Sentences with phrase «by contemporary artists into»

Continuing CIMA's practice of introducing work by contemporary artists into its exhibitions, the installation will also feature select sculptures and prints by French - American artist Louise Bourgeois (1911 — 2010).

Continuing CIMA's practice of introducing work by contemporary artists into its exhibitions, the installation will also include select sculptures and prints by French - American artist Louise Bourgeois (1911 — 2010).

Bourgeois» presence is explained on the Center's website as part of its «practice of introducing work by contemporary artists into its exhibitions.»

In keeping with CIMA's practice of incorporating pieces by contemporary artists into the central exhibition, a few works by Louise Bourgeois appear alongside Savinio's.

The exhibition, «continuing CIMA's practice of introducing work by contemporary artists into its exhibitions,» as its website explains, also includes several works by Louise Bourgeois.

«In the 100 year history of the Legion of Honor,» says the director of the Fine Arts Museums of San Francisco in a press release, «this is the first exhibition to bring works by a contemporary artist into dialogue with a wide range of the Museum's permanent holdings.»

«In the 100 year history of the Legion of Honor, this is the first exhibition to bring works by a contemporary artist into dialogue with a wide range of the Museum's permanent holdings,» states Max Hollein, director and CEO of the Fine Arts Museums of San Francisco.

Not exact matches

In particular, the livery, a modern reinterpretation of the original, the colour, the historical Abarth logos and the original «Fiat Abarth 595» graphics - all handmade by the best customisation artists at Officine Abarth in Turin - give the car individuality and character to turn it into a «contemporary icon».

Throughout the villas, vibrant contemporary paintings, installations and murals by Indonesian artists speak to the local art scene and breathe life into the minimalist interiors.

Delve into Havana's contemporary art scene this afternoon by meeting with local artists at one of Havana's top art spaces.

The short scenic drive from the airport lingers on your mind.Chengdu's beautiful rivers, bridges, trees and flowers are a visual feast.History resonates in this city, where the ancient Southern Silk Road began.When you enter the opulent lobby of Shangri - La Hotel, Chengdu, warm greetings accompany you.The hotel has been showcasing the rich artistic culture of Chengdu since its opening by featuring nine famous contemporary artists from Sichuan.You will be ushered into a journey of China contemporary art.Up in your room, the setting is modern and the space generous.You appreciate why you picked the hotel with the largest rooms in the city centre.

The photographs were discovered in 1998 by the contemporary Lebanese artist Akram Zaatari and incorporated into the collection of the Arab Image Foundation, an organisation co-founded by Zaatari to collect and study images from the Arab world.

, Minneapolis, MN 2016 From the Belly of Our Being: art by and about Native creation, Oklahoma State University Museum of Art 2016 Into Quarterly, Minneapolis issue 2014 Perspectives and Parallels: Expanding Interpretive Foundations with American Indian Curators and Writers, Tweed Museum of Art, University of Minnesota Duluth 2014 The Open Studios Press, New American Paintings, Issue No. 113, Midwest 2014 Taté Walker, Native Peoples, Urban Arts Scene, August 2014 issue 2014 Dyani White Hawk and Joe D. Horse Capture, Mni Sota: Reflections of Time and Place, All My Relations Arts and Afton Press 2013 Michele Corriel, Western Art and Architecture, Ones to Watch: Spotlighting the Works of Dyani White Hawk, February / March Issue 2012 Suzanne Deats and Kitty Leaken, Contemporary Native American Artists.

The unfinished has been taken in entirely new directions by modern and contemporary artists, among them Janine Antoni, Lygia Clark, Jackson Pollock, and Robert Rauschenberg, who alternately blurred the distinction between making and unmaking, extended the boundaries of art into both space and time, and recruited viewers to complete the objects they had begun.

In October 2012, to coincide with the opening of Marlborough Contemporary, a major exhibition of work by Frank Auerbach, Next Door, featured for the first time more than forty preparatory drawings to accompany the new paintings, offering a unique insight into the artist's working methods.

The opportunity to develop additional programming as the result of the Tooker loan allows PAFA to pursue a symposium on a group of artists, including Peter Blume, George Tooker, Ivan Albright, and other Americans who used a realist method to invent their own worlds by transforming the symbolic language of Old Master painting into a contemporary idiom.

While portraiture has illustrated political and social circumstances throughout history, the artists in this exhibition try to transform portraiture into a genre that can hold its own weight amongst the innovations of the contemporary art world by using Neel's portraiture as inspiration means to address the complexities of personal identity.

The display integrates works by contemporary artists (including Christian Marclay and Richard Tuttle) into a Wunderkammer.

The curatorial team, led by Paul M. Farber and Ken Lum, works closely with artists from Philadelphia and around the world to channel historical memory into civically - engaged contemporary public works.

With work by both post-war artists and emerging practitioners — including Pablo Picasso, Roy Lichtenstein, Bruce Nauman, Carolee Schneemann, Jason Rhoades, Martin Kippenberger, Elaine Sturtevant, Anna Oppermann, Tetsumi Kudo, and Andrea Zittel, among others — the exhibition reflects the museum's expanded curatorial purview in its new home, which creates intergenerational dialogues between post-war and contemporary artists, and champions new narratives that provide insight into the most innovative artists working today.

Art and Sport collide this summer for ABC Trust Art of Futebol, with footballs signed by some of the biggest stars of Brazilian and British football transformed into unique works of art by some of the most exciting contemporary artists working today including Rob & Nick Carter, Patrick Hughes, Pure Evil, Pakpoom Silaphan and Cibelle.

Plus: Christie's to lead 250th anniversary sale with Constable «masterpiece» Russia's National Centre for Contemporary Arts absorbed into State Museum and Exhibition Center Ai Weiwei studio member detained by Greek police UC San Diego to convert university art gallery into classroom Yuri Pattison wins 2016 Frieze Artist award and Patrick George (1923 - 2016)

Concluding the exhibition are commissioned works by emerging artists, which provide critical insight into the continued relevance of the artist's studio in understanding pervasive elements of contemporary life, such as the rapid exchange of information and emphasis on performance and spectacle.

Inspired by the success of The Responsive Eye and a resulting explosion in enthusiasm for the Op Art (also known as Optical Art) movement, art collector, clothing manufacturer (and subsequently founder of the Aldrich Contemporary Art Museum) Larry Aldrich, hired graphic artist Julian Tomchin to translate some of the Op Art paintings in his collection into textile designs.

The Garage Center for Contemporary Culture will present Mark Rothko: Into an Unknown World, the first exhibition ever staged in Moscow by one of the world's most celebrated artists.

Rituals since 1851», Fondazione La Triennale di Milano, Milan, Italy (2015); «Chercher le Garçon», MAC / VAL, Paris, France (2015); «Staying Power: Photographs of Black British Experience 1950s - 1990s», Victoria and Albert Museum, London, England (2015); «Progress», The Foundling Museum, London, England (2014); «Study from the Human Body», Stephen Friedman Gallery, London, England (2014); «The Divine Comedy: Heaven, Hell, Purgatory revisited by Contemporary African Artists», Frankfurt MMK, Germany; travels to Smithsonian National Museum of African Art, Washington, USA; Museo Reina Sofia, Madrid, Spain; Correo Venezia, Venice; Hayward Gallery, London, England (2014); «Education», Vögele Kultur Zentrum, Pfäffikon, Switzerland (2013); «Victoriana: The Art of Revival», Guildhall Art Gallery, London, England (2013); «Earth Matters: Land as Material and Metaphor in the Arts of Africa», Smithsonian Institute, National Museum of African Art, Washington DC, USA (2013); «The Desire for Freedom: Art in Europe since 1945», Deutsches Historisches Museum Berlin, Berlin, Germany (2012); «Six Yards, Guaranteed Real Dutch Wax Exhibition», Museum of Modern Art, Arnhem, Netherlands (2012); and «Migrations: Journeys into British Art», Tate Britain, London, England (2012).

Delving into topics such as mental illness and institutional power, the artist critiques contemporary society by questioning passive or harmful notions of normalcy.

e «strange beauty» he pulled from his plates (the phrase was applied to his work by the poet Stéphane Mallarmé), these contemporary artists are continuing a legacy that is tapped into one of the most exciting chapters in the history of

Distributed Objects seeks to expand the discourse around time - based performances developed at ISSUE by disseminating artists» writings and unique recorded materials, offering new perspectives into the contemporary creative community local to New York City.

As a part of an ongoing inquiry into the place of the human body in contemporary art (occasioned by the release of Phaidon's new book Body of Art), Artspace's Dylan Kerr spoke to Thomas about artists who have influenced his own approach to the body.

Prior to her trumpeted appointment, she'd made her mark on the Los Angeles art landscape at the Hammer Museum, where she not only shepherded the first L.A. solo shows of contemporary visionaries Simone Leigh and Njideka Akunyili Crosby into fruition, but was also integral in realizing the exhibitions at Art + Practice (such as a show by Alex Da Corte), the arts and social services foundation established by influential artist Mark Bradford.

We'll look back into the past and contemplate the future of civil rights and social justice and explore the connections between history and contemporary art by examining the legacy of President Johnson and visiting The Contemporary Austin's rooftop sculpture With Liberty and Justice for All (A Work in Progress) by artistcontemporary art by examining the legacy of President Johnson and visiting The Contemporary Austin's rooftop sculpture With Liberty and Justice for All (A Work in Progress) by artistContemporary Austin's rooftop sculpture With Liberty and Justice for All (A Work in Progress) by artist Jim Hodges.

In addition, the exhibition will activate the gallery itself into a dynamic manifestation of the magazine with a series of programmed live interventions by contemporary artists.

Venture into the contemporary gallery at the Birmingham Museum of Art and you are immediately struck by a massive painting by Birmingham - born, Chicago - based artist Kerry James Marshall.

Two works by the highly profiled contemporary artist Ai Weiwei, Tyres (2016) and Odyssey (2017), which were shown at the exhibition, were purchased by and incorporated into the Astrup Fearnley Collection.

Since 1949 it has consistently supported contemporary visual artists to successfully transition from education into professional practice, primarily by means of an annual, nationally touring exhibition.

By her acts of remaking, she thought through the processes and experiences of the artists who made these works before her, demystifying «genius» into a collection of styles and techniques; a catalog of contemporary practices that mirrored the distance and intellect of her own.

The ground floor opens into the 15,000 - square - foot sculpture garden, the museum's central gathering space, which will showcase an annual schedule of site - specific commissions, gifts, and long - term loans, including major sculptural works by both post-war and contemporary artists.

By considering how the roles of artists cross into the realm of activism and socially transformative endeavours, New Revolutions explores historical and contemporary tensions and movements that are unfolding in Africa and around the world, through the panorama of contemporary art.

Her group exhibitions include Arte ≠ Vida: Actions by Artists of the Americas, 1960 - 2000, El Museo del Barrio, New York, NY (2008); Kiss Kiss Bang Bang, Bilbao Fine Arts Museum, Spain (2007); Venice - Istanbul, Istanbul Modern, Turkey (2006); Into Me / Out of Me, P.S. 1 Contemporary Art Center, Long Island City, NY, traveled to Kunst - Werke Institute for Contemporary Art, Berlin, Germany (2006 - 07); and Venice Biennale, Italy (2001, 05).

Featuring inventive documentation by the 100 artists who made the first PERFORMA so extraordinary, it offers an exhilarating view into contemporary visual art performance and «performs» as a collective artists» journal might.

2016 Passman, Melissa, Art in Focus, (interview), April Boucher, Brian, «11 Booths I could hardly tear myself away from at Nada New York», artnet.com, May 6 Sutton, Benjamin, «Nada New York Gets Nasty», hyperallergic.com, May 6 Shaw, Michael, The Conversation Podcast, episode # 135, theconversationartistpodcast.podomatic.com, April 15 2015 Griffin, Jonathan, «Reviews in Brief: Max Maslansky», Modern Painters, February, p. 77 Cherry, Henry, «Escaping Monotony with Max Maslansky», Reimagine (online), February Diehl, Travis, «Critics» Picks: Max Maslansky», artforum.com, May 5 Los Angeles Review of Books, lareviewofbooks.org, (image), June 21 Hotchkiss, Sarah, «Sexy Sculpture Fills CULT's Summer Group Show», kqed.com, July 27 CCF Fellowship for Visual Artists 2015, catalog, p9 Archer, Larissa, «Review: Sexxitecture / Cult, San Francisco,» Frieze, October, pp260 - 261 2014 Hutton, Jen, «Max Maslansky», Made in L.A. 2014, catalog, Hammer Museum, Los Angeles Miranda, Carolina A., «Datebook: Boxing painters, teen idols, and John Altoon's short career», The Los Angeles Times, June 5 Zimskind, Lyle, «Channing Hansen's Quantum Paintings are Really Knit», Los Angeles Magazine Blog.com, July 17 Finkel, Jori, «Painting on Radio Canvas», The New York Times, February 7 Khadivi, Jesi, «Curated in L.A», interview with Michael Ned Holte, Kaleidoscope, Summer, pp.110 - 115 Gill, Noor, «' Made in L.A 2014» at Hammer Museum displays work by artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The Face Collector», essay for Sniff The Space Flat on Your Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City of Brea Art Gallery, Brea, CA, March 2005 The Armpit of the Mole, a drawing compilation, Fundació 30 km / s, Paris,Artists 2015, catalog, p9 Archer, Larissa, «Review: Sexxitecture / Cult, San Francisco,» Frieze, October, pp260 - 261 2014 Hutton, Jen, «Max Maslansky», Made in L.A. 2014, catalog, Hammer Museum, Los Angeles Miranda, Carolina A., «Datebook: Boxing painters, teen idols, and John Altoon's short career», The Los Angeles Times, June 5 Zimskind, Lyle, «Channing Hansen's Quantum Paintings are Really Knit», Los Angeles Magazine Blog.com, July 17 Finkel, Jori, «Painting on Radio Canvas», The New York Times, February 7 Khadivi, Jesi, «Curated in L.A», interview with Michael Ned Holte, Kaleidoscope, Summer, pp.110 - 115 Gill, Noor, «' Made in L.A 2014» at Hammer Museum displays work by artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The Face Collector», essay for Sniff The Space Flat on Your Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City of Brea Art Gallery, Brea, CA, March 2005 The Armpit of the Mole, a drawing compilation, Fundació 30 km / s, Paris,artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The Face Collector», essay for Sniff The Space Flat on Your Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City of Brea Art Gallery, Brea, CA, March 2005 The Armpit of the Mole, a drawing compilation, Fundació 30 km / s, Paris, France

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

The first major exhibition in Australia of work by acclaimed Italian contemporary artist Francesco Clemente, and second in the annual Schwartz Carriageworks series of major international visual arts projects, Encampment includes six of Clemente's celebrated large - scale tents, transforming 30,000 square feet of the precinct into an opulent tented village.

It shows that the languages of abstraction have remained urgent, relevant and critical, revisited and reinvented by subsequent generations of artists over the last fifty years, and that they continue to provoke contemporary practitioners into dialogue.

She later transitioned into a strategic role in where she worked on the auction house's Evening Sales of Contemporary Art, which included record - breaking prices for works by artists such as Clyfford Still and Gerhard Richter.

American artist Kevin Beasley takes found materials — including his own clothing, instruments, household objects and detritus he finds on the street — and moulds them into sculptural forms, using a mixture of resin and polyurethane.The sculptural installation BEATEN - FACE / TOMS / ARMS, TIES, & LEG / FLOOR / BODY / BASS, 2014 was acquired by the AGO in 2014 and included in the exhibition Many Things Brought from One Climate to Another on view on the 5th floor in the Contemporary Tower until June 12.

hospital facilities into comforting and engaging spaces through site - specific installations by contemporary artists.

These recreations and historical art works are brought into dialogue with new commissions and recent works by contemporary visual and performing artists, among them Abraham Cruzvillegas, Melvin Edwards, Janice Kerbel, Irina Korina, Barbara Kruger, Christian Nyampeta, Florian Pumhösl, Wolfgang Tillmans and Mikhail Tolmachev...

An exhibition featuring rare notebooks created by Jean - Michel Basquiat, which offer an intimate look into the life of the influential contemporary artist.