Sentences with phrase «context of exhibition making»

His work has attempted to expand the definition and context of exhibition making.

In Talking Contemporary Curating, Terry Smith is in conversation with 12 curators, art historians and theorists deeply immersed in reflecting upon the demands of their respective practices; the contexts of exhibition making; and the platforms through which art may be made public, including Zdenka Badovinac, Claire Bishop, Zoe Butt, Germano Celant, Carolyn Christov - Bakargiev, Okwui Enwezor, Boris Groys, Jens Hoffmann, Mami Kataoka, Maria Lind, Hans Ulrich Obrist, and Mari Carmen Ramírez.

Not exact matches

Context is crucial, particularly when viewing postmodern, ready - made art like Marcel Duchamp's famous installation, Fountain, which placed a urinal in an exhibition — much to the dismay of the artistic establishment.

A new exhibition at the MCA in Chicago aims to put the emphasis back on her painting by placing it in the context of work being made today Read More

In the context of its exhibition series «Minimalism in Germany», which started in 2005, the Daimler Art Collection is making a first attempt to re-stage the historical presentation.

An upcoming exhibition on the art of Fiji should make us rethink the relationship between culture and context

The Hunterian exhibition brings together a dozen paintings and drawings, as well as etchings and books, to illustrate the artistic context for the making of The Entombment.

In other words, the exhibition does not aim to track a historical development, but to identify precedents for the particular mix of instruction - based art making amongst close acquaintances or intimates that characterizes the more recent art in the show, and the spaces and contexts within which these works are set.

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.

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

That said, «Speaking Back» is not an exhibition tailored to address Cape Town's distinct historical context: a city whose social, cultural, and civic past is mired in hierarchical classifications of race, but also made vibrant by an organic and effortlessly tolerant multiculturalism that flowered in certain locations, despite prohibitions, and may do so again.

«It makes a great program to have younger artists put in this kind of context,» he added, referring to the history of rotating exhibitions of visual artists such as Tim Hawkinson, Spencer Finch and, currently, Nick Cave, along with performing arts events.

From the museum: «By bringing together seven paintings that Piero made in his hometown of Borgo San Sepolcro, this exhibition considers this pioneering artist in the context of his native city.

As construction of his design for the National Museum of African American History and Culture in Washington D.C. nears its completion, slated for next year, and news of Adjaye's selection to redesign the Studio Museum in Harlem, where a solo exhibition of his work Making Public Buildings was presented in 2007, the Art Institute's exhibition context is important to Adjaye's buildings, which continue to identify him in the United States.

Sadly, the building was demolished and almost all of the art made on the pier no longer exists, but the presence of contemporaneous work in the exhibition makes tangible some of the waterfront art's physicality and its larger aesthetic context.

Within the architectural and programming context of Serralves, Gillick's exhibition as intervention will contribute to the Museum's aim of articulating new models for exhibition making that respond to the distinctive practices of artists in their sculptural, discursive and temporal dimensions.

Brought together in one exhibition, each gallery presents innovative approaches to contemporary art and exhibition making with over 35 artists many of whom have created works specifically for the context of the Hessel Museum.

By making artwork and exhibitions concrete and personal for each viewer, the Museum provides a context to address contemporary and historical issues presented by artists of African descent.

His interest ranges from folk embroidery, made on vintage fabrics taken from his mother's chest, to natural history studies and specimens under glass; from drawings, seemingly childish and clumsy and made in response to familiar situations to elements of Russian culture, scattered around the exhibition space and combined with memories of the local context.

Sign language tours are available by arrangement and an accessible website for the project can be found at www.alteredimages.ie Padraig Naughton, Director, Arts and Disability Ireland commented in the accompanying catalogue: «What makes Altered Images an advance on what has gone before in an Irish context is the curation of a whole exhibition that has a multi-sensory approach to access thus having an inclusive appeal that will reach the widest audience possible.

2016 SP - Arte / Videobrasil award solo exhibition, Galpão VB, São Paulo, Brazil 2016 In Context: Where We Are, Goodman Gallery, Cape Town, South Africa 2016 The Art of Disruptions, Iziko South African National Gallery, Cape Town, South Africa 2016 New Revolutions: Goodman Gallery at 50, Goodman Gallery, Cape Town, South Africa 2016 Making Africa: A Continent of Contemporary Design, Centre de Cultura Contemporania de Barcelona, Barcelona, Spain

We are interested in what documentation is, and how it can operate as a half - life: much of this exhibition explores how a process remains, how the work is an act in its own right, and how something so visceral can still speak to us when taken out of the specific context of its making.

They show curators deeply immersed in thinking about the exigencies of practice, the contexts of exhibition - making, the platforms through which art may be made public, and about what their work can contribute toward understanding what it means to be alive today.

Nevelson's public art projects will also be considered for the first time within the context of her oeuvre, as will her influence on contemporary artists in a video made for the exhibition.

Something's Wrong strikes a potent visual chord with the earlier monoprint Terribly Wrong (1997) of the same subject, lent to the exhibition by Tate, which is displayed on the adjacent wall for comparison and context; the glistening coins stitched to the blanket, between the splayed legs, make the materialism implied in the message hard, shiny and potent.

In spite of the differences between the original contexts in which these works were made, every piece in this exhibition shares a peculiar relation with the past.

Taking «world making» as a starting point also allows the exhibition to highlight the fundamental importance of certain key artists for the creativity of successive generations, just as much as exploring new spaces for art to unfold outside the institutional context and beyond the expectations of the art market.»

To further explore the notion of context, the exhibition also span both areas that the Foundation oversees: the exhibition space and the company, thereby blending the ritual of exhibition - making with the day - to - day necessities of the corporate environment.

The exhibition will also examine the context for the Impressions of Dallas series with twelve of Grosz's works made earlier in his career, including graphic work and watercolors made in Berlin in the 1920s and early 1930s, and paintings and watercolors made in New York during the late 1930s and 1940s.

But in the modern era, which freed art from its ritual context and made it into a circulating commodity, wall painting became an ephemeral medium, as the title of these joint exhibitions suggests.

Generally, these delineations will make sense to anyone following digital artmakers, but it's important to see them laid out in the context of an exhibition.

Conrad Bakker makes carved and painted sculptures of everyday objects and places them in consumer contexts and / or gallery exhibitions to reveal and critically comment upon the political economies and relational networks between persons and things.

By Proxy is an exhibition in which technology, other artisans, context, chance and culture have a role in the making of the work.

With primary emphasis on contemporary art, students examine the various approaches to curatorial practice including curating in a global context, the rise of the biennial, performance art and non-traditional venues and the potential political and ethical implications of exhibition making.

This Jane is not a great one for receiving visitors, but I have travelled here with Chris Stephens, the curator of Tate Britain's forthcoming exhibition about Kenneth Clark, of whom she is clearly fond (Stephens has been up and down to Kent a lot lately, in search of photographs, newspaper cuttings and other bits and pieces that will work in the context of the show), and she has even made shortbread to welcome us.

««Parrish Perspectives: New Works in Context» reflects the curatorial decision - making involved in the process of building a collection, and demonstrates the museum's commitment to bringing together works that enhance the appreciation of art and the artist's practice,» stated Alicia Longwell, the Lewis B. and Dorothy Cullman Chief Curator, Art and Education, in the exhibition announcement.

«New Works in Context» joins the museumwide exhibition «Materiality and Process» that presents nine separate shows exploring the process of art making, materials and the presence of the hand of the artist.

«Ernest C Withers and Glenn Ligon: I Am A Man Teaching Galleries One and Two,» Contemporary Art Museum St Louis, MO, January 20 — March 28, 2006 «Down by Law, curated by The Wrong Gallery,» Whitney Museum of American Art, New York, NY, January 21 — May 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 6 — September 24, 2006 «Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards,» American Academy of Arts and Letters, New York, NY, May 19 — June 12, 2006 «Legacies: Contemporary Artists Reflect on Slavery,» New - York Historical Society, New York, NY, June 16, 2006 — January 7, 2007; catalogue «The Past Made Present: Contemporary Art and Memory,» Museum of Fine Arts, Houston, TX, September 2, 2006 — January 15, 2007 «Group Dynamic: Portfolios, Series, and Sets,» Des Moines Art Center, Des Moines, IA, September 15 — December 29, 2006 «black alphabet: conTEXTS of contemporary african - american art,» Zacheta National Gallery of Art, Warsaw, Poland, September 22 — November 19, 2006 «Interstellar Low Ways,» Hyde Park Art Center, Chicago, IL, October 15, 2006 — January 14, 2007 «Process and Collaboration: Celebrating Twelve Years at 1315 Cherry Street,» The Fabric Workshop and Museum, Philadelphia, PA, December 2, 2006 — January 6, 2007 «Defamation of Character,» organized by Neville Wakefield, PS 1 Contemporary Art Center, Long Island City, New York, October 29, 2006 — January 8, 2007 «Voodoo Macbeth,» curated by David A Bailey, De La Warr Pavilion, East Sussex, UK, October 7, 2006 — January 22, 2007 «Yes Bruce Nauman,» Zwirner & Wirth, New York, NY, July 7 — September 9, 2006 «Gifts go in one direction,» curated by Alexander Nagel, apexart, New York, NY, July 5 — August 12, 2006 «SUBJECT,» Lyman Allyn Museum, New London, CT, May 13 — August 14, 2006 «Invitational Exhibition of Painting and Sculpture,» American Academy of Arts and Letters, New York, NY, March 7 — April 9, 2006 «Dark Places,» Santa Monica Museum of Modern Art, Los Angeles, CA, January 21 — April 22, 2006 «Skin Is a Language,» Whitney Museum of American Art, New York, NY, January 12 — May 21, 2006 «Portraits of Artists: A selection of photographic works from the collection,» Luhring Augustine, New York, NY, January 7 — February 11, 2006

This exhibition guide, produced by Liam Gillick, provides visitors with details of the original context in which the work was made, the artist's original intent in proposing the work and instructions for realizing each project.

The focus on the words makes this an unusual exhibition, but the show is rendered more substantial and gains context by the inclusion of some knockout large paintings from various collections.

The screenings offer an opportunity to view several historically significant works — some shown in South Africa for the first time - that further explore how images make themselves objects of speculation, and offer context to the works on exhibition.

Meadows Museum Director Mark A. Roglán stated, «Nicole has been an extremely valuable part of our team since joining the museum, making significant contributions to recent exhibitions such as Diego Velázquez: The Early Court Portraits, The Prado at the Meadows: Ribera in a New Context, and The Invention of Glory: Afonso V and the Pastrana Tapestries.

Because this happened in the context of an exhibition, it made sense for us to be visible to the public.

His current exhibition, There Is No Last Man, at MoMA PS1 in New York provides a sample of his recent production, with a smaller space presenting the text - and - image work Volume Eleven (flaw in the algorithm of cosmopolitanism)(2016), and a larger, improvised theater screening the feature - length film Tripoli Cancelled (2017), both of which had originally been made in the context of documenta 14.

Sign language tours are available by arrangement and an accessible website for the project can be found at (External)(External) www.alteredimages.ie Padraig Naughton, Director, Arts and Disability Ireland has commented on the exhibition in the accompanying catalogue; «What makes Altered Images an advance on what has gone before in an Irish context is the curation of a whole exhibition that has a multi-sensory approach to access thus having an inclusive appeal that will reach the widest audience possible.

Padraig Naughton, Director, Arts and Disability Ireland has commented on the exhibition in the accompanying catalogue; «What makes Altered Images an advance on what has gone before in an Irish context is the curation of a whole exhibition that has a multi-sensory approach to access thus having an inclusive appeal that will reach the widest audience possible.

Through a series of displacements between image, site, and context, the exhibition takes specific design proposals into account in order to ask, What makes life succulent?

Lectures by specialists in different fields will give visitors the opportunity to enhance their understanding of Within Our Gates within a broader cultural context, and examine the elements that make up the exhibition.

Taking its title from Giovanni Anselmo's seminal work of the same name, Verso l'infinito (1969), the exhibition explores the dematerialization of the art object and the dismantling of concepts that had bolstered the definition and context of traditional art - making well into the 20th century.

Beginning with the Spiral group, 15 artists who formed in the context of the March on Washington Bridge for Jobs and Freedom in 1963, the exhibition frames a broad selection of artists who took different directions in relation to aesthetics, politics and art - making in a time of extraordinary turbulence.