Sentences with phrase «become part of the exhibition»

The finished drawings are then pinned to the surrounding gallery walls, becoming part of the exhibition.

She will activate the space with performance on scheduled dates throughout the run of the exhibition that dramatically alters the architecture of the gallery space and result in the detritus of each performance becoming part of the exhibition.

Viewers are invited to sit, observe, and draw from the model using the easels and materials provided, and the finished drawings are pinned to the gallery walls to become part of the exhibition, challenging conventional expectations of authorship.

The scorch marks from the explosion transformed the boat into a three - dimensional gunpowder drawing, and this sculpture subsequently becomes a part of the exhibition, generating a dialogue with Reflection - A Gift from Iwaki.

PlayTime features three tactile interactive works, including an immersive balloon room installation by Turner Prize winner Martin Creed and participatory One Minute Sculptures by internationally renowned artist Erwin Wurm which invite visitors to become part of the exhibition by striking and holding unexpected poses with everyday objects.

These contributions will become part of the exhibition and will be interventions into existing social media sites with the same hashtag.

So if you're heading into the festival in the next few days, stop and say hello and become part of his exhibition.

It is an opportunity to explore the different aspects of our own personality and become part of the exhibition.

According to Harald Szeemann, discussions between the artist and the curator became part of the exhibition.

Not exact matches

Under no circumstances should you sign anything indicating you will become part of an «exhibition directory» that will list your company's products and services, if the letter is sent to you by FAIRGUIDE or CONSTRUCT DATA VERLAG of Vienna, Austria or tradefairguide / Blue Ark Inc of Japan.

Long a sore point for Peru, which has threatened legal action to recover the bones, jewelry, pottery and other artifacts, the returned items will become part of a joint Yale — Peru traveling exhibition based in the former Inca capital of Cuzco.

Back in the 1800s, the warehouses which formed a large part of the city's commerce started to become the unlikely setting for old school dates, as they gradually got converted into restos, shops and art exhibition spaces, including the well regarded Arnolfini.

In the fall, he and two AIE classmates, Amy Johnson and Michelle Favin, began collaborating on what would become the three - part event series, Love in the Time of..., an on - campus exhibition that explored the many dimensions of love and what those dimensions look like in the socio - political context of our current times.

It has now become an integral part of the show and occupies the same exhibition space with the physical books.

Jaymee K. Harvey Willms has been invited to participate in a two - week residency in France, leaving one work for the permanent collection of the Chateau Orquevaux that will become part of a travelling exhibition of work by the artists in residence.

With new exhibitions from local and international artists every few months, the gallery has become and integral part of the region's visual arts scene.

Images from that exhibition became part of a larger celebration six months later of Bay Area photographers at the San Francisco Museum of Art (now the San Francisco Museum of Modern Art).

The exhibition is a survey of the transformation representational sculpture can take when medium becomes a pivotal part of the subject.

What was always a private practice of creating work on a multitude of surfaces, including show invitations, sketchbooks, and ceramics, has recently become an important part of the artist's public exhibitions.

He became part of the group that came to be called the «Pictures Generation,» after an influential exhibition in New York organized by critic Douglas Crimp.

At Ad Reinhardt's prodding, in late 1961 his Parisian dealer Iris Clert offered him a solo show in her gallery, but because of expenses and scheduling it did not become a reality until June 1963.1 Reinhardt was elated about how great his painting looked as part of the Guggenheim survey exhibition, Abstract Expressionists and Imagists, which had opened October 13, 1961.

Photographs and video - installations are some of the technological mediums that expose Taquini's trajectory, becoming not only a collection of pieces that take part in a visual art exhibition, but also the portrait of a life in the art, in which the curatorial practice that took place during a great part of her professional development converges with her more recent artistic practice.

Earlier this year, her work could be seen at the Museum of Contemporary Art in Detroit as a part of CCA Wattis Institute's traveling exhibition, When Attitudes Became Form Become Attitudes, and will be included in a forthcoming publication.

While works purchased by De Pont become part of the collection, those on loan return to the respective artists or owners at the close of an exhibition, and these guestworks also form an important part of De Pont's story.

Hidden in Germany throughout much of the 1930s, Suprematist Composition and the other works from the Berlin exhibition would subsequently become part of the highly influential holdings of Malevich's work in the Museum of Modern Art in New York and the Stedelijk Museum in Amsterdam.

Major exhibitions open in south China, showing there is more to Pearl River Delta than vast factories by Lisa Movius 10 December 2015 The derelict Dacheng Flour Factory in Shenzhen is to become a permanent exhibition space as part of a creative industries park.

Focusing on photographs, collage works, performances, films and videos produced throughout the 1970s, the exhibition reflects a moment during which practices of emancipation, gender equality and civil rights protest movements became part of public discourse.

Her exhibition «Ágrafo» (meaning «what is not written») in São Paulo's Galeria Luisa Strina will feature rope - wrapped objects that have been presented to a group of cats, whose bites and scratches become part of the piece.

The DESTE prize exhibition and award are gradually becoming a vital part of the Greek contemporary art scene.

The positioning of the visitors became as much a part of the event as the hectic search for each exhibition work.

As part of the exhibition programming, the gallery will become a common space for storytelling and tea drinking with Dylan Miner; a bustling executive assistant's office with Sheryl Oring; and a tactile, expansive personal archive with the performance collective The Hinterlands.

As part of the exhibition historic issues of the Afro - American magazines Ebony and Jet will be bound live at the Kunsthaus Bregenz to become books, in collaboration with the Vorarlberg bookbinders Otto Hofer and Manfred Keckeisen.

For this exhibition, Fernandez will present 3:37 p.m. (2001), a wall installation composed of hundreds of acrylic cubes in seven colors of the light spectrum, a reductive representation of a rainbow captured at a specific moment in time, 3:37 p.m. Fernández's work is characterized by an interest in perception and the psychology of looking, so she encourages the viewer to conjure up his or her own personal associations with the landscape, which in turn become part of the meaning behind the work.

When in 1971, Mr. Aldrich donated this collection to The Whitney Museum of American Art, [2] John Baur, the museum director, mounted a second Lyrical Abstraction exhibition and Willis's painting Wall became part of the Whitney Museum's permanent collection.

Boezem was one of the initiators of the ground - breaking exhibition «Op Losse Schroeven: Situaties en Cryptostructuren» (1969) at the Stedelijk Museum Amsterdam and took part in the equally influential exhibition «When Attitudes Become Form» at the Kunsthalle Bern in the same year.

Since then Liden has become a seamless part of the downtown subculture, with a squad that includes Nate Lowman and Dan Colen and exhibitions ranging from solo shows at Rivington Arms to the 2008 Whitney Biennial.

If there was a moment that marked the beginning, it might have been the exhibition of the Parisian Avant - Garde which was presented at the Los Angeles County Museum of Art eight years before LACMA even became a singular entity, when it was still part of the Los Angeles Museum of History, Science and Art.

This event forms part of our exhibition IN / DI / VISIBLE taking Achiampong and Blandy's work as a point of departure for artists» exploration of subjectivity and art's potential to represent new ways of being and becoming.

This exhibition, part of Pacific Standard Time: LA / LA, explores how Mexico became California.

The complexity at work here is an intentional part of the exhibition's curation: «I would argue that the strategies the show's artists use for grappling with such issues goes beyond the kinds of mirroring or enhancing of the aesthetics of such systems that have become standard of much of contemporary art today,» Malick elaborates.

Asli + Cavusoglu's Murder in Three Acts was inspired by the representation of art in popular media, especially in tv crime series in which the artworks don't solely exist in the background of the show, but become a essential part of the script: exhibitions function as crime scenes and art works act as murder weapons.

This exhibition is a launch pad for SexEd, with a call for community participation via a YouTube video call, which invites the public to become part of this project through the submission of videos that answer the question, «What do you wish someone taught or told you about sex?

During 2014, the Jewish Museum in New York staged «Other Primary Structures», a two - part update of their 1966 exhibition «Primary Structures: Younger American and British Sculptors», which established what would become the canon of minimalist sculpture.

The earliest acquisitions were images by Luke Swank, Walker Evans, George Platt Lynes and László Moholy - Nagy purchased in 1933; photography became a regular part of the exhibition and acquisition program in the 1960s.

While Koons's breathtaking prices have become a part of his content, the challenge of the exhibition for many will be to put aside the hype to see the work and not just dollar signs.

· The winning artworks (bronze prize and above) will become part of the Korea Ceramic Foundation's collection, being granted the opportunity to be displayed in its permanent exhibition in the future.

The exhibition focuses on Krasner's recurring themes and obsessions; her belief that she was «never free of the past...» and that ``... the past is part of the present, which becomes part of the future.»

Photography from the Collections, Wadsworth Atheneum Museum of Art, Hartford, Connecticut Hand made in America, Sprovieri Gallery, London, England Collector's Choice, Exit Art, New York, USA (selected by Gregory Allen) Drawing, Stephen Friedman Gallery, London, England 1999 Waste Management, Art Gallery of Ontario, Canada On the Ball: The Sphere in Contemporary Sculpture, DeCordova Museum and Sculpture Park, Lincoln, Massachusetts, USA Collectors Collect Contemporary Art: 1990 - 1999, Institute of Contemporary Art, Boston, USA (catalogue) Zero - G: When Gravity Becomes Form, Whitney Museum of American Art at Champion, Stamford, Connecticut, USA (catalogue) Ideas in Things, Irvine Fine Arts Center, Irvine, California, USA Holding Court, L & R Entwistle & Co Ltd, London, England Stuff, TBA Exhibition Space, Chicago, Illinois, USA 1998 More Pieces for the Puzzle: Recent Additions to the Collection, The Museum of Modern Art, New York, USA Hindsight: Recent Work from the Permanent Collection, Whitney Museum of Contemporary Art, New York, NY Young Americans Part II, Saatchi Gallery, London, England Poussière (Dust Memories), Fonds Regional d'art Contemporain de Burgogne, Dijon, France; Fonds Regional d'Art Contemporain Bretagne, Galerie du Trib, Rennes, France (catalogue) Blunt Object, The David and Alfred Smart Museum of Art, The University of Chicago, Chicago, Illinois, USA Drawing the Question, Dorsky Gallery, New York, USA (brochure) Dust Breeding, Fraenkel gallery, San Francisco, CA; Luhring Augustine Gallery, New York, USA (catalogue) Transience and Sentimentality: Boston and Beyond, The Instate of Contemporary Art, Boston, USA Humble County, D'Amelio Terras, New York, USA Pop Surrealism, Aldrich Museum of Contemporary Art, Ridgefield, USA (catalogue) Word perfect, Gallery 400, University of Illinois at Chicago, Chicago, USA Bob and Wheel, dfn Gallery, New York, USA At the Threshold of the Visible: Minuscule and Small - Scale Art, 1964 - 1996, Johnson Museum of Art, Cornell University, Ithica NY; Meyerhof Galleries, Maryland Institute of Art, Baltimore, MD; Art Gallery of Ontario, Toronto, Ontario, Canada; Art Gallery of Windsor, Windsor, Ontario, Canada; Virginia Beach Centre for the Arts, Virginia Beach, VA; Santa Monica Museum of Modern Art, Santa Monica, CA; Edmonton Art Gallery, Edmonton, Alberta, Canada, (ICA travelling exhibition) 1997 A Lasting Legacy: Selections from the Lannan Foundation Gift, The Geffen Contemporary at MOCA, Los Angeles, USA New Work: Drawings Today, San Francisco Museum of Modern Art, San Francisco, USA (catalogue) Identity Crisis: Self - Portraiture at the End of the Century, Milwaukee Art Museum, Milwaukee, USA (catalogue) Inaugural installation of the new galleries of contemporary art, The Art Institute of Chicago, USA Dane County Collects, Madison Art Centre, Madison, USA (brochure) Frankensteinian, Caren Golden Fine Art, New York, USA Lovecraft, Centre for Contemporary Art, Glasgow; Cabinet Gallery, LondoExhibition Space, Chicago, Illinois, USA 1998 More Pieces for the Puzzle: Recent Additions to the Collection, The Museum of Modern Art, New York, USA Hindsight: Recent Work from the Permanent Collection, Whitney Museum of Contemporary Art, New York, NY Young Americans Part II, Saatchi Gallery, London, England Poussière (Dust Memories), Fonds Regional d'art Contemporain de Burgogne, Dijon, France; Fonds Regional d'Art Contemporain Bretagne, Galerie du Trib, Rennes, France (catalogue) Blunt Object, The David and Alfred Smart Museum of Art, The University of Chicago, Chicago, Illinois, USA Drawing the Question, Dorsky Gallery, New York, USA (brochure) Dust Breeding, Fraenkel gallery, San Francisco, CA; Luhring Augustine Gallery, New York, USA (catalogue) Transience and Sentimentality: Boston and Beyond, The Instate of Contemporary Art, Boston, USA Humble County, D'Amelio Terras, New York, USA Pop Surrealism, Aldrich Museum of Contemporary Art, Ridgefield, USA (catalogue) Word perfect, Gallery 400, University of Illinois at Chicago, Chicago, USA Bob and Wheel, dfn Gallery, New York, USA At the Threshold of the Visible: Minuscule and Small - Scale Art, 1964 - 1996, Johnson Museum of Art, Cornell University, Ithica NY; Meyerhof Galleries, Maryland Institute of Art, Baltimore, MD; Art Gallery of Ontario, Toronto, Ontario, Canada; Art Gallery of Windsor, Windsor, Ontario, Canada; Virginia Beach Centre for the Arts, Virginia Beach, VA; Santa Monica Museum of Modern Art, Santa Monica, CA; Edmonton Art Gallery, Edmonton, Alberta, Canada, (ICA travelling exhibition) 1997 A Lasting Legacy: Selections from the Lannan Foundation Gift, The Geffen Contemporary at MOCA, Los Angeles, USA New Work: Drawings Today, San Francisco Museum of Modern Art, San Francisco, USA (catalogue) Identity Crisis: Self - Portraiture at the End of the Century, Milwaukee Art Museum, Milwaukee, USA (catalogue) Inaugural installation of the new galleries of contemporary art, The Art Institute of Chicago, USA Dane County Collects, Madison Art Centre, Madison, USA (brochure) Frankensteinian, Caren Golden Fine Art, New York, USA Lovecraft, Centre for Contemporary Art, Glasgow; Cabinet Gallery, Londoexhibition) 1997 A Lasting Legacy: Selections from the Lannan Foundation Gift, The Geffen Contemporary at MOCA, Los Angeles, USA New Work: Drawings Today, San Francisco Museum of Modern Art, San Francisco, USA (catalogue) Identity Crisis: Self - Portraiture at the End of the Century, Milwaukee Art Museum, Milwaukee, USA (catalogue) Inaugural installation of the new galleries of contemporary art, The Art Institute of Chicago, USA Dane County Collects, Madison Art Centre, Madison, USA (brochure) Frankensteinian, Caren Golden Fine Art, New York, USA Lovecraft, Centre for Contemporary Art, Glasgow; Cabinet Gallery, London, England

The opening night of the exhibition saw a performance by Rosier in which participants were invited to wear masks, becoming part of a mysterious ritual ceremony.

«In the end, when lenders realised the importance of the exhibition, and Johns» own enthusiasm for it, they became more willing to part with their works»