Sentences with phrase «central image of the art»

Not exact matches

Prizes for the winning team and top runners - up include VIP tickets to a SummerStage show at Central Park; tickets to a performance at the Forest Hills Stadium, the Kupferberg Center for the Arts or the July 4th Louis Armstrong Birthday Bash; Family Membership to the Museum of the Moving Image; gift basket and membership to the Queens Botanical Garden.

For another, instead of the widely - used standard black Eco-Box, the DVD is housed in a clear keepcase whose interior displays credits text and, underneath the disc, the central image of the disc art.

Games Radar documented some leaked images of the new game's concept art, which indicate that Lara Croft's next journey will take place in Central America.

Collection, Museum of Art, Fort Lauderdaie, FL; travelled to Oklahoma Museum of Art, Oklahoma City, OK; Santa Barbara Museum of Art, Santa Barbara, CA; Grand Rapids Art Museum, Grand Rapids, MI; Madison Art Center, Madison, WI; Montgomery Museum of Fine Arts, Montgomery, AL 1981 Drawing Invitational, Harm Bouckaert Gallery, New York, NY 1981 New Work, Roy Boyd Gallery, Chicago, IL 1981 Artists Books, Metrònom, Barcelona, Spain 1980 Little Books, Franklin Furnace, New York, NY 1980 New York 1980, Banco - Massimo Minini, Brescia, ltaly 1980 Pool Project Documentation, Artists Space, New York, NY 1980 New York Painters, University of Rochester, Rochester, NY 1980 Works of Art, Patricia Sneed Gallery, Rockford, IL 1980 Group Show, Roy Boyd Gallery, Chicago, IL 1980 Collection of Dr. Milton Brutten and Dr. Helen Herrick, Ben Shahn Gallery, William Patterson College, Wayne, NJ 1980 Group Exhibition, Susan Caldwell, Inc., New York, NY 1980 Pool Projects, Wake Forest University, Winston - Salem, NC 1980 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post College, Greenvale, NY 1979 Prospectus, Aldrich Museum, Ridgefield, CT 1979 New Wave Painting, The Clocktower, MoMA P.S. 1, New York, NY 1979 Artist's Postcards, Ananas Gallery, Abrau, Switzerland 1979 Poets and Painters, The Denver Art Museum, Denver, CO; traveled to Atkins Museum of Fine Art, Kansas City, MO; La Jolla Art Museum, La Jolla, CA 1979 14 Painters, Lehman Gallery, CUNY, Bronx, NY 1979 Drawings, Hal Bromm, New York, NY 1979 Summer Show, Hal Bromm, New York, NY 1979 Drawings, Pyramid Gallery, Providence, MA 1978 Detective Show, Gorman Park, Jackson Heights, NY 1978 Works on Paper, Studio La Citta, Verona, Italy 1978 Group Exhibition, Arte Fiera, Bologna, Italy 1978 Group Exhibition, Art - 9, Basel, Switzerland 1978 Black and White on Paper, Nobe Gallery, New York, NY 1978 Paperworks, Galerie Wirz, Milan, Italy 1978 Selections from the Collection, Aldrich Museum, Ridgefield, CT 1978 Artists Books: USA, New Gallery, Cleveland, OH 1977 Fine / Fleishman / Stamm, Franklin Furnace, New York, NY 1977 Painting 75,76,77, Sarah Lawrence College, Bronxville, NY; traveled to American Foundation for the Arts, Miami, FL; Contemporary Arts Center, Cincinnati, OH 1977 Book Objects, Albright - Knox Art Gallery, Buffalo, NY 1977 A Painting Show, MoMA P.S. 1, Long Island City, NY 1977 New York Group Show, Galerie Denise Rene, New York, NY 1977 Group Exhibition, Art Fiera, Bologna, ltaly 1977 Group Exhibition, Documenta - 6, Kassel, Germany 1977 Collection in Progress, Moore College of Art, Philadelphia, PA 1977 Ideas — Images, Eugenia Cucalon Gallery, New York, NY 1977 Postcards and Other Mail, Jock Truman, New York, NY 1977 Wrapping Paper Invitational, Nobe Gallery, New York, NY 1977 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1976 Group Exhibition, Art Fiera, Bologna, Italy 1976 Summer Group, Max Protetch Gallery, Washington D.C. 1976 SoHo and Downtown Manhattan, Akademie Der Kunste, Berlin, Germany 1976 Selections SoHo - Berlin, Louisiana Museum, Humlebaek, Denmark 1976 Works on Paper, Hal Bromm, New York, NY 1976 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1975 Contemporary Reflections 1971 — 1974, AFA; travelling exhibition Spare, Central Hall Gallery, Port Washington, NY 1975 Group Indiscriminate, 112 Greene Street, New York, NY 1975 A Collection in Progress (Herrick - Brutten Collection), The Clocktower, MoMA P.S. 1, New York, NY 1975 Group Exhibition, International Art Fair, Cologne, Germany 1975 Five from SoHo, Rose Art Museum, Waltham, MA 1975 Spare, Central Hall Gallery, Port Washington, NY 1975 Abstraction Alive and Well, SUNY, Potsdam, NY 1975 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1974 Tight and Loose, State University, Albany, NY; travelled to State University, Potsdam, NY 1974 Black as Color, Reed College, Portland, OR 1974 Drawings, Albright - Knox Art Gallery, Buffalo, NY 1974 Paperworks, Rosa Esman Gallery, New York, NY 1974 10th Anniversary Exhibition 1964 — 1974, Aldrich Museum, Ridgefield, CT 1974 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1973 Painting in America, Decorative Arts Center, New York, NY 1973 Black Paintings, Nancy Hoffman Gallery, New York, NY 1973 DiDonna / Stamm, O.K. Harris Gallery, New York, NY 1973 Nine New York Artists, Hartwick College, Oneonta, NY 1973 Recent Acquisitions, Phoenix Museum, Phoenix, AZ 1972 Contemporary Reflections 1971 — 1972, Aldrich Museum, Ridgefield, CT 1971 What's Happening in SoHo, University of Maryland, College Park, MD 1971 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1971 Alumni Show, Hofstra University, Hempstead, NY 1970 Young Artists: New York 1970, Greenwich, CT

Image: Installation view of Isaac Julien's Encore II: Radioactive, exhibited in 3», Central Gallery of Contemporary Art, La Coruña, Spain, 2005.

Widely known for his iconic images of flags, targets, numbers, maps and light bulbs, Jasper Johns has occupied a central position in American art since his first solo exhibition in New York in 1958.

1971 6th Guggenheim International Exhibition, Solomon R. Guggenheim Museum, New York, USA Words and Image, Pinnar Gallery, Tokyo, Japan Chronicle of Post-War Art, The Museum of Modern Art Kamakura & Hayama, Japan Tokyo Gallery Exhibition 1971, Tokyo Gallery, Tokyo ／ Pinnar Gallery, Tokyo ／ Saikodo Gallery, Tokyo, Japan The 10th Contemporary Art Exhibition of Japan: Humans and Nature, Tokyo Metropolitan Art Museum, Japan Kyoto Municipal Museum of Art, Japan Aichi Cultural Hall, Japan Miyazaki Prefectural Museum of Nature and History, Japan Sasebo Central Citizens Hall, Nagasaki, Japan Fukuoka Prefectural Culture Hall, Japan Beaupin Exhibition, Pinnar Gallery, Tokyo, Japan The 1st Anniversary Exhibition & 100th Anniversary of Mainichi Shimbun, Today's 100 People, Hyogo Prefectural Museum of Art, Japan Contemporary Japanese Prints, Yokohama Civic Art Gallery, Kanagawa, Japan Contemporary Japanese Art, Staempfi Gallery, New York, USA The 5th Japan Art Festival, Solomon R. Guggenheim Museum, New York, USA The 7th International Biennial Exhibition of Prints in Tokyo, The National Museum of Modern Art, Tokyo, Japan The National Museum of Modern Art, Kyoto, Japan The 5th Japan Art Festival, Solomon R. Guggenheim Museum, New York, USA Contemporary Japanese Art, Staempfi Gallery, New York, USA The 5th Japan Art Festival, Solomon R. Guggenheim Museum, New York, USA The 7th International Biennial Exhibition of Prints in Tokyo, The National Museum of Modern Art, Tokyo, Japan The National Museum of Modern Art, Kyoto, February 20 － March 21 The 5th Japan Art Festival, Solomon R. Guggenheim Museum, New York, USA

Central to the exhibition are found images that «serve as bedrock for Pendleton's artistic practice and connect his form of abstraction with the history of the America Civil Rights Movement, the pre-war Avant - Garde, La Nouvelle Vague in film, and Minimalist and Conceptualist art practices of the 1960s.»

The house would have a two - level basement, closed to the public, conceived as an underground studio where he would make his art — a secret lair and such a natural extension of his overall artistic project that it seems like some kind of joke (it is tempting to think of it as a real - life «Fortress of Solitude,» Superman's hideout, which Kelley constructed in three - dimensional form and used as the central image in his final solo exhibition last September at the Gagosian Gallery in London).

The displacement of reality in image and space is one central notion of Pop - Art, turning everyday objects and slogans into art, such as the everyday replicas of Claes Oldenburg, the comic - like mimicries of Roy Lichtenstein, the female ads of Mel Ramos or the eye popping signs of Robert IndiaArt, turning everyday objects and slogans into art, such as the everyday replicas of Claes Oldenburg, the comic - like mimicries of Roy Lichtenstein, the female ads of Mel Ramos or the eye popping signs of Robert Indiaart, such as the everyday replicas of Claes Oldenburg, the comic - like mimicries of Roy Lichtenstein, the female ads of Mel Ramos or the eye popping signs of Robert Indiana.

Filipa Ramos is currently curator of Vdrome, and Lecturer at Central Saint Martins (Art: Moving Image and Art: Exhibition Studies) and at Kingston University (Film Theory).

Other main group exhibitions include The King and the Mockingbird, Vermillion Sands, Copenhagen, Denmark, 2016; Yinchuan Biennale 2016 — For an Image, Faster Than Light, Museum of Contemporary Art Yinchuan, Ningxia, China, 2016; SHE — International Women Artists Exhibition, Long Museum, Shanghai, China, 2016; Tutorials, Pino Pascali Foundation Museum, Polignano, Italy, 2016; Bentu, Chinese Artists in A Time of Turbulence and Transformation, Foundation Louis Vuitton, Paris, 2016; Unordinary Space, Aurora Museum, Shanghai, 2015; CAFAM Future, Central Academy of Fine Art Museum, Beijing, 2015; Now You See, Whitebox Art Center, New York, 2014; 7th Shenzhen Sculpture Biennale, OCT - Contemporary Art Terminal, Shenzhen, 2012; stillspotting nyc, Solomon R. Guggenheim Museum, New York, among others.

Previously, he was a key lecturer at Central Saint Martins School of Art (1995 - 2003); a visiting lecturer and researcher at University of Westminster (1997 - 2003) and the Head of Department of Exhibitions, Film and New Media at the Haus der Kulturen der Welt, Berlin (2003 - 2008) where he curated several exhibitions accompanied by publications, including The Black Atlantic; Dreams and Trauma - Moving images and the Promised Lands; and Re-Imagining Asia, One Thousand years of Separation.

She has lectured at several universities and educational institutions in Europe and is currently lecturing at the Art: Moving Images MRes of Central Saint Martins, University of the Arts, and at the Experimental Film MA at Kingston University, both in London.

Following our conversation with Edward Winkleman and Murat Orozobekov, the co-founders of Moving Image, we discussed with some of the participants about the relevance of the Moving Image art fair and the uniqueness of video as an artistic medium: with Paula Alzugaray (independent curator, São Paulo, Brazil) and Sabine Brunckhorst (collector, Hamburg, Germany) about their perspective on the fair from a curator's and a collector's perspective, and with gallerists Serra Pradhan (Marianne Boesky Gallery, New York, NY, USA), Catharine Clark (Catharine Clark Gallery, San Francisco, CA, USA), Barbara Polla (Galerie Analix Forever, Paris, France), Catlin Moore (Mark Moore Gallery, Culver City, CA, USA), Wagner Lungov (CENTRAL Galeria de Arte, São Paulo, Brazil), Nancy Atakan (5533, Istanbul, Turkey), Lise Li (Vanguard Gallery, Shanghai, China), Kelani Nichole (TRANSFER, Brooklyn, NY, USA), Asli Sumer -LRB-.

A central focus of the exhibition is the ubiquity of the mural art form as a backdrop for the Polaroid photos taken in prison visitation rooms, as well as the microeconomy and unspoken negotiation embedded in the creation and circulation of these images — which must be purchased with many hours of labor by the inmates.

While the artists allied with this understanding of institutional critique were certainly central to our thinking, we recognized that those dedicated to appropriation as a strategy — to borrowing forms and images in order to reveal how they operate within our culture — were making similar calls for changes to the structures and definitions of art.

For this special presentation, Aitken and Vergne discuss Aitken's uniquely immersive aesthetic; the work's relationship to 20th - century avant - garde art, cinema, and experimental music; the nature of creativity in the 21st century; the possibilities for artmaking within our ever - mobile, ever - changing, image - based contemporary world; and other ideas central to the artist and the exhibition.

A journey across geographic place, art historical precedents, and the very history of photographic image making find a dynamic relationship in The River of No Return, a series created by Laura McPhee over a multiyear residency in the Sawtooth Valley in central Idaho, supported by the Alturas Foundation.

Year by year, the images closely parallel the subjects of Richter's paintings, revealing the orderly but open - ended analysis that has been so central to his art.

While the McNay show traces the development of Diller's art through various grid and primary color preferences to a drawing of a simple black rectangle encompassing four vertical yellow lines («He gets very minimal,» Williams says), an «anomaly» from 1938, during the time the artist was an administrator with the WPA, features a curving, flowing central image that echoes the human form, probably influenced by Stuart Davis.

Recent exhibitions and screenings include Anthology Film Archives (USA), Videonale.15 at Kunstmuseum Bonn (GER), Kino der Kunst Munich (GER), Academy of Fine Arts Vienna (AT), Museum of the Moving Image New York (USA), Bundeskunsthalle Bonn (GER), German Consulate New York (USA), Goethe Institute New York (USA), Grand Central Art Center Santa Ana (USA), transmediale, Berlin (D), Volksbühne, Berlin (D), Berlinische Galerie (D), Künstlerhaus Bethanien (D), Herzliya Biennale Israel (IL), and WRO Media Art Biennale, Wroclaw (PL).

I'm looking forward to seeing Marco Pantaleoni's images, he's part of Made in Arts London and recently graduated from Central St Martin's.

Openly gay, he started selling his large - scale digital photographs — including pictures with multiple images of himself running naked through the streets of Beijing or copulating with his double in public places — even before he graduated from the Central Academy of Fine Arts in 2005.

Works variously informed by social and political questioning, countercultural histories, the deconstruction of media and art history images include sculpture by Eva Rothschild and installations by Alan Phelan and Garrett Phelan for whom political and ecological activism is central.

Art: Moving Image of Central Saint Martins, both in London.

The central Black Madonna is surrounded by many collaged images that resemble butterflies at first sight, but on closer inspection are photographs of female genitalia; an ironic reference to the putti that appear in traditional religious art.

Peter Blake is known as one of the leading figures of the British Pop art movement, and central to his work is his interest in images from popular culture.

Widely known for his iconic images of flags, targets, numbers, maps and light bulbs, Johns has occupied a central position in American contemporary art since his arrival in New York in the 1950s.

She runs the MRes: Art: Moving Image at Central St Martins, in association with LUX, and teaches on the MA Film and Television, University of Westminster.

The exhibition will feature the original Legacy Stone; a limited edition 36» x 24» digital c - print of the original image taken in Sheep Meadow, Central Park by art photographer Ventiko (a.k.a. Dexter Dean); and a limited edition grave rubbing print of the stone, created in collaboration with printer James Stroud of Center Street Studio.

She is Editor in Chief of art - agenda and a Lecturer in the Experimental Film MA programme of Kingston University and in the MRes Art: Moving Image of Central Saint Martiart - agenda and a Lecturer in the Experimental Film MA programme of Kingston University and in the MRes Art: Moving Image of Central Saint MartiArt: Moving Image of Central Saint Martins.

Prejudice, superstition, and resentment inspire the work of Slovakian self - styled «art activist» and documentary filmmaker, Tomas Rafa, who, since 2009, through his ongoing project New Nationalism, has produced a hard - hitting dossier of film and still images representing the resurgence of extreme right - wing, xenophobic, and neo-fascist groups in Central Europe.

They understand that a public decentralized ledger like the blockchain is ideal for cataloging and storing original works of art, documents, manuscripts, photographs and images, away from any central authority.

The image and text of the Barunga Statement and the painting (as featured on the Issues Paper on the cover) are reproduced courtesy of the Central Land Council, Northern Land Council, and the Buku Larrngay Mulka Art Centre.