Sentences with phrase «as this exhibition demonstrates»

As our exhibition demonstrates, however, for Diebenkorn, figuration was not some quixotic decision but a logical extension beyond the self - imposed limits of abstraction.

As this exhibition demonstrates, we are just beginning to assimilate the depth of his work's complexities.

Yet artists deploying the stylistic resources of representation were also a major influence — as this exhibition demonstrates through a series of masterful works from the collection, some of which are rarely shown.

As the exhibition demonstrates, the selected group of ceramic artists are often in direct dialogue with their contemporaries working in other, more recognized media.

Ornate Activate as an exhibition demonstrates the concerns and issues being addressed by artists of South Asian origin regardless of their place of birth.

Not exact matches

As part of a class final project, Bohnstedt and a group of her classmates created their own design and proposal for a museum exhibition on advertising literacy, demonstrating how advertisers target youth, and helping young people learn how to cope with marketing strategies.

The exhibition vehicle demonstrates the wide range of visual and technical customisation options available for exterior and interior finishing, lighting, wheels, as well as the engine and powertrain.

Sanctioning is one of the first steps toward being approved to hold AKC dog shows and obedience trials, a long - range goal of the club.Sproul and other club officers say they are making a determined effort to continue the programs that Seminole has initiated.The Seminole club has initiated such programs as annual purebred dog exhibitions demonstrating important aspects of owning, raising and training dogs; health seminars that bring in experts to discuss topics that have included hereditary eye defects, skin disorders and behavioral studies; and matches offering ring conditions to provide experience for handlers and dogs.

Other portfolio highlights include his Postr Club work created with Spin, which was on show as part of the group exhibition at Twenty Twenty Two in Manchester around this time last year and a brilliant little film publication which demonstrates a deft way with layout and using found imagery.

In his case, as the attached list of his exhibitions planned for this year seems to demonstrate, the presumption works pretty well in a wide spectrum of cultural situations.

As part of the Jasper Johns: Variations on a Theme at The Phillips Collection, master printer and professor Scip Barnhart demonstrated to visitors the following printmaking processes: intaglio, lithography, and silkscreen in a workshop adjacent to the exhibition.

The exhibition includes over 80 photographs, demonstrating how his practice as a photographer has been shaped by his work as a critic and vice versa.

As demonstrated in the cheekily titled I Always Lie, Sprecher's third solo exhibition at Jeff Bailey Gallery in New York, he is equally gifted in color combinations and media application, in a range of scales and often within the same painting.

«This exhibition demonstrates the interplay between these two bodies of work and reveals the range of [Joyce] Scott's technique and skill as well as the complex relationship she has shaped among adornment, content and methodology.»

The exhibition demonstrates how the act of drawing took on a central role in his practice at this stage, both as a favored medium in its own right and as a powerful means of translating and transforming his sources of pop iconography.

As demonstrated in the exhibition's 1972 portrait of Warhol, he began by appropriating commercially printed imagery, and it was not until the early 1970s that he took his first photographs with a Polaroid camera.

The exhibition demonstrates how artists such as Georgia O'Keeffe, Marsden Hartley, Jacob Lawrence, and others challenged convention and forged bold new styles to fit the times.

Drawing from the British context as point of departure, and the wave of exhibitions by Black British artists — highlighting the recurrence of the issues they addressed in the 1980s and demonstrating the continued relevance of their art to this day — this project is the result of ongoing conversations with artists who have always been alert to the fragility of democracies and concerned with the pockets of exclusions that exist in the so - called «Free World».

This exhibition rings true because it addresses our personal struggles and demonstrates the artist's ability to work things out, to find a way to combine seemingly irreconcilable opposites, such as art and life, thinking and doing, creating things and relating to people.

MR: As this exhibition at White Cube demonstrates, throughout your career you have worked with a wide range of media, including photography, film, drawing, printmaking and painting.

Design Observer's OBlog recently highlighted Pratt Manhattan Gallery exhibition Graphic Advocacy: International Posters for the Digital Age 2001 - 2012 (through 8/28), which demonstrates the potency of the art form as a catalyst for social and political change...

That Mammen absorbed and worked with the dominant artistic styles of the time was obvious even from her early years in Paris and Brussels, and some of the earliest works in the exhibition — shown in the final room so as to contrast with some of her last — demonstrate the influence of symbolism and aestheticism.

As the superbly curated installation of works spanning the historical range of the museum demonstrates, the depth of a permanent collection offers an automatic advantage to any museum's exhibition program.

Kamrooz Aram, a Brooklyn - based artist whose works often challenge a modernist disdain for decoration, shares his thoughts on ornament and its complex relationship to modernist painting and exhibition design as demonstrated in his own varied practice in which painting, collage, sculpture, and the art of display operate as equals.

Extra consideration will be given to proposals that demonstrate a creative approach to curatorial research methods and the exhibition plan, as well as those that present ideas or topics that are not well - represented in the commercial sector.

Revolution has not been, at least recently and in my view, so colorfully demonstrated as here, in this staggering exhibition at the Museum of Modern Art.

Extra consideration will be given to proposals that clearly demonstrate a unique and creative approach to both curatorial research methods and the exhibition plan, as well as those that present ideas or topics that are not well - represented in the commercial sector

Published for this exhibition, Antony Gormley: For the Time Being examines recent works exploring this tension, such as the Construct series, which range from a standing male figure with his hands at his sides and his head turned, to a cluster of vertical blocks that could be described as post-Constructivist, and recent public commissions such as «Exposure» (2010, executed for a site in the Netherlands) and «Habitat» (2010, erected in Anchorage, Alaska), which also demonstrate this tension of mass in space versus constellated nodes in space.

The 90 works in the exhibition intertwine past and present in transformative new intersections of art and life, and demonstrate the dominance of the popular as today's ubiquitous culture.

As BOLT Residency enters its fifth year, the BOLT Alumni Exhibition & Dialogue is a continuation of the CAC's mission as a site for linking artists and audiences through community, education, and cultural engagement; and demonstrating the lasting significance and reverberating energy of its residency prograAs BOLT Residency enters its fifth year, the BOLT Alumni Exhibition & Dialogue is a continuation of the CAC's mission as a site for linking artists and audiences through community, education, and cultural engagement; and demonstrating the lasting significance and reverberating energy of its residency prograas a site for linking artists and audiences through community, education, and cultural engagement; and demonstrating the lasting significance and reverberating energy of its residency program.

Yet, as perhaps demonstrated by the current «Ruin Lust» exhibition at Tate Britain, our fascination with materiality is more likely to be founded on impulses of fetischisation and self - projection than forensic analysis.

But living together isn't the same as always agreeing with one another, as the exhibition's multiday kickoff would demonstrate.

Revealing aspects of Mendieta's practice that are not as widely known as her ritualistic investigations of body and landscape, the exhibition demonstrates Mendieta's technical innovations and her singular approach to the medium.

The exhibition reveals shared interests in architecture and space, as well as pattern and color, demonstrating geometric abstraction's long history in Cuba.

This talk will demonstrate how exhibitions create spatial relations between different planes of interaction for the viewer, and how multiple agencies and actors are necessary for an understanding of the curatorial as a constellation of activities that can be can represented the final exhibition - form.

You might already be familiar with the likes of Mark Rothko and Jackson Pollock but, as our exhibition will demonstrate, there is far more diversity than might first appear.

The exhibition will be a rare opportunity to see these groups hung together in a single location, demonstrating how each work has a relationship with the others in the series, as well as the unpredictable changes of direction throughout Riley's career.

Cheng's sculptural practice demonstrates a preoccupation with objects people often create to meet basic needs such as: shelter, illumination, warmth, support, nutrition and occasionally diversion Cheng's solo exhibition, entitled Mixtures, involves a sprawling and scattered installation, a single work containing multitudes.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

By the turn of the century Breitner was a famous painter in the Netherlands, as demonstrated by a highly successful retrospective exhibition at Arti et Amicitiae in Amsterdam (1901).

On view from September 30, 2014 to March 15, 2015, this exhibition demonstrates the interplay between these two bodies of work and reveals the range of Scott's technique and skill, as well as the complex relationship she has shaped among adornment, content and methodology.

The exhibition explores our society's alienation from the real, demonstrated most recently by Over There, a new television drama chronicling the war in Iraq as it continues to rage.

As well as painting, Fiona demonstrates her painting techniques at Art Shows, exhibitions and for various art societies throughout the UK, and you can also see her on SKY TV's Painting in WatercolouAs well as painting, Fiona demonstrates her painting techniques at Art Shows, exhibitions and for various art societies throughout the UK, and you can also see her on SKY TV's Painting in Watercolouas painting, Fiona demonstrates her painting techniques at Art Shows, exhibitions and for various art societies throughout the UK, and you can also see her on SKY TV's Painting in Watercolour.

However, one thing that Gauguin got better at, as this exhibition so nicely demonstrates, is his prints --

The exhibition documents systems based, highly structured pieces as well as those demonstrating a freer and more spontaneous language.

Legendary photographer, filmmaker, and writer Gordon Parks changed image - making forever, and the I Am You exhibition at C / O Berlin demonstrates his vast impact made across genres (especially given his work as a photographer for Life magazine for many years).

Through their consistent efforts and innovative exhibitions, both Molesworth and Obrist have demonstrated a profound belief in the importance of art and exhibitions as vital participants in the constitution of our public sphere.

In collaboration with the Gordon Parks Foundation, this second half of a two - part exhibition will focus on some of Parks» most celebrated and iconic imagery; demonstrating his abilities as a photographer and journalist who moved just as seamlessly documenting everyday life and injustice facing African American families across the country, framing his subjects with compassion amidst unvarnished reality.

Art installations by Ulrich Rückriem (1998) or Jenny Holzer, as much as exhibitions on the work of Renzo Piano or Rem Koolhaas have demonstrated the exceptional possibilities of this space.

The exhibition closes by exploring Paolozzi's work in the late 1980s to 90s with key sculptures that demonstrate the artist's returning interest in figuration, as well as his subversive approach to conventional notions of the multiple art object.