the latest winner of the Prix de Print competition.
The North Carolina Museum of Art only reviews unsolicited proposals for temporary exhibitions from North Carolina artists or representatives, as well as other art institutions.
The New York Times, in its March 31 review, hailed the exhibition as «informative, high - spirited and humbling... a vigorously illuminating show.»
Entries include exhibition catalogues and brochures, as well as related articles and reviews by date of publication.
Since reviewing the Turner prize exhibition as it opened, it is Assemble's project that has stayed with me — though at the time I enjoyed Bonnie Camplin's project, with its evocation of paranoia and conspiracy theories, very much.
Prior to her start as a staff writer at The Times in 1986, Smith had written exhibition reviews for
Since his residency, Thomasson was selected as one of Art Review's «2013 Future Greats», and has had two solo exhibition, Just About Managing, Southard Reid, London, 2012, and The Present Tense, commissioned by Chisenhale Gallery and Create as part of the Chisenhale Gallery Create Residency (2012 - 14).
In a 2004 NYTimes review of a solo exhibition at Mitchell Algus, Ken Johnson described Dennis Kardon «s paintings as «generously painterly, voluptuously creepy narrative pictures of familial conflict, sexual angst and infantile yearning.»
We emphasize collaboration between disciplines and media fluency, helping you sharpen your skills and voice through critiques, reviews, and workshops as well as experiential learning through visiting artists, conventions, field trips, and student exhibitions.
Over the years, she has had numerous, widely reviewed solo shows, at galleries such as Rosa Esman, Michael Klein, Cheim & Read (all New York); including a mid-career exhibition at the Weatherspoon Art Gallery (Greensboro, NC).
The exhibition has been designed as a review, focusing on new and recent work by South Africans artists either represented by or associated with the gallery.
Recommended reading In the London Review of Books, T.J. Clark reviews «Cézanne Portraits» at the National Portrait Gallery, providing a close reading of an exhibition he describes as a «great occasion».
Henri Matisse is known to have disparaged Braque's pictures as «painting made of small cubes;» the term Cubism first appeared in print in Louis Vauxcelles's review of the Kahnweiler exhibition.
The lecture will be based on a review of selected exhibitions and projects organized by MILK since 2009 and it will be angled towards a discussion on photography as a medium in the exhibition context.
Jean - Christophe, Stephan Balkenhol: 57 Penguins / 57 Pinguine, Parkett 36, pp. 66 - 69 Benezra, Neal, Stephan Balkenhol: The Figure as Witness / Die Figur als stummer Zeuge, Parkett 36, pp. 37 - 41 1992 Ammann, Jean - Christophe and Horst Schmitter, 57 Pinguine suchen 57 Freunde, advertisement, Frankfurter Allgemeine Zeitung, 30 April, pp. 110 - 111 Searle, Adrian, Not Waving, Not Drowning, Frieze 4, April - May, pp. 17 - 20 Fleissig, Peter, Stephan Balkenhol, Juan Munoz at the Hayward, Doubletake and the New Tate Re-Hang, exhibition review, Hayward Gallery, London, England, City Limits 5, No. 12, February - March, p. 18 Stringer, Robin, Why Cant You Dummies Just Let Me Be Alone, London Evening Standard, London, England, 28 February Bourriaud, Nicholas, Figuration in an Age of Violence, Flash Art, No. 162, January - February, pp. 87 - 91 Cork, Richard, Do You See What I See?
Rochford Street Review attended the media preview of Not an animal or a plant, conceptual artist Vernon Ah Kee's solo exhibition that includes more than a decades» work in various mediums, and which opened as part of the Sydney Festival on 7 January.
His essays and reviews have appeared in Artforum, Art in America, Modern Painters, The Paris Review, Interview, as well as numerous exhibition catalogs and anthologies.
The exhibition references the «Manifesto Antropófago» by the Brazilian poet Oswald de Andrade as well as Francis Picabia's dada review «Cannibale».
In this review of the Wadsworth Atheneum exhibition Black, White and Grey: Contemporary Painting and Sculpture (January 9 — February 9, 1964), Florence Berkman singles out Rauschenberg's Erased de Kooning Drawing (1953) as the «most unusual work» in the show.
Her solo museum exhibitions include the 2005 retrospective at the Lehman College Art Gallery / CUNY, Five Rivers, reviewed in The New York Times, as well as Sustenazo, commissioned by the CCA Zamek Ujazdowski, Warsaw / Poland (2010), and later shown at Museum of Memory & Human Rights, Santiago / Chile (2012 - 2013) and Patricia & Phillip Frost Art Museum, Miami (2014).