Sentences with phrase «chosen works for the exhibition»

Christina Linden, associate curator of painting and sculpture, has chosen works for the exhibition with an eye towards Gray's California connection.

Not exact matches

For this pivotal first exhibition, Firestone chose to display works by an artist who, like the block's artistic past, was fading into the annals of history.

The chosen art work will be featured in an exhibition titled «RESPOND» planned for January 2015.

She chooses these elemental materials for their entropic properties; their fragility and tendency toward decay results in works in which change is visible over the course of a single exhibition.

For the exhibition, Goldin chose works by artists who were directly affected by the AIDS crisis and whose works fearlessly portrayed the ravages of the disease and the widespread cultural indifference to AIDS patients.

All submitted work must be available and ready for exhibition, if chosen.

The works - on - paper from JoAnn Gonzalez Hickey's collection that have been chosen for this exhibition are all concerned with words, letters or a connection with language.

«I chose work that specifically challenged the traditional expectation of experiencing art,» said Cynthia Connolly, Arlington County's special projects curator and juror for the exhibition.

Sarah Nesbitt was chosen from more than 100 applicants for Target Gallery's 2017 Open Exhibition competition, which seeks to spotlight the work of one up - and - coming artist each year.

For all that the work can seem alien, Szapocznikow was no outsider: as Andrew Bonacina, co-curator of the exhibition at the Hepworth points out, she was plugged into the artistic movements and conversations of her time, and you can, if you so choose, read her sculpture in relation to pop art, to late ‑ flowering surrealism, and to neo-realism.

Join us for the 4th installment of our biennial national juried exhibition of ceramic works from artists across the United States chosen to represent the best in contemporary tabletop clay.

The exhibition's curators, Elisabeth Sussman and Elisabeth Sherman of the Whitney and Christine Macel of the Centre Pompidou, chose to round out the collection's context by including artists whose works are destined for the Whitney as well as the Pompidou, some of whom, Weinberg noted, have their studios in the 10th and 11th arrondissements, the areas afflicted by the worst of the carnage, where poets, dancers, critics, artists and architects were among the dead — «a strike against the heart of Paris's creative community.»

2008 Abstract Painting, Galería Javier López, Madrid Joseph Albers, Donald Judd, Peter Halley, Galerie Thomas, Munich Painting: Now and Forever, Part II, Matthew Marks Gallery, New York Weight Watchers, Galerie Xippas, Paris The Dorothy and Herbert Vogel Collection: Fifty Works for Fifty States, The National Gallery of Art, Washington, DC (catalogue) Summer Exhibition, Waddington Galleries, London Out of Storage I: Chosen Paintings from the Collection, Mudam Musée d'art modern Grand - Duc Jean, Luxembourg Indian Winter, Albert Baronian Gallery, Brussels Totally Rad: New York in the 80s, Paul Kasmin Gallery, New York The Big Bang, Museo Carlo Bilotti, Rome, Italy (catalogue) Abstract Vision, Thomas Ammann Fine Art, Zurich (catalogue) Collecting Collections, The Museum of Contemporary Art, Los Angeles Modern Prints: Classic Modern to Pop Art, Galerie Proarta, Zurich

The confronting, intense constellation of pictures Tillmans has chosen for this exhibition have - in a classic sense of how artists used to work and galleries used to schedule - been drawn from his new work of the last year or so.

He shares stories about his practice and finally invites me to freely choose all the works for our next exhibition.

For years now, Jack Davidson has liberally stolen the titles for his paintings and exhibitions from song lyrics, choosing them not as an interpretative aid to the work but as an extra element altogether a poetic addendFor years now, Jack Davidson has liberally stolen the titles for his paintings and exhibitions from song lyrics, choosing them not as an interpretative aid to the work but as an extra element altogether a poetic addendfor his paintings and exhibitions from song lyrics, choosing them not as an interpretative aid to the work but as an extra element altogether a poetic addendum.

Artists chosen for exhibition in the two spaces may or may not share commonalities in their work but, nonetheless, will create an interesting and provocative dialogue between them.»

To speak more about the selection process for this show, it is also interesting to note that as we narrowed our focus there were a number of directions this exhibition could have taken and while it became clear that we could have, for instance, created an entire exhibition strictly of triangular shapes in corners (with pieces by Benglis, Morris, Smithson, and Turrell, for example), we chose to mount an exhibition where each work engages the corner in its own unique and distinctive way.

For a unique end to the exhibition, Craig - Martin chose to give the final gallery over to a monumental piece by Tom Phillips titled A Humument, which has been in the works for almost 50 yeaFor a unique end to the exhibition, Craig - Martin chose to give the final gallery over to a monumental piece by Tom Phillips titled A Humument, which has been in the works for almost 50 yeafor almost 50 years.

As always, selected works will be chosen for the gallery show and a «Best of Show» artist chosen from those will receive a solo exhibition.

Although they haven't made the final short list — Thomas Ganter for Man with a Plaid Blanket, David Jon Kassan for Letter to my Mom and Richard Twose for Jean Woods — they are among the 55 artists chosen for the exhibition from a record entry of 2,377 works from 71 countries.

The individual works for the exhibition were each chosen to focus on the singular contributions of each respective artist.

For the current solo exhibition at Galerie Daniel Buchholz in Berlin, artist Cosima von Bonin chose to show her earliest work throught to her most recent.

Recent years have been a period of accelerated growth for Suys, whose work was chosen to hang in 7 OPA National Exhibitions since 2010 and who, in 2013, won Best In Show at the Salon International.

In 1983, his work was included in exhibitions at the Contemporary Arts Museum in Houston and the New Orleans Museum of Art, and he was chosen for the 38th Corcoran Biennial in Washington, D.C., an exhibition of American painters that proved life changing.

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

She was chosen as a finalist for the Outwin Boochever Portrait Competition 2013, her work was included in the competition exhibition at the Smithsonian's National Portrait Gallery from March 2013 through February 2014, and she was the recipient of the 2012 Women in Photography — LTI / Lightside Individual Project Grant and a 2014 CCNY Work Space Residency for her documentary portrait series, Paterson, depicting residents of Paterson, New Jersey during the years following the economic crisis in 2work was included in the competition exhibition at the Smithsonian's National Portrait Gallery from March 2013 through February 2014, and she was the recipient of the 2012 Women in Photography — LTI / Lightside Individual Project Grant and a 2014 CCNY Work Space Residency for her documentary portrait series, Paterson, depicting residents of Paterson, New Jersey during the years following the economic crisis in 2Work Space Residency for her documentary portrait series, Paterson, depicting residents of Paterson, New Jersey during the years following the economic crisis in 2008.

The four artists didn't just contribute individual works — one to three per artist — they chose their co-exhibitors, the venue, and the style of installation, even who would write accompanying materials for the exhibition.

An image of the work has been chosen to feature as the cover image for the catalogue that will accompany the exhibition.

For this reason, the Astrup Fearnley Museet, which houses one of the most important private collections of contemporary art in Europe, has chosen to organise an exhibition of works from the private collection of Erling Kagge.

For these exhibitions, Miss Van & Olek have chosen to work with a subject that features prominently in both of their artworks: Masks.

Marc Bijl, who lives and works in Berlin, chose it as the title for his exhibition in which he shows new works that address our current cultural climate of information overload, and in which too many sources are undermining our view on truth and facts.

So, I'm much less interested in walking into an artist's studio and choosing what works I want for a particular exhibition, and much more engaged by developing a dialogue that delves into that artist's history and the trajectory of their work.

We're proud to present «If Only Bella Abzug Were Here», a group exhibition curated by Tim Hawkinson and Ken Tan to commemorate the life and achievements of Bella Abzug with a selection of works by both established and emerging female artists, chosen for their highly original voices and unique visions.

Notably, 1953 was also a pivotal year for de Kooning, who finally found staunch critical support and solid financial success following the exhibition of paintings and drawings from his Woman series at the Janis Gallery that spring.22 By then, Rauschenberg had known de Kooning for a year or more and had seen him on occasion, often through their mutual friend Jack Tworkov (1900 — 1982), who sublet studio space from de Kooning.23 Even as other details of the Erased de Kooning Drawing story changed, Rauschenberg always insisted that he chose de Kooning out of deep respect for his work and because there was no question that a drawing of his would be considered art — and this was more true than ever in 1953.24 Critic Leo Steinberg later reported asking Rauschenberg whether he would have erased a drawing by Rembrandt, to which he replied no.

Crosstown Arts will include chosen works of art under its insurance policy for works of art on view in any / all of its exhibition spaces.

The work Eponymous Seedling (2018) by Harm van den Dorpel, that was on show in his solo exhibition Pattern and Presence at Upstream Gallery was chosen for the cover of the issue.

For Selected, each member of staff was invited to delve into the Sean Kelly archives and choose two works that touched, surprised, inspired, intrigued, or perhaps even unsettled them from the history of the gallery's exhibitions or the gallery's collection.

She continued, «-LSB-...] because jurors chose the artists but not the specific works for the exhibition, we were always thinking about how all these artworks would work together.

Chris Agnew has also chosen to work in etchings, using oil paint on icon panel to create a new series of works especially for the exhibition, building on the works he exhibited in his first solo show earlier in the year.

For the exhibition at i8 Irwin has chosen several works that expand on his use of fluorescent light, a material that Irwin first started working with in the 1970s and returned to prominence in his overture of works in the past 10 years.

The majority of the work chosen for this exhibition comes from the Imagery Estate Winery Permanent Collection.

I find it hard not to leave an art exhibition with a handful of choice works in my pocket, but almost always find that the particular work that struck me has not been chosen for the postcard selection.

The works chosen for this exhibition connect not only sight, hearing, taste, touch, and scent, but reach out to a cosmos of «other» senses defined by the artists» — and our own — understanding of reality, and ways to make meaning of it.

As part of the exhibition, the Hosner's have also chosen two featured artists, James Bullough for his unique cross cut portraits and Drew Leshko with his 3D diorama installation work.

Students chose the theme of the exhibition, put out an open call for submissions, and selected works from 294 total submissions.

He will be discussing his own work, the process of curating Vatic Utterance, our current exhibition, and the artists chosen for the exhibition.

Her work was chosen for Fotofilmic's 2018 Travelling Exhibition, juried by Roger Ballen, Larry Fink, and Raymond Meeks.

Today curators are sometimes more famous than the artists whose work they curate, and curatorship involves more than choosing objects for an exhibition.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.