Sentences with phrase «as separate exhibitions»

The thirty - six works spread among White Cube's three galleries could function as separate exhibitions.

Not exact matches

The Separate Cinema Exhibition runs until 2 Jan as part of BFI's Black Star, with a tie - in coffee table book «Separate Cinema: The First 100 years of Black Poster Art» available now.

As part of the BFI's major UK - wide Black Star season the BFI Southbank is currently home to the Separate Cinema Exhibition, showcasing original film posters loaned from the most extensive private holdings of African - American film memorabilia in the world, The Separate Cinema Archive.

In the cases of both Phillips and Parker, separated by more than two hundred years, each school received broad but specified authority from the state, with diplomas granted on the basis of public «exhibitions» and with the expectation - the trust - that the details of the program and its assessment would be creatures of the schools» immediate community, subject, as deemed necessary, to the inspection by the state or, in the case of Phillips, the local superintendent of (public) schools.

Additionally, this exhibition considers the ways in which drawing is employed as a means to push the boundaries that traditionally separate one artistic discipline from another by expanding beyond the page and into the realms of performance, photography, sculpture, film, and video.

The decision to split this exhibition into two separate venues for its New York run complicates and confuses the message as well as the form of the show, which suffers as a result.

The exhibition functions as a pairing of two separate artists working in...

Beginning in the period prior to his signature «Black» paintings, massive canvases covered in black house paint in thinly separated stripes, the exhibition will showcase the breadth of Stella's creative output as he transitioned from abstraction to minimalism and sculpture.

CB1 also includes a separate exhibition space across the building's common hall, CB1 - G, which is offered as a temporary lease (30 - or 60 - day only) «pop up» gallery for vetted and professional art dealers (public and private) and independent curators from across the world, covering a multitude of both contemporary and historical art disciplines.

Archival materials are spread through two geographically separated spaces, the A + D Gallery and the Glass Curtain Gallery, and the program also includes workshops and student exhibitions as part of a yearlong fellowship from the Ellen Stone Belic Institute for the Study of Women and Gender in the Arts and Media.

Although conceived independently and presented as separate solo exhibitions, when taken together two shows at Kai Lin Art through January 30 reveal much about the intellectual and emotional trajectory of global civilization — East, West, and points between.

«L8S ANG3LES: 11 L.A. Photographers» was organized as the inaugural exhibition, the «8» standing for the eight artists whose work was shown on the walls of the new gallery, and the «3» representing three Los Angeles Times staff photographers whose work was digitally projected in a separate screening room.

By setting up a dialogue of movements in painting from the 1960s to the present day, the exhibition brings together works by Emilio Renart, Enrico Castellani, Adolf Fleischmann und Michel Majerus that are separated in time by as much as four decades.

As the title suggests this exhibition focuses on what connects rather than separates us.

«Invisible» is spread across three separate, nearby locations: Schoeni's main gallery on Old Bailey Street, the Hollywood Road branch and the gallery's newest exhibition space, at 8 Chancery Lane — formerly used as the gallery's storage space.

This presents a way of re-thinking the «curated» exhibition - which usually relies on formal similarities - as a text or newspaper wherein each «article» or artwork is a separate entity to be read singularly, only held together by the group show format and gallery space itself.

The gallery will be inaugurated with a series of four separate exhibitions in the ground and first - floor galleries: Since its foundation in 1983, Galerie Thaddaeus Ropac has specialised in international contemporary art representing around 60 artists as well as several renowned estates.

This exhibition includes two new groups of paintings: a selection of self - portraits and a series depicting the Million Man March on Washington, D.C. Displayed as counterpoints in two separate galleries, the self - portraits offer discrete views of the artist as a private individual with a public persona, while the Million Man March artworks — large, unstretched canvases screenprinted with mass - media images — portray arrays of anonymous individuals brought together at an epochal moment for the African American community.

It is somewhat unclear whether the exhibitions by Vlatka Horvat and Sara Greenberger Rafferty at the Kitchen were conceived as separate shows, or as independent efforts that, as curated by Matthew Lyons, just happen to work well together.

By invitation of both Rodeo and Yama and in dialogue with curator Krist Gruijthuijsen, Gabriel Lester has conceived an exhibition on two separate platforms, one as a commission for Yama's video screen located on top of the Marmara Pera hotel, which will also include screenings in two different rooms located inside the hotel, and a solo show at Rodeo.

A Space in Two Dimensions, in fact, does not so much «weave two separate exhibitions into a single space» as make plain a rather unseemly MoMA - lite agenda.

There are also supplementary materials as part of the exhibition, pulled from the gallery's almost 50 year history and extensive archive, set on shelves and in a vitrine in a separate gallery space, taking the exhibition offscreen to the physical page.

A centrepiece of the exhibition Daytime Astronomy (1997 - 98) captures a moment of profound revelation: as a seventeen - year - old boy, working on Canada's wide - open Western plains, it is the moment that the artist first became aware of the void that separates man from the world around him.

The exhibition takes as its starting point the notion of «common time,» described by Cunningham as the «underlying principle that music and dance and art could be separate entities independent and interdependent, sharing a common time.»

This time last year, I was in the process of either installing or de-installing three separate exhibitions — wrapping up my last projects for the Hammer, as well as a guest curated exhibition.

The overall exhibition design by Herzog & de Meuron will serve as the interstitial structure tying the separate rooms together.

The Biennale consists of separate exhibitions from 77 nations as well as a large overarching show, this year organised by the Swedish curator Daniel Birnbaum.

Work presented in the exhibition specifically addresses human migration and nationalism in the Mediterranean area, investigating the dual nature of this geographic feature to the extent that it connects and separates, acting as both a junction as well as a barrier between the Global North and South.

Beyond the symbolic transactions, institutional protocols and disconnections between contemporary art and the discourse of art history, the exhibition suggests a territory where separate timelines converge, a vanishing point where they can be reconciled interpretively, a time, right after «the contemporary», when art and history, the present and its transcription as an art - historical past, unfold in simultaneity.

The layout of the exhibition can be navigated much like the brain processes body parts as a series of topographic maps - each part separate, but together, forming a whole.

The exhibition Merce Cunningham: Common Time, currently on view at the MCA, showcases Cunningham's multidisciplinary projects and explores, as Cunningham described, the «underlying principle that music and dance and art could be separate entities independent and interdependent, sharing a common time.»

The exhibition «The Border» studies and analyses borders as territorial isolations or on the contrary accessions, as cultural or social barriers, as an instrument separating «us» from the «others».

The exhibitions are sited not only within the main Gallery and adjoining Resource Room, but also incorporate a separate exhibiting strand in the Gallery's Window Space as well as touring activity to other gallery and non-traditional art spaces.

Although billed as two separate exhibitions in the admittedly large Galeria Vermelho, it's quite impossible to resist conceptual association of the two shows.

Be on the watch, i am doing a solo exhibition in March 18th at State Space in Sf as well as curating a separate show in their back room.

Although billed as two separate exhibitions in the admittedly large Galeria Vermelho, it's quite impossible to resist conceptual association of the two -LSB-.....]

The Aldrich Contemporary Art Museum presents united states, a series of solo exhibitions and artist's projects that approach both the nature of the United States as a country and «united states» as the alliance of separate forms, entities, or conditions of being.

For Galerie Gmurzynska to present simultaneously in its two separate Zurich exhibition spaces a survey exhibition of 100 years of sculpture with around 70 objects, is both a reference to its more than 50 - year history as well as to its presence.

The gallery offers clean white walls and features 5 curated exhibitions a year along with an annual juried member's exhibition held in the summer (please note a separate call for artists will go out as the Annual Juried Members Exhibition apexhibition held in the summer (please note a separate call for artists will go out as the Annual Juried Members Exhibition apExhibition approaches).

The exhibition therefore does not present its participating artists as a group of separate subjects, but instead draws attention to the ways in which their own self is always already filled with echoes of each other.

«David Hensel's work was submitted to the Royal Academy of Arts Summer Exhibition 2006 as two separate pieces,» it said in a statement.

Art critic Minoru Shimizu observes of Caivano's work as follows: «Her art is an endless collage, composed of varied brushstrokes and unpainted white areas, individual works and the walls of the exhibition space, and the overall installation and position of the viewer... Caivano's installations are like paintings, the individual works performing in the same way as separate strokes of the brush, and her paintings are like installations composed of discrete touches of paint.

Though, each exhibition will function as a separate entity in itself, with MELK showing recently produced work and Fotogalleriet showing Stramrud's photographs from the period 2011 to 2013.

A separate room of the exhibition will contain seven vintage portraits of von Furstenberg by Warhol, as well as others of her by Chuck Close and Zhang Huan.

In bringing together the work of Man Ray and Hiroshi Sugimoto, in two separate but connected exhibitions under the same roof, The Phillips Collection, which first opened its doors to the public in 1921, and refers to itself proudly as America's «first museum of modern art», has done something very clever and very appropriate.

The exhibition showcases Cunningham's multidisciplinary projects, exploring, as Cunningham described, the «underlying principle that music and dance and art could be separate entities independent and interdependent, sharing a common time.»

Pangea (also the title of a work in the exhibition by Lance Turner) is geology's name for the primal, unified landmass, which has since broken into today's separate continents by the subterranean drift of the earth's tectonic plates; as this apocalyptic year of 2012 progresses, the work brought together in this combined seven - artist show will undergo its own continental drift, and the meaning of each individual artistic practice will become more apparent.

No Problem: Cologne / New York 1984 - 1989 exhibition, focused on a lively dialogue which connected the groundbreaking art scenes scene from the USA and Europe, was held in two separate gallery venues in New York City, and it presented some of the best and most revolutionary contemporary artists, including great names such as Jenny Holzer, Werner Büttner, Richard Prince, George Condo, Jeff Koons, Walter Dahn, Cindy Sherman, Günther Förg, Robert Gober, Georg Herold, Barbara Kruger, Christopher Wool.

This exhibition sees Kruger's works presented in her signature red enamel frames, which separate her artworks from their original use as prints, posters, everyday ephemera.

As a separate location from the mental health units they ordinarily work in, this exhibition offers the freedom to draw out the potential in carefully, radically and candidly thought out living spaces.