Sentences with phrase «contemporary gallery context»

Not exact matches

Featuring artists as solo exhibitors, and also in the context of conceptual group exhibitions, Brunswick Street Gallery offers a completely unique viewing experience of work from contemporary emerging artists.

A GUIDE TO EXHIBITION OPENINGS, TALKS AND EVENTS HAPPENING THIS WEEK IN BLACK ART: March 26 - May 10, 2014 Yinka Shonibare at Brand New Gallery, Milan London - born Yinka Shonibare MBE who was raised in Nigeria «has become well known for his exploration of colonialism and post-colonialism within the contemporary context of globalization.»

According to the gallery, the body of work «explores ideas of celebration, highlighting the Black figure in the context of contemporary culture and leisure.

The 2018 edition will see over 95 international contemporary and modern galleries from 30 countries come together to represent over 1,200 artists including CONTEXT, a platform for a selection of new and established contemporary galleries to present emerging, mid-career and cutting - edge talent.

Yes, I know these galleries are in the business of selling art, but they also create a historical context for the contemporary work we see

By exhibiting artists across multiple generations and continents, the gallery establishes a discursive critical voice in addressing diverse perspectives of art within a broader context of contemporary artistic practices.

Solo exhibitions include Centre Pompidou, Paris (1994), Museum of Contemporary Art, Chicago, The New Museum of Contemporary Art, New York (1997), MoMA, Oxford, the Scottish National Gallery of Modern Art, Edinburgh (1998), Tate Britain, London (2000) Hamburger Kunsthalle, Kunstmuseum Bonn, Magasin 3, Stockholm (2004), Museum of Contemporary Art, Sydney (2005) and Palazzo Querini Stampalia in the context of the Venice Biennale (2009).

Quogue Gallery co-owner Chester Murray explained that the motivation behind mounting this exhibition was «to review the 14 shows we've had since opening the gallery — principally contemporary and abstract photography, paintings and prints — in order to put them in a more global context.Gallery co-owner Chester Murray explained that the motivation behind mounting this exhibition was «to review the 14 shows we've had since opening the gallery — principally contemporary and abstract photography, paintings and prints — in order to put them in a more global context.gallery — principally contemporary and abstract photography, paintings and prints — in order to put them in a more global context.»

He has curated exhibitions at the Contemporary Arts Museum Houston; the Kitchen, New York; CONTEXT Art Miami; New Langton Arts, San Francisco; G Fine Art Gallery, Washington, DC; and other venues.

Tags: accola griefen, aqua art miami, Arteria Gallery, contemporary collective, context art fair, Cynthia Corbett Gallery, INK miami, Miami Art Week, scope, susan eley fine art, tag fine arts Posted in Art Fair, Art for Sale, Collecting Art, Global Chapter, London, NYC Comments Off on AWAD at Miami Art Week

In his new publication Jens Hoffmann reflects on the spaces of contemporary art — the gallery, the institution, the biennial — and ultimately positions the discipline of curating in the context of a larger cultural sphere shaped by the political, social, and economic conditions of its time, while demanding new attitudes and new thinking.

Established in 1985, the Kohn Gallery has presented historically significant exhibitions in Los Angeles alongside exciting contemporary artists, creating meaningful contexts to establish links to a greater art historical continuum.

Since its establishment in 1985 by former Flash Art editor Michael Kohn, Kohn Gallery has presented historically significant exhibitions in Los Angeles alongside exciting contemporary exhibitions, creating meaningful contexts to establish links to the greater art historical continuum.

Featuring five of eight computer - animated films that comprise the artist's seminal Poemfield series (1966 - 1971), as well as a small selection of related computer graphic prints on paper, this presentation illuminates a significant pillar of the gallery's ongoing mission to re-engage historical work within contemporary contexts.

His work has been widely exhibited at venues such as the Sundance Film Festival, Park City, Utah; The Indianapolis Museum of Contemporary Art, Indianapolis; 303 Gallery, New York; Wesleyan University, Middletown, Connecticut; Artsonje Center, Seoul; Context Galleries, Derry; The Hospital, London; PKM Gallery, Beijing; Kunst - Werke, Berlin; Palacio de Bellas Artes, Mexico City; Participant Inc, New York; Centre de Cultura Contemporània, Barcelona; White Box, New York; Galerie Chez Valentin, Paris; Smart Project Space, Amsterdam; The Islip Art Museum, Islip, New York; and Momenta Art, Brooklyn, New York.

We believe that the public deserves the right to experience innovative and thoughtful contemporary art in their day - to - day existence, something more or different than in a museum or gallery context.

Booths labeled Context host «emerging, midcareer, and cutting - edge artists by new and established contemporary galleries» — which is to say anything or nothing at all.

He has curated exhibitions at the Contemporary Arts Museum Houston; the Kitchen, New York; CONTEXT Art Miami; New Langton Arts, San Francisco; and G Fine Art Gallery, Washington, DC; among other venues.

Coinciding with Art Miami is Context, Art Miami's cutting - edge, contemporary art fair that featured a curated group of 50 galleries representing emerging and mid-career artists.

(5) This awareness of context and how a room (or a gallery) can be approached holistically as a distinctive experience for the viewer has been a hallmark of much modern and contemporary art — from Marcel Duchamp's Sixteen Miles of String (1942) to Yayoi Kusama's dotted and mirrored rooms to Olafur Eliasson's immersive environments — and Holtzman brings his rare sensibility to this convention.

Group exhibitions include Prospect.4, the US Biennial in New Orleans (2017 - 2018); In Context: Africans in America, at the Goodman Gallery and the Johannesburg Art Gallery, Johannesburg, South Africa (2016); Represent: 200 Years of African American Art, at The Philadelphia Museum of Art (2015); The Geometric Unconscious: A Century of Abstraction, at the Sheldon Museum of Art, University of Nebraska (2012); ARS 11, Kiasma Museum of Contemporary Art, Helsinki (2011); The Global Africa Project, Museum of Arts and Design, New York (2010); and Wallworks, Yerba Buena Center for the Arts, San Francisco (2009).

A signature programme within the gallery, In Context activates the city of Johannesburg as a locus of contemporary art practice, ideas and discourses.

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.

In Context 2016 is a partnership between Goodman Gallery; The Department of Photography & Imaging at the Tisch School of the Arts, New York University; Hutchins Center for African and African American Research at Harvard University; Wits School of Arts at University of the Witwatersrand; United States Mission to South Africa; La Pietra Dialogues / New York University; New York University Vice Provost for Faculty, Arts, Humanities and Diversity; and Hank Willis Thomas Studio, in association with Phillips; Museum of Contemporary African Diasporan Arts; Studio Museum in Harlem; Wiser Institute; Center for African American Studies / Princeton University; Johannesburg Art Gallery; Contemporary And, and Art Africa.

Over the past 30 years, the gallery has presented historically significant exhibitions in Los Angeles alongside exciting contemporary artists, creating meaningful contexts to establish links to a greater art historical continuum.

Since its establishment in 1985 by former Flash Art editor, Michael Kohn, Kohn Gallery has presented art historically significant exhibitions in Los Angeles along with contemporary exhibitions that create meaningful contexts, establishing links to the greater art historical continuum.

The programme will not only celebrate the important and integral work of Travelling Gallery but will explore and test its values within today's contemporary context, advocating for its vision that we live in a Country in which everyone has the opportunity to experience and engage in the arts.

Kohn Gallery has championed the careers of West Coast artists for 30 years, not only by representing canonical artists such as as Bruce Conner, Wallace Berman, Joe Goode, John Altoon and Larry Bell, but also by creating challenging and meaningful contemporary contexts.

Organized by Ann Butler, Director of Library & Archives at CCS Bard, Reading Context inaugurates the Collection Teaching Gallery as a place where a diverse range of collection materials representing the wealth of available resources at CCS Bard and the Hessel Museum come together to support and enable research activities and forms of curatorial inquiry which ultimately support a contextual reading of contemporary art.

With the Casual Art Fair, The Hester Street Fair & LikeMindedObjects aim to play with the context of the contemporary art fair, to create an affordable inclusive space for galleries, project spaces, collectives, and experimental retail projects to gather outdoors in a truly public space and share their most current excitements, artists, and projects.

2011 Manny Silverman Gallery, Los Angeles, CA Some Assembly Required: Assemblage & Collage, Jack Rutberg Fine Arts, Los Angeles, CA Fragments: 1915 - 2011, Modern and Contemporary Collage, ACA Galleries, New York, NY Remix: Selections from the International Collage Center, Samek Art Gallery, Bucknell University, Lewisburg, PA; Katonah Museum of Art, Katonah, NY In Context: Celebrating Pioneering Los Angeles Artist Betye Saar, Roberts & Tilton, Los Angeles, CA Material Witness, Venessa German, Hannelore Baron, Donna Sharrett, Pavel Zoubok Gallery, New York, NY

The book — which questions the uncertainties of the art world; offers solutions to the challenges of transmission of Culture at the beginning of the 21st century; and It's a witness of the artistic potential in European, Anglo - American and Latin - American countries — will be presented in September in the context of an individual exhibition, also entitled Hexágonos, at the art gallery Maus Contemporary in the USA.

Propositions on the Permanent Collection, Studio Museum in Harlem, New York, NY, 2009 Cinema Remixed and Reloaded: Black Women Artists and the Moving Image Since 1970, Spelman College of Art, Atlanta, GA, 2007 and Contemporary Arts Museum Houston, Houston, TX 2008 - 2009 Horizon, EFA Gallery, Curated by David Humphrey, New York, NY, 2007 Black Alphabet, conTEXTS of Contemporary African American Art, Zacheta National Gallery of Art, Warsaw, Poland, 2006 - 2007 Turn the Beat Around, Sikkema Jenkins & Co., New York, NY, 2006 The Manhattan Project, Fred Snitzer Gallery, Miami, FL, 2006 Frequency, Studio Museum in Harlem, New York, NY, 2005 - 2006 MFA Thesis Exhibition, Columbia University, Curated by Jeffery Uslip, New York, NY, 2005 Recess: Images & Objects in Formation, Rush Gallery, Curated by Derek Adams, New York, NY, 2005 Past Perfect, Kantor / Feuer Gallery, New York, NY, 2004 - 2005 After Goya, Leroy Neiman Gallery, Columbia University, Curated by Tomas Vu Daniel, New York, NY, 2004 Hungry Eyes, Columbia University, Ira D Wallach Gallery, New York, NY, 2004 Signs, Public Art Installation, Chicago, IL, 2002 Brat (Wurst), A show of Chicago Artists, Vox Populi, Philadelphia, PA, 2001 Young Love, Mapreed Gallery, Los Angeles, CA, 2000 Art in St. Louis, Honorable Mention, Curated By Jerry Saltz, Art St. Louis Gallery, St. Louis, MO, 1997

João Maria Gusmão (b. 1979, Portugal) & Pedro Paiva (b. 1977, Portugal) live and work in Lisboa; In the last decade the duo has participated in international contexts such as the 27th Bienal de São Paulo, the 6th Mercosul Biennial, Manifesta 7, PhotoEspaña 08 along with exhibitions at CCA Wattis Institute for Contemporary Arts, San Francisco and Kunstverein Hanover, or the Ikon Gallery.

Established in 1985 by Michael Kohn, Kohn Gallery has presented historically significant exhibitions in Los Angeles alongside exciting contemporary artists, creating meaningful contexts to establish links to a greater art historical continuum.

2017 context, collapse, mother's tankstation, London Trusted Traveller, Kunsthalle Sankt Gallen, St. Gallen, Switzerland citizens of nowhere, Kevin Space, Vienna 2016 sunset provision, mother's tankstation limited, Dublin Insights (crisis trolly), Frieze Artist Award, Frieze London (directory information) tree for a desert (x3), Lock Up International, Tokyo user, space, Chisenhale Gallery, London 2015 Architectures of Credibility, H.M. Klosterfelde Edition, Berlin mute conversation, commission, Institute of Contemporary Arts, London 2014 Free Traveller, Cell Projects, London colocation, time displacement, Minibar Artist Space, Stockholm, The Telfer, Glasgow, Temporary Arts Project, www.t-ap.org.uk RELiable COMmunications, Legion TV, London, First Look; New Museum, www.newmuseum.org 2012 polymer placeholder pin drop, Project / Number, London The Making of, www.bubblebyte.org e ink pearl memory, Arcadia Missa, London Faraday Cage, [SPACE], London 2011 focal - plane, Son Gallery, London

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

She has shown extensively for the past five decades, in solo and group contexts, and has been the subject of numerous survey exhibitions including Museu d'Art Contemporani de Barcelona (2003); Generali Foundation, Vienna (2002); New Museum, New York (2000); The Museum of Contemporary Art, Los Angeles (2000); Kunstverein München, Munich (1992); Ikon Gallery, Birmingham, England (1991); and Alternative Museum, New York (1987).

The epodium gallery presents contemporary art context - sensitive to New York or Munich / Germany.

In 2013 his work was exhibited at the Museum of Contemporary Art in Rome (MACRO), within the context of the group exhibition «Neon: The Bright Matter of Art», at the Saatchi Gallery in London (exhibition: «Korean Eye: Energy and Matter») and at the Palazzo Bembo during the 55th Venice Biennale (exhibition: «Personal Structures»).

The University Art Gallery (UAG) is proud to present the exhibition, Fugitive Fibers, a group show displaying work by four artists who utilize fiber in their practice to speak about contemporary binaries within the contexts of found and created environments.

The opening will take place in the context of APERTURA 2013, an event organized by the Contemporary Art galleries association ArteMadrid.

GROUP EXHIBITIONS 2017 Une Passion Partagée - La Collection Gigi & Marcel Burg, MusVeree, Sars - Poteries / FR 2017 EisWasserGlas - Glass Collection Hans Hansen, Gewerbe Museum Winterthur / CH 2017 Land Schafft Kunst Biennale VI, Neuwerder / DE 2014 Trends in Contemporary Glass Art, Himalayas Art Museum, Shanghai 2014 Coburg Glass Prize, Kunstsammlungen der Veste Coburg / DE 2013 Translucide, Biennal du Verre - Radial Art Contemporain, Strasbourg 2012 European Glass Context, Bornholm Art Museum / DK 2010 iGlass, Levant Art Gallery, Shanghai 2009 Glass - Trends in Contemporary Glass Sculpture, Litvak Gallery, Tel Aviv 2007 Contemporary Glass of the Würth Collection, Hirschwirtscheuer, Künzelsau / DE 2007 International Exhibition of Glass, Kanazawa / JP 2006 Coburg Glass Prize, Kunstsammlungen der Veste Coburg / DE.

Director Sally Tallant says, «By using iconic and historic sites, as well as existing galleries and museums, the Biennial is an opportunity to explore the city's architecture and its context, while engaging with contemporary art.

While the field of social practice has had an increasingly high profile within contemporary art discourse, this book documents artists who have been under - recognized because they do not show in traditional gallery or museum contexts and are often studied by specialists in other disciplines, particularly within the Latin American context.

With this exhibition of wallpaper works by renowned contemporary fine artists, the gallery sets its collection within a less reassuring context.

In addition to mounting focused monographic presentations of the pillars of 20th - century art such as Peter Halley, Donald Baechler, Andy Warhol, Robert Motherwell, and Julian Schnabel, the gallery explores current themes in contemporary art through thematic exhibitions that place living artists in the historic context of their predecessors.

The contemporary African art market is still very young and evolving, but as galleries, fairs, and museums work to build context, Sotheby's O'Leary notes, «there are real opportunities in this market to get in and make some serious purchases as it develops.

In an effort to further expand opportunities for education, this journal features essays, interviews and other writings that provide context for 1708 Gallery's exhibitions and promote further dialogue about contemporary art. 1708 Gallery works with a range of writers, from graduate students to professional writers, to allow for multiple voices and experiences to contribute to this project.

The book Art Projects International: Ten Years follows the growth of the gallery Art Projects International, and its emphasis on contemporary artists from Asia, in the context of New York City's dynamic and ever changing art world.