Sentences with phrase «began working for the exhibitions»

I am very much looking forward to seeing all the work created for «Ephemeral «as we re-engage all the participating artists again in June to begin work for the exhibition.

Not exact matches

The author of The Waste Land, that obscure work of dark despair, began to accept assignments from the Anglican Church, tried his hand at Christmas verse and even wrote a series of captions for a patriotic exhibition of war photographs.

I have been filling sketchbooks with designs in thatch for some time, but in creating this new piece of work, I was able to spend time with a thatcher (called Stewart Alexander) and design and make a unique piece of work for my exhibition as a result, albeit relatively small - scale for the time being until my skills and experience increase — my experience of thatching is at the absolute beginning.

Beginning in early 2000, Walter Hopps (a leading curator of 20th - century art and founding director of the Menil Collection in Houston) and art historian William C. Agee began kicking around ideas for a comprehensive exhibition of Abstract Expressionist work from... Read More

A chronological recounting of the artist's short career came next, followed by the story of how he began making the type of work he is best known for, and finally some information about upcoming institutional exhibitions overseas.

At yesterday's press preview, Massimiliano Gioni, the museum's artistic director and co-curator of the ambitious exhibition, recommended that the works be viewed beginning on the second floor where early canvases for which Ofili is best known are on view, and then progressing on to the third and fourth floors.

An important additional focus of the exhibition is Roussel's significant reception in America, most prominently through John Ashbery whose life - long engagement with the work of Raymond Roussel began with a trip to Paris in 1955 to research for a planned PhD thesis on the author.

The works on view at Eleven Rivington have long since distanced themselves from this beginning, having appeared in an artist book, then haphazardly rearticulated through three - color process paintings (cyan, yellow, and magenta), scanned and digitally distributed on his and others tumblr pages, and presently re-photographed through a PDF generating application on his phone, the images from which provide the basis for this exhibition.

Beginning with significant historical works from artists such as Richard Long, who was one of the first artists to make walking his art form, to Ana Mendieta, who carved and shaped her own figure into the earth and documented these private sculptural performances, to Michelangelo Pistoletto's performance, Walking Sculpture, in which he and a group of people walked a large newspaper ball down the streets of Turin, the exhibition will include works from all decades since the 60s and commission artists to create new work for 2017.

As critical responses to the exhibition emphasized, New York has long been an important source of inspiration and material for the artist, who first came to the city in 1960; the exhibition included the work I Love New York, Crazy City (1995 — 1996), a three - volume scrapbook of architectural photographs, maps, hotel bills, receipts, flyers, and other souvenirs that Genzken began composing during a stay of several months.

«The exhibition John Graham: Maverick Modernist at the Parrish Art Museum in Water Mill, Long Island, is a unique opportunity to explore the work of an artist who has hovered on the margins of the Modernist narrative for more than a half - century, when he isn't forgotten altogether... Maverick Modernist takes a deep dive into Graham's background as an artist, a career he began in earnest when, at the age of 35, he enrolled in the class of the Ashcan School painter John Sloan at the Art Students League in New York City.»

Since Ritchie exhibited «The Universal Adversary» at Andrea Rosen Gallery in 2006, his work has been included in numerous exhibitions including: the Venice Architecture Biennale; the Seville Biennale; the Havana Bienal; «Matthew Ritchie, The Iron City,» St. Louis Art Museum; «Wunderkammern» Museum of Modern Art, New York; «The Guggenheim Collection,» Guggenheim Bilbao, Spain; «Not For Sale» PS1, New York; «Confines,» IVAM, Valencia, Spain; «The Shapes of Space,» Guggenheim Museum, New York; «Between Art and Life,» San Francisco Museum of Modern Art; «The Kaleidoscopic Eye,» Mori Art Museum, Tokyo; «In the Beginning: Artists Respond to Genesis,» Contemporary Jewish Museum, San Francisco; «Experimental Marathon Reykjavik, Reykjavik Art Museum; «The Last Scattering, Phase Two,» London, «To the Milky Way by Bicycle,» Staatliche Kunstsammlungen Dresden, Germany; «The Architectural Imaginary in Contemporary Art,» Museum of Contemporary Art, San Diego.

A major permanent installation of the artist's work can be found in Marfa, Texas, and another long - term installation can be seen in Bridgehampton, New York, where in 1983 Flavin began renovating a former firehouse and church to permanently house several of his works and to serve as an exhibition space and printmaking facility for local artists.

Barbara Bloom's installation at David Lewis — a series of posters begun in the early 1980s that juxtaposes terrorism and tourism — serves as a warm - up for an exhibition of»80s art at the Hirshhorn next year, and Anna Betbeze presents sculptures in front of ruglike wall works at Jay Gorney.

On view from December 1, 2010 — February 13, 2011, the exhibition Jonathan Meese: Sculpture focuses on Meese's three - dimensional work, including his first ceramic talisman created when he was 15, small assemblages and dioramas from the beginning of his career that have never been shown before, massive bronze sculptures, recent large - scale ceramics, and models and set designs for theatrical and operatic productions.

Dean Sobel, Director of the Clyfford Still Museum and curator of the exhibition, said, «Shortly after Allied Works Architecture was selected as the lead designers for the Clyfford Still Museum, I began to notice these small, compelling three - dimensional sculptures that were laying around their offices, with others arriving on the scene over the three - year design and construction process.

By his mid-twenties, where this exhibition begins, a dual sense for narrative mood and pictorial space already infused his work, with geometry often concealing and imprisoning the forms underneath.

While contemporary Latin American art has only recently begun to receive due recognition in the field, the gallery has been a key proponent of the region for decades, representing some of its most vital figures and presenting museum - quality exhibitions of their work.

The exhibition marks a new body of work for the artist, which began last year, entitled Lightning Fields.

Curated by Sharjah Art Foundation President and Director Hoor Al Qasimi, I Am The Single Work Artist is the culmination of the artist's lifelong role as an advocate and pioneer for the development of contemporary art and thought in the United Arab Emirates and in Sharjah, where he first began staging interventions and exhibitions of contemporary art, and exhibited at the first Sharjah Biennial in 1993.

DATES Deadline (postmark) for entries 1 Jun 2018 Notification of accepted works 15 July 2018 Receipt of accepted works begins 15 July 2018 Deadline for receipt of works 8 Aug 2018 Exhibition dates 21 Aug to 6 Oct 2018 Return shipping 15 Oct 2018

In the late 1970s, Robinson began painting the pulp romance imagery that he is known for, showing his work in exhibitions organized by Collaborative Projects.

The work is the 2005 painting The Eye of Go, and thinking with it involves looking right back to the 1990s and an extraordinary sequence of paintings on acetate that are only now being exhibited for the first time, and forward to paintings and a series of river stone sculptures that Orozco has started making since the conversation around this exhibition began.

Bray began her career at C&M Arts, where she worked for 10 years and advanced to the position of director of exhibitions.

In the late 1920s they began lending works from their collection to museums for temporary exhibitions.

He has also exhibited in numerous group exhibitions including Paper and Process 2, Art Projects International, New York; Krungthep 226, Bangkok Art + Culture Center, Thailand; Different Ways of Seeing: The Expanding World of Abstraction, Noyes Museum of Art, New Jersey; and The Inverse Mirror, Chambers Fine Art, New York IL LEE is best known for his pioneering work with ballpoint pen that he began 30 years ago and continues today.

For his 2012 solo exhibition Hodgepodge at Honor Fraser Gallery in Los Angeles, the gallery explained, «Like Warhol before him, Scharf became interested in merging the highbrow with the lowbrow, and began working towards ways of incorporating pop - culture into his paintings.

The Polkes later settled in Düsseldorf, which proved to be an excellent incubator for a budding artist: it was the location of the first postwar Dadaist exhibition in 1958 and in the 1960s a local commercial gallery began showing the work of Rauschenberg and Cy Twombly.

Previously, he worked at the Studio Museum in Harlem for seven years where he organized exhibitions such as Kalup Linzy: If it Don't Fit, VideoStudio, Fore, and When the Stars Begin to Fall: Imagination and the American South.

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For this exhibition the work primarily begun in the latter mode of a specific event and then completed through the former exploratory path, allowing gesture, pattern and layering to animate and release inherently frozen moments into a complex less fixed and known, ultimately transformative.

De Jong began working in bronze in 2012, and made his formal full debut in the medium for the solo exhibition Amabilis Insania: The Pleasing Delusion at the Middelheim Museum, Antwerp, in 2013 - 14.

Gathering together extensive documentation and rare archive material on the numerous exhibitions they organized together from 1995 on, the book is introduced by art theorist and friend of the artist Max Wechsler, who followed West's work closely for many years, and whose illuminating foreword begins: «Without doubt, he was an odd bird, a gifted idler, a Vienna man sui generis and eccentric par excellence.»

Beginning in the 1920s, Kertész's work would go on to be shown in numerous exhibitions such as the Brooklyn Museum, New York; Royal Photographic Society of Great Britain, London; International Center for Photography, New York; National Gallery of Art, Washington D.C.; Museum of Modern Art, New York; Art Institute of Chicago; Bibliothèque National, Paris; Hungarian National Gallery, Budapest; Musée National d'Art Moderne du Centre George Pompidou, Paris; The Getty Center, Los Angeles; and the Metropolitan Museum of Art, New York.

For the exhibition at M WOODS, the artist has chosen to present a survey of video, which he has worked with since the beginning and consistently returned to over the course of his career.

This catalogue for a traveling exhibition considers the working drawings and spontaneous studies of Josef Albers, beginning with the landscapes and figure studies he created before enrolling at the Bauhaus, to abstractions inspired by archeological sites in Mexico, to color studies for his famous Homage to the Square paintings.

Beginning with the Artists / Visions exhibitions in 1989, which became the long - running deCordova Annual, deCordova has been committed to showcasing the works of regional artists for twenty years.

For me, those texts were deeply personal and by themselves they were enough, but over time I began to think an exhibition would be a great opportunity to work with the stellar collection of the Tate Modern and directly with other artists and collectors, and to juxtapose works that I have been thinking about for a long tiFor me, those texts were deeply personal and by themselves they were enough, but over time I began to think an exhibition would be a great opportunity to work with the stellar collection of the Tate Modern and directly with other artists and collectors, and to juxtapose works that I have been thinking about for a long tifor a long time.

We are very happy to begin the season with a two - man exhibition: new works by Eftihis Patsourakis are accompanied by a new series of objects designed especially for Rodeo by designer Michael Anastassiades.

James Rosenquist himself authorized the concept and the selection of works for this exhibition and assisted with the development process from the very beginning.

For Jim Ede, «the forming of Kettle's Yard began -LSB-...] by my meeting with Ben and Winifred Nicholson in 1924», and several of the works on display formed part of the gallery's inaugural exhibition in 1957.

Susan Dunne, President at Pace Gallery and Vice President of the ADAA shared, «The Art Show is a special forum among art fairs for its truly thoughtful and considered gallery presentations, which is why we decided to devote our booth to our first solo exhibition of works by Tony Smith since Pace began representing the estate in 2017.

The date of this inscription is uncertain, but the sum is consistent with 1957 — 59 prices for similar works by Rauschenberg recorded in the papers of the Leo Castelli Gallery in the Archives of American Art, Smithsonian Institution, Washington, D.C. Rauschenberg began showing with Castelli as part of a 1957 group show; a solo exhibition followed in March 1958.

Jennifer Odem has begun work on her site - specific sculpture, Rising Tables, for Prospect.4 New Orleans, The Lotus in Spite of the Swamp, the city's contemporary arts exhibition.

By 1967, he began to produce the works for which he is best known and some of these seminal pieces, such as Horn and Hardart Automat (1967) and Apollo (1968), are among the highlights of the exhibition.

While «The Universal Adversary» is the first exhibition of this magnitude in the gallery, Ritchie has been working on an architectural scale for the last five years, beginning with Games of Chance And Skill in 2002, a permanent installation created for MIT, and to be followed this summer by Stare Decisis, a GSA - commissioned installation for a new Federal Courthouse in Oregon, designed in conversation with Pritzker prize - winning architect Thom Mayne.

Of course, this is for the most part misremembered bunk: Flavin was no mystic and his work — as this recent exhibition, the first appearance of the late artist at David Zwirner since the gallery began representing his estate, clearly demonstrated — is in practice more correctly aligned with the unadorned, system - based Minimalist programs of Sol LeWitt, Carl Andre, or Donald Judd than with any of the

The notion of the Surrealists, and the exquisite corpse was a conceptual experiment of art making — this same concept is the beginning working premise for this exhibition.

«I don't have a rigid repertoire,» he tells me when we meet in the elegant 18th - century rooms of the Monnaie de Paris where he is about to begin installing works for an exhibition, titled «BRUT (E)».

In the same year he started the new cycle entitled «Artifici» [Artifices], he was commissioned to create an important work for the Sculpture Park at MART, in Rovereto, and he began working on a project that included an itinerant anthological exhibition to be held between 2008 and 2009 at ZKM in Karlsruhe, at MART in Rovereto, and at the Landesmuseum Joanneum in Graz.