Sentences with phrase «best commercial exhibition»

«Congratulations to @eonenergyuk for winning the best commercial exhibition stand award at at #ldconf» his press office tweeted, in the most banal yet poorly time tweet of the year.

Not exact matches

Under the proposal annual licensing fees required for commercial kennels as well as shelters, boarding kennels, contract kennels, pet stores, exhibition facilities, could be raised to $ 2,500 instead of $ 500.

The new campaign features 40 locations around the emirate and comprises two distinct television commercials running across TV networks, digital channels and in - flight entertainment systems, as well as five promotional videos, one of which is being shown throughout WTM on a giant digital screen by the entrance to the venue, the Abu Dhabi - owned exhibition centre, ExCel London.

This would probably work best for an English - speaking artist in North America who is interested in public or commercial gallery exhibition.

In January 2015 the gallery opened its new 4500 sq. ft. exhibition space in the warehouse art district of downtown Los Angeles at 1923 S. Santa Fe Ave., consisting of three CB1 exhibition galleries, plus an addition «Guest Annex» which serves as an exhibition gallery for national and international commercial galleries as well as non-profit organizations.

The exhibition draws upon the Wolfonian's collection to explore issues of identity — personal, corporate and national — as well as the impact of cultural displacement on the history of design and the role of commercial art in the modern city.

This month, however, solo exhibitions dominate the commercial gallery landscape... are there are a lot of good ones in the mix.

In 2013 the gallery opened an additional 7000 sq ft Chicago venue whose inaugural exhibition, Roxy Paine's Apparatus, was selected by The International Association of Art Critics as the Best Show in a Commercial Gallery Nationally.

Locks Gallery is honored to announce that The Body in Spirals has been nominate for «Best Exhibition in a Commercial Space Nationally» by the International Association of Art Critics for the 2014 exhibition of the late Philadelphia artist Thomas ChExhibition in a Commercial Space Nationally» by the International Association of Art Critics for the 2014 exhibition of the late Philadelphia artist Thomas Chexhibition of the late Philadelphia artist Thomas Chimes work.

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.

There would be annual exhibitions, some traveling, at commercial galleries, academic galleries, and museums for the next 50 years — as well as talks and panel discussions — a tradition that continues today.

Curiously some of the commercial galleries that represent the apotheosis of the contemporary art industry and market, such as, here in NY, Gagosian and Zwirner, have been able to mount museum quality shows the past few years, including for example excellent Picasso and Frankenthaler exhibitions at Gagosian and the recent exhibition of Ad Reinhardt's work at Zwirner, in spaces that either are as beautiful as any museum or that are just functional in a good way, with few frills, just good walls and space.

Various Private Collections - New York, NY; Detroit, MI: Memphis, TN; Nashville, TN; St.Petersburg, FL; Washington, DC; Oxford, MS; Seattle, WA, Los Angeles, CA; Little Rock, AR; Boston, MA; Raleigh, NC SELECTED BIBLIOGRAPHY Artscope, «Centerfold», Volume 4, Numer 2, May / June 2009 ArtSEEN, «Drawing Conclusions», Volume 5, Spring 2007 NY ARTS, «Artist's Voice», Volume 12, Issue 5/6, May / June 2007 The Washington Post, «Portraiture's Harsh Lessons» by Blake Gopnik, June 25, 2006 The Atlanta Journal - Constitution, «Colorful Melange Blends Well», by Jerry Cullum March 12, 2006 The Commercial Appeal, «A Splash of Great Painting» by Frederic Koeppel, January 21, 2005 The Star - Ledger, «Connecting Art and the Everyday» by Dan Bischoff, Sunday, August 1, 2004 Art Papers, Exhibition Review «Homegrown» by Linda Johnson Dougherty, Volume 26, Issue 1; Jan. / Feb. 2002 The Spectator, «The Spaces Between: Brian Bishop's «The Longest Year»» by Glenn Perkins, December 26, 2001 New York Times, «Among a Show of Drawings, Looking for Ones with Bite» by William Zimmer, May 14, 2000 The Memphis Flyer,»... Offering up an earful and eyeful» by Cory Dugan, March, 1998 New American Paintings, Open Studio Competition, 1998 CURRENT EMPLOYMENT Professor of Art and Chair, Department of Art + Music, Framingham State University, Framingham, MA click here to download a comprehensive cv in pdf format.

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

The International Association of Art Critics (AICA) has named Pace's exhibition «Happenings: New York, 1958 — 1963» the Best Show in a Commercial Gallery in New York in 2012.

We believe that the physical dismantling of sketchbooks for exhibition and / or commercial purposes is in direct conflict with professional ethics and best practices, and a violation of the artist's intent.

In 2014, Michael Rosenfeld Gallery presented our fourth solo exhibition for the artist — Nancy Grossman: The Edge of Always, Constructions from the 1960s — which was awarded Best Show in a Commercial Space in New York by the International Art Critics Association of America.

World's Fairs and International Exhibitions have always had a political as well as a commercial and cultural context.

Mark Flood's exhibition FACEBOOK FARM at beta pictoris gallery one of the finalists AICA's 2013 «Best Show in a Commercial Space Nationally» Award

The exhibition he organized at David Zwirner in the fall of 2013 to celebrate the centenary of Ad Reinhardt was voted «Best Show in a Commercial Space in New York» by the U.S. Art Critics Association.

Despite O'Doherty's debunking of this context, the white cube mode of exhibiting continues to underpin much exhibition - making in the West, from commercial galleries that are designed to look like modern art museums (think of David Zwirner's minimalist 30,000 square foot space on 20th Street in New York) to websites such as Contemporary Art Daily that tend to privilege the flattened picture surfaces of post-minimalist paintings, which look good filtered through the even light of a laptop screen.

The exhibition Mark Flood: FACEBOOK FARM was selected as one of three finalists for the AICA - USA Award for Excellence in Art Criticism and Curatorial Achievement in the category «Best show in a commercial space nationally outside of New York».

The exhibition features the artists» assignments from Carnegie Tech, as well as explores Pearlstein and Warhol's early commercial design work in New York.

Each exhibition is presented in collaboration with a well - known commercial gallery.

Mark Flood's exhibition FACEBOOK FARM at beta pictoris gallery one of the finalists AICA's 2013 «Best Show in a Commercial Space Nationally» Award BURNAWAY ARTSpeak interview with beta pictoris gallery owner Guido Maus (click on image to listen to the interview on BURNAWAY.com)

Ephemerality is sometimes lacking in most gallery exhibitions due to the market pressure in our current commercial climate, so I felt my approach could rekindle aspects of 60's and 70's avant - garde performances as well as engage with the concept of sculpture as the medium, or starting point, for drawing.

The exhibition considers the line between commercial and fine art as well as examines the interplay among light, chemistry and artistic vision as artists experimented with the form.

Exhibiting extensively in regional and national competitive and invitational exhibitions, as well as solo shows in Michigan and Chicago, Whitaker received regional attention from the media, museum curators, and commercial galleries immediately out of graduate school.

During his initial 12 - year tenure as Curator of Photography at the LACMA (1992 - 2004), Mr. Wride curated over twenty - five permanent collection focus exhibitions as well as numerous larger exhibitions including: «Retail Fictions: the Commercial Photography of Ralph Bartholomew» (1997); «Shifting Tides: Cuban Photography after the Revolution» (2001); «Donald Blumberg» (2002); and «Trajectories: The Photographic Work of Robbert Flick» (2004).

Well, we hope we can locate our exhibitions intellectually in a way that it creates kinds of conversations, provides the educational armature in which to think and learn about these works without the self - evident commercial dimension that occurs in a gallery.

This exhibition will provide a seamless journey through his landmark fashion and commercial photography from the 90's, presenting classic images of celebrities such as Lily Cole, Kurt Cobain and Vivienne Westwood, as well as more recent landscapes and family portraits..

Their activities include exhibitions in pop - up spaces, commercial galleries, art fairs, airbnbs, as well as talks, parties, and other events.

In 2007, partly due to the rising cost of commercial fine arts insurance, Congress expanded the program to include exhibitions with loans from American lenders as well.

Exhibition opportunities in juried and curated exhibitions in New York City and nationwide, in museums, university galleries, commercial galleries and art centers, as well as the NAWA Gallery.

TPG became well - known for their 2011 advertising parody Television Commercial For Communism, included in the New Museum's Ungovernables 2012 Triennial exhibition.

The gallery breaks free from the local non-profit art sector of Palestine and the Middle East to an independent, commercial gallery context, as well as an exhibition space that bridges the gap between the artist and the public.

In 2009 Welling received an «AICA Award of Excellence for the Best Show In A Commercial Gallery Nationally 2007/2008» given by the International Association of Art Critics, United States Section, for his 2008 exhibition at Regen Projects.

Apart from this commercial segment of his work, he had several solo exhibitions, curated group shows, participated in numerous collective exhibitions and published a monograph, which is a compilation of the artist's best works from 2007 to 2013.

The exhibition brings together over 100 paintings, some never before seen in the UK, as well as a rich selection of his little - known photographs, home movies and commercial art.

And as the fair has grown into a commercial and cultural behemoth — Frieze is in its twelfth year, and now under the new directorship of Victoria Siddall — museums and galleries of the British capital have followed suit, debuting their best exhibitions during what is now commonly called Frieze Week.

Tabish's Top 5 Art Exhibitions to see in London this week A good line up this week from Tabish a new gallery, one we've never heard of and three well run commercial galleries great!

Ms. Hausch - Fen has worked on cultural, residential and commercial projects for Selldorf as well as the design of many exhibitions.

She founded the Latela Art Gallery, voted DC's best Commercial Art Gallery in 2016, where she devotes her time as executive director managing artists, organizing exhibitions, and selling contemporary art.

In recent years, both within and outside Japan, interest in the post — World War II Gutai art movement has increased considerably, with major museum exhibitions appearing at such venues as the Museo Cantonale d'Arte in Lugano, Switzerland, the National Art Center in Tokyo, and the Guggenheim Museum in New York, as well as solo and group shows at commercial galleries in New York (Paula Cooper, McCaffrey Fine Art, Hauser & Wirth, Galerie Richard), London (Hauser & Wirth), Antwerp (Axel Vervoordt) and elsewhere.

The second exhibition is mounted in a London commercial gallery (his third solo exhibition with Lisson Gallery) for this Mr Ai has created a monumental new installation of bicycles as part of an ongoing series, «Forever», as well as a number of hand - carved, domestic - scale copies — in various materials including wood, stainless steel and crystal — of some highly personal objects.

Her work has been supported by Los Angeles Contemporary Exhibitions (LACE), MOCA in Los Angeles, Los Angeles County Museum of Art, Santa Monica Museum of Art, The Luckman Center, Exit Art and Hallwalls in New York, Molndal Konsthall, Sweden, Long Beach Museum, the Skirball Center, Kappa Museum, Prague, and the Los Angeles Cultural Affairs Department as well as commercial galleries including Western Project, Andrew Shire, Deep River and POST.

Hauser Wirth's exhibition, which is also co-curated by Paul Schimmel (former curator at the MOCA), is a representation of what commercial galleries can provide for the community: a well curated, museum - quality experience that offers previously unexplored insights and connections in the arts.

Until his death, he was actively working in his studio, busy with exhibitions, editorial, commercial and experimental work, as well as extensive photography teaching and lecturing in the U.S. (sponsored recently by Canon Cameras) and abroad.

I've never seen a commercial gallery showas well attended as this exhibition of nearly sixty works by Jean - Michel Basquiat.

In 1933 he founded the abstract group Unit One, along with fellow artists Henry Moore (1898 - 1986), Barbara Hepworth (1903 - 1975), her husband Ben Nicholson (1894 - 1982), and the critic Herbert Read, and during the following years he staged further exhibitions, as well as doing commercial work.