Sentences with phrase «become key exhibitions»

The two have become key exhibitions of the industry in Asia.

Vinexpo is held in Bordeaux in odd - numbered years; since 2006, Vinexpo Asia - Pacific has taken place in Hong Kong in even - numbered years and has become the key exhibition of the industry in Asia.

Not exact matches

The International Gay & Lesbian Travel Association recently signed an agreement to become an association partner for World Travel Market Africa 2015, a key business - to - business exhibition for Africa's leisure travel industry.

He has been subject to numerous solo and group exhibitions in galleries across the country as well as abroad lending to most of his works becoming key pieces in many prominent private and public collections including The Metropolitan Museum of Art, The De Young Museum, San Francisco, CA and the Hirschhorn Museum and Sculpture Garden, Smithsonian Institute, Washington, DC.

Curated by MOCA Director Jeffrey Deitch and Associate Curators Roger Gastman and Aaron Rose, the exhibition will trace the development of graffiti and street art from the 1970s to the global movement it has become today, concentrating on key cities such as New York, Los Angeles, San Francisco, London, and Sao Paulo, where a unique visual language or attitude has evolved.

Published alongside her recent exhibition at Miami Art Central, this volume gathers key films together with Dean's poetic narratives, which become discrete works in themselves when juxtaposed with the still images.

The exhibition is billed as a tribute to the individual successes of graduates as they move forward to become key figures in contemporary arts practice both nationally and internationally.

Sitting on the heights of the historic hill of La Croix - Rousse in Lyon, La Salle de Bains has, over the past 15 years, become a key alternative not - for - profit exhibition space for international contemporary artists in the city's cultural landscape.

The exhibition will trace the development of graffiti and street art from the 1970s to the global movement it has become today, concentrating on key cities where a unique visual language or attitude has evolved.

Piero Gilardi was an influential figure in the development of Arte Povera in Turin in the late 1960s, and his international networks and collaborative approach to exhibition making influenced the development of the two key post-Minimalist exhibitions, When Attitudes Become Form and Op Losse Schroeven in 1969.

These experiences became key influences for the works in this exhibition.

In 1951, he played a key role in the organization of the important exhibition 9th Street: Exhibition of Paintings and Sculpture at the 9th Street Gallery, New York, which showcased many artists who would become the prominent figures of Post War American art, such as Jackson Pollock, Robert Motherwell, and Leexhibition 9th Street: Exhibition of Paintings and Sculpture at the 9th Street Gallery, New York, which showcased many artists who would become the prominent figures of Post War American art, such as Jackson Pollock, Robert Motherwell, and LeExhibition of Paintings and Sculpture at the 9th Street Gallery, New York, which showcased many artists who would become the prominent figures of Post War American art, such as Jackson Pollock, Robert Motherwell, and Lee Krasner.

While maybe not the imperative at the time, the exhibition reveals that indeed this phenomenon has happened to a number of the key works, such as Longo's «Men in the Cities» (1979 — 82) and Sherman's «Untitled Film Stills», which are now so familiar that they have become almost invisible as art works and symbols of our visual culture.

These two components would become key in his barbed wire installations exhibited at the Whitney Museum of American Art in 1970, the first solo exhibition of an African - American sculptor at the museum.

Taking up key, allegorical imagery in Wilding's work, the exhibition focuses on themes of «becoming,» both the transformative event itself and the threshold to transfiguration.

Van Elk was included in almost all key exhibitions of conceptual art, notably Arte Povera, Amalfi, 1968, Op losse schoeven, Amsterdam, 1969 and in the same year, Harald Szeemann's seminal exhibition When Attitudes Become Form, Bern and London.