Sentences with phrase «at works of art primarily»

Albert Barnes taught people to look at works of art primarily in terms of their visual relationships.

Not exact matches

The first major exhibition of Morandi's later work in America since the acclaimed 2008 retrospective at the Metropolitan Museum of Art, New York, the show will focus primarily on the period during which he developed and refined his investigations of serial, reductive, and permutational forms and compositions — aspects that had a profound influence on twentieth - century and contemporary art and paintiArt, New York, the show will focus primarily on the period during which he developed and refined his investigations of serial, reductive, and permutational forms and compositions — aspects that had a profound influence on twentieth - century and contemporary art and paintiart and painting.

ONE OF THE MOST ANTICIPATED museum exhibitions of the season, a major survey of Kerry James Marshall «s work, primarily focused on his painting over the past 35 years, is opening at the Museum of Contemporary Art Chicago, on April 2OF THE MOST ANTICIPATED museum exhibitions of the season, a major survey of Kerry James Marshall «s work, primarily focused on his painting over the past 35 years, is opening at the Museum of Contemporary Art Chicago, on April 2of the season, a major survey of Kerry James Marshall «s work, primarily focused on his painting over the past 35 years, is opening at the Museum of Contemporary Art Chicago, on April 2of Kerry James Marshall «s work, primarily focused on his painting over the past 35 years, is opening at the Museum of Contemporary Art Chicago, on April 2of Contemporary Art Chicago, on April 23.

This is the same type of address cited in the title of Nicole Eisenman's recent exhibition, Dear Nemesis, which just closed at the Contemporary Art Museum (CAM) St. Louis and will soon be travelling to the ICA Philadelphia — a survey collection of over 120 works, primarily paintings and some sculpture, since the early 1990s.

Several exhibitions in recent years have drawn works primarily from the collection today in the care of the Souls Grown Deep Foundation, including The Quilts of Gee's Bend, organized by the Museum of Fine Arts, Houston and the Whitney Museum of American Art in 2002, which traveled to the Corcoran Gallery of Art, Cleveland Museum of Art, Chrysler Museum of Art, Museum of Fine Arts, Boston, High Museum of Art, and four other museums; Thornton Dial in the 21st Century at the Museum of Fine Arts, Houston in 2006; Hard Truths: The Art of Thornton Dial, organized by the Indianapolis Museum of Art in 2011, which traveled to the New Orleans Museum of Art, the Mint Museum, and the High Museum of Art; and Fever Within: The Art of Ronald Lockett, organized by the Ackland Museum of Art in 2016, which traveled to the American Folk Art Museum and the High Museum of Art.

While the Museum's Permanent Collection primarily focuses on American art of the 20th and 21st centuries, there are a few notable art works from the 19th century that help set the stage for art at the dawn of the 20th century, such as Evening on the Hudson by George Inness.

Exhibitions in recent years have drawn works primarily from the collection today in the care of the Souls Grown Deep Foundation, including The Quilts of Gee's Bend, organized by the Museum of Fine Arts, Houston and the Whitney Museum of American Art in 2002, which traveled to the Corcoran Gallery of Art, Cleveland Museum of Art, Chrysler Museum of Art, Museum of Fine Arts, Boston, High Museum of Art, and other museums; Thornton Dial in the 21st Century at the Museum of Fine Arts, Houston in 2006; and Hard Truths: The Art of Thornton Dial, organized by the Indianapolis Museum of Art in 2011, which traveled to New Orleans Museum of Art, the Mint Museum, and the High Museum of Art.

Exhibitions in recent years have drawn works primarily from the collection today in the care of Souls Grown Deep Foundation, including The Quilts of Gee's Bend, organized by the Museum of Fine Arts, Houston and the Whitney Museum of American Art in 2002, which traveled to the Corcoran Gallery of Art, Cleveland Museum of Art, Chrysler Museum of Art, Museum of Fine Arts, Boston, High Museum of Art, and other museums; Thornton Dial in the 21st Century at the Museum of Fine Arts, Houston in 2006; and Hard Truths: The Art of Thornton Dial, organized by the Indianapolis Museum of Art in 2011, which traveled to New Orleans Museum of Art, the Mint Museum, and the High Museum of Art.

For the presentation of this work at SFMOMA, the Los Angeles — based artists Chris Kallmyer and Mark Allen have selected a diverse roster of resident musicians, who will be stationed adjacent to galleries devoted primarily to California art from the museum's painting and sculpture collection.

Working primarily in porcelain, Liu Jianhua's personal affinity with the traditional medium sprung from his 14 year long training in the art at the Imperial kilns of Jingdezhen.

Drawn primarily from the permanent collection of the University Museum of Contemporary Art at UMass, this exhibition showcases works by «Judy Chicago,» Paul McCarthy, Sheila Pepe, Kiki Smith, Andy Warhol, and others.

Lately, we present primarily solo shows and support the exhibited artists on all levels: from financing the production of new works; the curatorial organisation of the exhibition at Grimmuseum; as well as the representation on art fairs, documentation and publications.

Now, in an exhibition that takes its name from one of Pope.L's «Skin Set» drawings, «BLACK PEOPLE ARE THE WINDOW AND THE BREAKING OF THE WINDOW» (2004), the Studio Museum provides a focused look at current and historical expressions of protest through works of art primarily drawn from the Museum's collectioof Pope.L's «Skin Set» drawings, «BLACK PEOPLE ARE THE WINDOW AND THE BREAKING OF THE WINDOW» (2004), the Studio Museum provides a focused look at current and historical expressions of protest through works of art primarily drawn from the Museum's collectioOF THE WINDOW» (2004), the Studio Museum provides a focused look at current and historical expressions of protest through works of art primarily drawn from the Museum's collectioof protest through works of art primarily drawn from the Museum's collectioof art primarily drawn from the Museum's collection.

The exhibition features 37 paintings, watercolors, and works on paper, drawn primarily from the collection of the National Gallery in Washington, D.C. Mark Rothko: The Decisive Decade, 1940 — 50 was on view at the Columbus Museum of Art, Ohio through May 26.

Major Exhibition Poses Tough Questions And Reasserts Fluxus Attitude Sept 9 - Dec. 3 2011 [DOWNLOAD FULL RELEASE] New York City (July 21, 2011)-- On view from September 9 through December 3, 2011, at New York University's Grey Art Gallery, Fluxus and the Essential Questions of Life features over 100 works dating primarily from the 1960s and»70s -LSB-...]

The list includes Laili Nasr, who was making a supplement to the Rothko catalogue raisonné; Christopher Rothko, the artist's son; art historians Irving Sandler, Stephen Polcari, and David Anfam, the author of the catalogue raisonné for Rothko's works on canvas; and E. A. Carmean Jr., a former curator at the National Gallery of Art who had been put on retainer by Knoedler for upward of $ 50,000 a year, primarily to research the provenance of Rosales's worart historians Irving Sandler, Stephen Polcari, and David Anfam, the author of the catalogue raisonné for Rothko's works on canvas; and E. A. Carmean Jr., a former curator at the National Gallery of Art who had been put on retainer by Knoedler for upward of $ 50,000 a year, primarily to research the provenance of Rosales's worArt who had been put on retainer by Knoedler for upward of $ 50,000 a year, primarily to research the provenance of Rosales's works.

In addition to the 511 Gallery and the Dorothy Lemelson Innovation Lab which regularly host the exhibitions of PNCA's Center for Contemporary Art and Culture, PNCA also has numerous other gallery spaces for exhibitions primarily of works by students, but also by alumni and faculty at various times throughout the year.

02 Nov 2001 Irish Art Now at the Irish Museum of Modern Art An exhibition of works drawn primarily from the Irish Museum of Modern Art's own Collection, which has recently completed a successful two - year tour of the USA and Canada, opens to the public at IMMA on Wednesday 14 November.

After studying sculpture at the Art Institute of Chicago and Black Mountain College in Asheville, North Carolina in the 1950s, he began working primarily with car parts.

At Spelman College Museum of Art, Frazier's work is included within a nexus of works that visualize the construction of the racialized and gendered body, primarily through self - representation and images of the domestic sphere.

Highly regarded as both a leading practitioner of conceptualism and an influential educator at the California Institute of the Arts (CalArts), Charles Gaines is celebrated primarily for his photographs, drawings and works on paper that investigate systems, cognition and language.

What to see at the Aargauer Kunsthaus The Kunsthaus is primarily devoted to Swiss art from 18th century to the present, paying a special attention to the work of Caspar Wolf, Johann Heinrich Füssli and Arnold Böcklin; its comprehensive collection includes artworks belonging to various styles: landscape painting, early Modernism, Swiss expressionism, post-war abstract art and contemporary art; the concrete art section is also particularly remarkable, with notable works by Max Bill, Sophie Taeuber - Arp and Hans Arp, among others.

A text that is almost entirely, rather than only momentarily, diagnostic in orientation is Barbara Rose's excellent, and unfortunately little remembered, «The Value of Didactic Art» of 1967, which ambitiously lays out the terms of a particular shift where works of art — those inheritors of the precedent of Duchamp's unassisted readymade — began to derive their value and significance from visually presenting a particular argument, rather than by engaging the viewer in primarily aesthetic terms, which this didactic art rendered at best marginal or incidentArt» of 1967, which ambitiously lays out the terms of a particular shift where works of art — those inheritors of the precedent of Duchamp's unassisted readymade — began to derive their value and significance from visually presenting a particular argument, rather than by engaging the viewer in primarily aesthetic terms, which this didactic art rendered at best marginal or incidentart — those inheritors of the precedent of Duchamp's unassisted readymade — began to derive their value and significance from visually presenting a particular argument, rather than by engaging the viewer in primarily aesthetic terms, which this didactic art rendered at best marginal or incidentart rendered at best marginal or incidental.

Formally trained as a painter, McCarthy taught performance, video, installation, and performance art history at the University of California, Los Angeles, from 1984 to 2003 and currently works primarily in sculpture and video.

Working primarily in 16 mm film, her work has been exhibited at the Hammer Museum, The New Museum, the Museum of Contemporary Art, Chicago, and Australian Centre for Contemporary Art.

Victoria Brooks is curator of time - based arts at Experimental Media and Performing Arts Center (EMPAC) at Rensselaer Polytechnic Institute, working primarily with artists» moving image and multidisciplinary performaarts at Experimental Media and Performing Arts Center (EMPAC) at Rensselaer Polytechnic Institute, working primarily with artists» moving image and multidisciplinary performaArts Center (EMPAC) at Rensselaer Polytechnic Institute, working primarily with artists» moving image and multidisciplinary performance.

At Art Dubai they are presenting the work of Levan Mindiashvili — a Georgian - born, New York - based visual artist primarily interested in exploring the complex relationships between communal and private spaces.

At the time of his first solo show at Peggy Guggenheim's Art of This Century gallery in 1946, De Niro was primarily working in an abstract manner with some figural referenceAt the time of his first solo show at Peggy Guggenheim's Art of This Century gallery in 1946, De Niro was primarily working in an abstract manner with some figural referenceat Peggy Guggenheim's Art of This Century gallery in 1946, De Niro was primarily working in an abstract manner with some figural references.

This systematic catalogue covers the collection of American naive paintings at the National Gallery of Art, a collection of more than 300 works primarily originating in the northeastern United States during the 19th century.

An artist who works primarily with photography and sculpture, she has exhibited extensively since the late 1980s, including solo exhibitions at Camden Arts Centre, London (2012); MuMOK, Vienna (2009); Pinakothek der Moderne, Munich (2009); Reina Sofia, Madrid (2008); Dia: Beacon, Beacon, New York (2008); the Wexner Center for the Arts, Columbus, Ohio (2007); Fotomuseum Winterthur, Switzerland (2007); Philadelphia Museum of Art (1998); Kunsthalle Basel (1997); Secession, Vienna (1997); and the Renaissance Society, Chicago (1993).

Currently showing at Craft and Folk Art Museum (CAFAM) of Los Angeles, «Social Fabric» presents the work of seven artists across installations, performances, workshops and collaborative projects made primarily from cloth.

He primarily works at the intersection between the digital and physical world, and his work has been featured at the Smithsonian American Art Museum, Maker Faire New York, MoogFest, The Museum of Art and Design, and MAGFest.

Works are primarily on loan from the Wright Museum of Art at Beloit College.

With the purchase in 1986 of a significant work by Picasso, Wexner began a partnership with the art dealer Richard Gray, and since then, the Wexners purposefully began to look more intently at earlier modern masters, primarily collecting the exemplary work of Picasso, Giacometti, and Dubuffet.

She began exhibiting in 1961 and primarily worked in New York City, where she taught at the School of Visual Arts from 1972 - 1991.

At the Pennsylvania Academy of Fine Art in Philadelphia, «Harmon and Harriet Kelley Collection of African American Art: Works on Paper» (June 27 — Oct. 12, 2014) consists of more than 70 watercolors, pastels, etchings, and linoleum and color screenprints produced primarily in the 1930s and 40s, during the era of the Great Depression and the Works Progress Administrations's Federal Arts Project.