Sentences with phrase «by great artists such»

Not exact matches

The story of the so - called Great War is told through approximately 25 prints by renowned British and American artists such as Muirhead Bone, Kerr Eby, Childe Hassam, James McBey, and Claude Shepperdson.

Since its opening the Gagosian Hong Kong gallery has been showcasing substantial solo exhibitions by some of the greatest names of the contemporary art scene including artists such as Damien Hirst, Richard Prince, Roy Lichtenstein, Zheng Fanzhi, John Chamberlain and Cy Twombly, showing a growing confidence and sophistication.

Her work has been included in group exhibitions such as «SoundSpill,» Zabludowicz Collection, New York (2013), «With the Tip of a Hat,» the Artist's Institute, New York (2012), «Novel,» a screening for Time Again hosted by the Sculpture Center, New York (2011), «Outrageous Fortune: artists remake the Tarot,» Hayward Touring / Focal Point Gallery, Southend (2011), and «The Great White Way Goes Black,» Vilma Gold, London (2011).

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the gGreater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the gGreater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the gGreater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater, when the lesser is invested in its lesser relationship to the greatergreater.

After decades acquiring and commissioning works by artists such as Tunga, Olafur Eliasson and Chris Burden, Paz says his goal is now no longer only to purchase works, but to «construct them alongside great artists, bringing them here, and showing them the magic of this place, and giving them to opportunity to become eternal in an Inhotim Pavilhão».

The story of the so - called Great War is told through approximately 30 works by renowned British and American artists such as Muirhead Bone, Kerr Eby, Childe Hassam, James McBey, and Claude Shepperdson.

2018 will offer a variety of exhibitions to cater for everyone's taste in art from spending time with modern masters such as a year in the life of Picasso, Monet's relationship with architecture, drawings by Klimt and Schiele, through classical artists Ribera and Murillo to contemporary greats like Tacita Dean and Joan Jonas not to mention Frida Kahlo's iconic wardrobe.

If early efforts by video pioneers such as Nam June Paik, Bruce Nauman and David Hall took the definition of an art object beyond its conventional parameters as a static entity produced for visual consumption, perhaps the greatest strength of video art triumphed in this show is the unprecedented potential of experiential interactivity between artist, installation and spectator.

Framing Marisa Merz as the «sole female protagonist» of Arte Povera — a term coined by Germano Celant in 1967 to describe a group of Italian artists who rejected loftier forms for «poor» materials such as rocks, wood, burlap and industrial remnants — «The Sky Is a Great Space», the artist's first US retrospective, forefronts her importance within the dominantly male group and broader category of postwar contemporary art.

The exhibition at the Musée de l'Orangerie focuses on this precise moment — when the great decorations of the master of Giverny were rediscovered and the New York School of Abstract Art was recognised — with a selection of some of Monet's later works and around twenty major paintings by American artists such as Jackson Pollock, Mark Rothko, Barnett Newman, Clyfford Still, Helen Frankenthaler, Morris Louis, Philip Guston, Joan Mitchell, Mark Tobey, Sam Francis, Jean - Paul Riopelle and Ellsworth Kelly.

Thus is, of course, an old modernist recipe, used to great effect by abstract artists such as Paul Klee, Antoni Tàpies and Cy Twombly (on whose influence Rosa is outspoken).

The exhibition will feature works by great French and foreign ceramics such as Ernest Chaplet, Emile Decoeur, Théodore Deck, Daniel de Montmollin, Philippe Lambercy, and Jean Girel and Edmund de Waal in dialogue with influential contributions by fine artists and designers regarded as color masters of the 20th century including Josef Albers, Sonia Delaunay, Gérard Fromanger, Yves Klein, Jean - Philippe Lenclos, and Andrée Lemonnier.

Around one hundred paintings from museums worldwide tell the great story of portrait and figurative painting from the fifteenth to the late twentieth century in four broad thematic sections that offer much more than a merely chronological approach to works by a host of outstanding artists: from Raphael, Botticelli, Mantegna, Bellini, Giorgione, Titian, Dürer, Cranach, Pontormo, Rubens, Caravaggio, Van Dyck, Rembrandt, Velázquez, El Greco, Goya, Tiepolo up to the Impressionists, Manet, Van Gogh and great twentieth - century artists, such as Munch, Picasso, Matisse, Modigliani, Giacometti and Bacon.

It is curated by Alessandro Rabottini and Andrea Viliani at the MADRE in Naples and it is the outstanding result of the collaboration between a great artist like Walid Raad, who carried out his own research beyond the boundaries between institutional critique and art engagé, and an undisputed institution like the Museo Donna Regina, which, in the course of its complex history, got a sequence of site - specific actions off the ground inside the articulated rooms of its palace, including artists such as Giulio Paolini, Jannis Kounellis and Jeff Koons.

The gallery is almost unique in London for having its own garden, a beautiful landscaped area overlooking a restored stretch of the Regent's Canal at Wenlock Basin which has been used to great effect for installations by gallery artists such as Yayoi Kusama and Alex Hartley (A Gentle Collapsing II, 2016, pictured).

The Phillips Collection is one of the nation's greatest small museums and has with nearly 2,500 works by such artists including Daumier, Renoir, Bonnard, Matisse, Monet, Degas, van Gogh, Cézanne, Picasso, Braque, Klee, O`Keeffe, Lawrence, Dove, Ryder, Avery, Diebenkorn, and Rothko.

Romare Bearden, Elizabeth Catlett, Sam Gilliam, Norman Lewis, Robert Colescott, and Boscoe Holder - such are the important practitioners represented in the collection, which not only comprises works of great mid-20th-century painters, but also includes some of the singular work being produced by contemporary African - American and African Diaspora artists.

For this reason, works by artists such as Yinka Shonibare or Ed Atkins, which deal with the colonial past of France and Great Britain, comment on the history of our western European neighbours as much as on ours.

«Making a commitment to acquire works by these artist demographics is a good thing, to be sure; however, the BMA's decision to sell notable works by white men in order to fund such acquisitions is a great, radical thing — it demonstrates a deep conviction to do what it can to right a widespread historical wrong / imbalance.»

It also resonated with contemporary debates led by organisations such as W.A.G.E (Working Artists and the Greater Economy) and recent discussions about theories of immaterial labour, whose concerns include the articulation of definitions of work remuneration.

Where an earlier generation of African - American artists, such as abstract expressionist Norman Lewis, seen in the first room, were marginalised by an art world that was, the show argues, systemically racist, the new generation were determined to fight their way in «by all means necessary», to paraphrase one of the great buzz figures of the time Malcolm X.

This latest exhibition at Contemporary Fine Arts in Berlin brings together some of the greatest works made by Two Palms, featuring such artists as Mel Bochner, Cecily Brown, Peter Doig, and Richard Prince.

Though today many museums in the United States, such as the Museum of Modern Art in New York, the Whitney Museum of American Art, the Hirshhorn Museum, or the Phillips Collection, and collectors of international renown possess works by Eilshemius, the artist has faded into ever - greater obscurity, especially since the advent of Pop and Minimal Art.

It is sad to see such a great opportunity lost to self indulgence and grand standing by many of these young artists who know nothing of Elizabeth Cattlet's work or her sacrifice.

On Tate's website you can now read a beautiful article by Louise Cohen, journalist for the Times and editor for Tate, illustrating the history of colour perception theories as well as depicting how great artists such as Turner, Matisse, Mondrian and Malevich applied them in their work.

With a title inspired by the psychedelic track produced by the groundbreaking musical legends Pink Floyd, (featured on the album, «The Piper at the Gates of Dawn «1967), and with content driven by Zodiac and Chinese astrological calenders, Hippocrate's four temperaments, and artists such as Bruce Nauman and Piero Fornasetti; this exhibition inherently commemorates and examines the great explorers, philosophers, creators and thinkers through time, and even more specifically, through the lens of one of history's most infamous maritime disasters.

Which is why it is such a great and unexpected pleasure to come across a museum show like «Eden's Edge,» a sampler of 15 contemporary Los Angeles artists assembled by the Hammer's chief curator, Gary Garrels.»

Along with classic examples of Mr. Davis» work, Nyehaus will also offer some context by presenting a small selection of the artist's celebrated LA contemporaries such as Ken Price, Peter Alexander and the great Ed Ruscha.

We will read and discuss inspiring essays by artists and critics, such as the great film editor Walter Murch, cultural critic Camille Paglia, the novelists James Baldwin and Tom Wolfe, and art grandee Dave Hickey, along with the crackling prose of artist - eccentrics such as William Blake, Vincent van Gogh and Andy Warhol.

American Prints of the Great Depression also showcases works by such well - known American artists as Grant Wood, Thomas Hart Benton, Martin Lewis and Rockwell Kent.

Among the 45 artists included are great figures such as Fattori, Morandi and Fontana, as well as interesting and important works by de Chirico and the Futurists.

This being their 150th anniversary, BAM got a gaggle of great artwork donated by some impressive artists working in the greater New York area such as Nate Lowman, Carmen Herrera, Tauba Auerbach, KAWS, Ryan McGinness, Jacob Kassay, Terrance Koh and many more.

Inspired by their great affinity for the exhibition theme and for the PinchukArtCentre as a leading institution in contemporary art, all of the artists decided to create some special pieces, partly in the form of new productions such as those by, amongst others, Anish Kapoor, AES+F, Cindy Sherman, Matthew Barney and Elmgreen & Dragset; of a special reappraisal of existing works by Paul McCarthy, Richard Prince, Boris Mikhailov and Takashi Murakami; or the selection of rare or recent work groups that have never been displayed as part of a major international exhibition before.

Whether in the East or West, whether made by anonymous monks, such as the 7th century Book of Durrow (evidently Bernard Berenson consigned the illuminations to tattoo - craft or simply savage, and even the great John Ruskin has written that «only great art could exist in Western civilization»), or by a so - called self - taught artist such as James Castle, or through certified commissioned works as in Michelangelo's Sistine Chapel and Rothko's de Menil chapel, all were aware of their mortalities and were therefore in touch with their potentials, in spite of reward or consequence.

Organized by gallery archivist Natalie Campbell, it includes such participating artists as wily naïf Joe Bradley, «Greater New York» painter Zak Prekop, and the unstoppable Amy Sillman.

Mary Boone Gallery is a famous New York City based art gallery dedicated to representation of prominent contemporary artists, owned and directed by renowned art dealer Mary Boone who has worked with such great artists as Jean - Michel Basquiat, Barbara Kruger, Julian Schnabel and Eric Fischl.

The appetite for visual stimulation in our contemporary culture — precipitated by internet technology and globalization that has produced infinite numbers of artists of all sorts in the last decade or two, while disempowering the monopoly of the few in mainstream media by giving rise to endless writers and critics who feel an urgent need to respond to such vast production — has paid greater attention to its temporal condition than any art of the past; I would argue that in the end it's the great work of art and thoughtful writing that compels multiple viewings and readings, hence rendering both immortal.

Here are just some of the important works that are currently not on view: East Bergolt House by John Constable; Dedham from near Gun Hill, Langham, also by Constable, and many other such works by Britain's greatest landscape artist.

He states, «I am delighted that thanks to our collaboration with LACMA, such a major work by one of the greatest artists of our time will be presented to a large international audience in the United States as well as in Europe, where I plan to display it in Venice.»

Sure, this is not exactly cheap — but it's unusually affordable for such a strikingly elegant piece by Richard Serra, one of the greatest living American artists, whose coveted works on paper were the subject of a 2011 survey at the Metropolitan Museum of Art.

Each artist is represented by work of such quality that they would grace the walls of the greatest museums in the world.

Until 1988 he worked in a figurative manner, but after a stay in Amsterdam, where he was confronted by the uncompromisingly abstract work of such artists as Barnett Newman and Lucio Fontana, he abandoned the mythological themes in his art and aimed at greater honesty, clarity and directness.

The exhibition at the Musée de l'Orangerie focuses on this precise moment - when the great decorations of the master of Giverny were rediscovered and the New York School of Abstract Art was recognised - with a selection of some of Monet's later works and around twenty major paintings by American artists such as Jackson Pollock, Mark Rothko, Barnett Newman, Clyfford Still, Helen Frankenthaler, Morris Louis, Philip Guston, Joan Mitchell, Mark Tobey, Sam Francis, Jean - Paul Riopelle and Ellsworth Kelly.

«Judy Chicago: Circa» 75» opens January 17 at the National Museum of Women in the Arts and celebrates Chicago's 75th birthday by exhibiting some of her best - known works, including her «Great Ladies» series honoring artists such as Virginia Woolf and Emily Dickinson.

«Gavin goes where any sound business mind would never go — and at great risk to himself and the gallery,» said Tom Eccles, who runs the Center for Curatorial Studies at Bard College and has known Brown for almost 20 years, pointing to such art world milestones as Urs Fischer's 2007 You, when the artist dug a 38 - foot - by -30-foot-by-8-foot crater inside Gavin Brown's Enterprise, Brown's current gallery in the West Village; and to Tiravanija's 2011 Fear Eats the Soul, for which Tiravanija removed all the windows and doors of the main exhibition space to create a soup kitchen, a T - shirt factory, and a makeshift cooking pit in the ground — all of which was open to the street.

The solo show at the Hashimoto Contemporary (that has hosted previous shows by artists such as Erik Jones whom you can read about in the article about his exhibition Motion and the colourful show by Scott Scheidly titled The Pinks 2) will see Hamburg based 1010 present a new body of works on paper and panels along with new indoor and outdoor murals in the greater San Francisco Bay Area that further push the limits of his eye catching and mind expanding «portals» and invites the public to explore art beyond the confines of the gallery space.

The artists points out that, while the car - as - carriage piece may seem like a new idea, it was not such an uncommon sight to see run - down jalopies being pulled by horses during the Great Depression, known then as Hoover Carts.