Sentences with phrase «context of his exhibitions forms»

The installative total context of his exhibitions forms narrative contexts between the individual pieces that lead to the viewer to a fantastic world of associations.

Not exact matches

In the context of the Center for Book Arts, Canceled highlights the book form as a crucial means of disseminating documentation and information on a wide and accessible scale, potentially in ways that are more historically stable, and more effective, than the original exhibition would have been.

Throughout the duration of the exhibition, her performers continuously enact a form of live installation in the gallery and the museum's outdoor spaces, bridging the conceptual and physical divide between performer and object, bystander and viewer, while addressing the ways in which dance and the spectacle of performance are presented in theatrical and exhibition contexts.

The exhibition incorporated a diverse range of media including photography, film, video, fashion, and other forms of popular culture and prompts rich discussions about the contested ways that African and African American beauty have been represented in historical and contemporary contexts.

Prepare for his intimate form of performance to leap back into the discussion this month with the opening of «The Rituals of Rented Island,» a Whitney exhibition that explores his work in the context of the rambunctious»70s avant - garde.

In the exhibition «Drawn from the Antique», set in the context of his beloved home, visitors explore the honing of the classical form in rarely seen loaned works by artists such as Rubens, JMW Turner RA and Henry Fuseli RA.

The exhibition will offer a new perspective on these two artists, who, though strikingly different in their approach, each examine questions related to the context in which their works are shown, while addressing the art - historical debate on the politics of form.

The focus of Domènec's research and critical essay is precisely the crisis of modernity and an awareness of the failures of the modern movement, which, in the context of this exhibition, is materialised in the form of sculptures, installations, photographs, videos and interventions in the public space.

Now on display at the Peggy Guggenheim Collection in Venice, the work forms the basis for a small but enlightening exhibition, exploring the context in which it was produced and showing something of the effect it had on the contemporary art world.

Upcoming at Virginia Museum of Fine Arts Posing Beauty in African American Culture April 27 — July 26 This exhibition examines the contested ways in which African and African American beauty has been represented in historical and contemporary contexts through a diverse range of media, including photography, film, video, fashion, advertising, and other forms of popular culture such as music and the Internet.

The multi-part exhibition project Publishing as an Artistic Toolbox: 1989 — 2017 explores the potentials of publishing — in the form of books, magazines, journals, artistic interventions, websites — as a particular medium and context both to circulate information, knowledge — and to produce art.

This exhibition examines the contested ways in which African and African American beauty has been represented in historical and contemporary contexts through a diverse range of media, including photography, film, video, fashion, advertising, and other forms of popular culture such as music and the Internet.

The exhibition explored in depth the relationship of radical politics to art, by providing visitors with factual context in the form of historical objects that brought home the social and historical realities the movement faced, interspersed with historic artwork that supported and reflected its circumstances and ideals, as well as contemporary pieces.

[i] Bunga's retransformation is an appropriate first exhibition, delicately balancing the context of the space while referencing its dual aesthetic through the forms he uses: classical colonnade and apse, as well as contemporary building scaffolding.

The weaving of nature into the building form further establishes a visual dialogue within the context and a space for outdoor exhibitions.

Presented as static transparent objects, taken out of their peripheral context, they form a new central space in the exhibition.

Brought together into the context of a single exhibition space, they form a vigorous and shifting social dynamic akin to a live stage performance, energetic children's playground, or bustling subway platform.

More importantly, Chun's interdisciplinary exhibition delves into language as form, sound, writing and a process of subjugation in the context of a non-native speaker assimilating to a culture.

If Mirren often plays on her Russian heritage in interviews, and draws on her British working class background in other contexts — in what has become a polarised form of role play to manipulate the media's perception of her — then the images used in this exhibition represent her corresponding parts for film and television that show issues of domination, subjugation and control, such as in The Queen, Caligula and Prime Suspect.

The solo exhibition by Polish visual and performance artist Justyna Scheuring, who lives and works in London, brings together sign language interpreters and consecutive translators, in order to compose a performance through a multitude of voices and forms of expression to question issues of identity in a context of personal trauma, global migration and the experience of otherness.

Through various forms of technology — video projections, virtual reality, digital installations, and film — used within the exhibition galleries, DS+R has created atmospheric scenes that convey imagined functional and social contexts for Chareau's work.»

By picking up on these relations built over time with people we have previously been put in context with, we wish to operate from within the structure of the group exhibition and open up for a collective process in the forming of the show.

Interestingly, while turning the viewer's attention to what one would normally dismiss — and certainly not warrant close inspection — the work takes various forms and affects, not only in relation to the space it is exhibited in and in terms of scale, but also in accordance to its designated context, be it a solo or a group exhibition (in the latter case shaping the viewing experience of other artists» works on display).

Adam adds: «The exhibition draws on the context of Bluecoat as a centre for the arts, an organisation that hosts an array of art forms.

The title of the exhibition not only refers to the term transference in a psychoanalytic context with its meaning of a trauma transferred from patient to analyst, but serves as an analogy to the changing connotations of forms seen within different contexts.

Launched during our Diversity and Inclusion Week, this exhibition appraised works in the collection in the context of environmental, financial and political uncertainty, and formed the subject of talks and tours as part of that programme.

These forms of objection and commentary are uniquely possible in the context of art and the work of many artists in the exhibition has a continuing presence and widespread impact on public life.

Through paintings, sculpture, works on paper, a notebook, and other ephemera, as well as Adler's numerous photographs from this period, this exhibition explores how the context of life in New York informed and formed Basquiat's artistic practice.

Edwards, and a handful of other black artists working abstractly, like Edward Clark, Fred Eversley, Alma Thomas, Tom Lloyd, William T. Williams, Jack Whitten, have received recent critical attention in the form of museum exhibitions, elite gallery representation, and now, a deepened art historical context for their work within the wider frame of late modernism.

Group exhibitions include: Languages and Experimentations, Mart, Rovereto (2010), Richard Prince and the Revolution (curated by Jonathan Monk), ProjecteSD, Barcelona, The Associates, Dundee Contemporary Arts, Dundee (both 2009), Contemporary Scottish Art: New Acquistitions & Loans, Scottish National Gallery of Modern Art, Edinburgh, On Interchange / Interludes of a Collection, Museum Kurhaus Kleve, Kleve (both 2008), Tate Triennial: New British Art, Tate Britain, London (2006), The Last Generation, Apex Art, New York, Solo Show Solo Soul, FRAC Haute - Normandie, Rouen, Herald Street & The Modern Institute present, GBE, New York, Theorema, Collection Lambert: Musèe d'art d'Avignon, Avignon (all 2005), Genesis Sculpture, Domaine Pommery, Reims (2004), Context, Form, Troy (Young Scene 03), Secession, Vienna (2003).

Extending the artist's core reference point of 1965 - 1975, when artists begin to more precisely take control of the exhibition context and resulting in the immediacy of new forms such as performance, installation and new media.

Taking theatre as an open ended process with its multiple contexts and references, the exhibition acts as catalyst for performances, screenings, talks and other forms of engagement.

one - person exhibition 1996 Nexus Contemporary Art Center, Atlanta, «Obsession» group exhibition 1995 TZ» Art & Co., New York, Testwall installation Museum of Modern Art, Saitama, Japan, «The Language of Place,» group exhibition curated by Sarah Rogers (Wexner Center, Director of Exhibitions) 1993 SPACES Gallery, Cleveland, «Form Out of Context,» four - person exhibition 1992 «American Pluralism» group exhibition curated by Terry Barrett.

Irreverence toward a material's original function (and context), preciousness in its preservation, and fetishization of its form (divorced from its original function) are central to Sibony's sensibility, and apparent in his current exhibition at Greene Naftali Gallery.

The aim is to offer a complete and multiform publication that addresses the historical context of «When Attitudes Become Form»; themes like the reconstruction and the «reenactment» of objects, settings and exhibitions; and the curator's creative practice, thinking and decisions.

This exhibition celebrates cacophony and material - crossing whilst floating between physicality and significance, to consider alternative forms of artistic expression looking at a context - based sensoriality as opposed to direct representation.

Set within the context of our Tom Lovelace solo exhibition This Way Up, Flowers Gallery is hosting a panel discussion on the relationship between photographic form, functionality and status.

(catalogue) Persona, The Renaissance Society at the University of Chicago, Chicago, IL; Kunsthalle Basel, Basel Switzerland 1995 It's How You Play The Game, Exit Art, New York; curated by Thelma Golden, Nancy Spector, Robert Storr, Jeanette Ingberman and Papo Colo Strung Into the Appolonian Dream... an exhibition of a private collection, Feature, NYC, NY Seven Llongish Wodden Sculptures, Feature, New York, NY 1994 The Ecstasy of Limits, Gallery 400, School of Art and Design, UIC, Chicago, IL Amenities, Frederick Layton Gallery, Milwaukee Institute of Art and Design, Milwaukee 1993 A Sequence of Forms: Sculpture by Illinois Artists, Chicago Cultural Center, Chicago, IL Mettlesome & Meddlesome: Selections from the Collection of Robert J. Shiffler, Contemporary Arts Center, Cincinnati, OH; Urbana - Champaign, IL; I Space, University of Urbana - Champaign Gallery, Chicago, IL 1992 Drawing New Conclusions, Betty Rymer Gallery, The School of the Art Institute of Chicago, Chicago, IL 1991 Office Party, (March) Feature, New York, NY Power: Its Icons, Myths and Structure in American Culture 1961 - 1991, Museum of Fine Art, Richmond VA: curated by Holliday T. Day (catalogue) 1990 Toward the Future Contemporary Art in Context, Museum of Contemporary Art, Chicago Awards in the Visual Arts, New Orleans Museum of Art, New Orleans, LA; Southeastern The Thing Itself, Feature, New York, NY (brochure) New Generations Chicago, Carnegie Mellon Art Gallery, Carnegie Mellon University, Pittsburgh, PA; curated by Elaine A. King (catalogue) Half - Truths, The Parrish Art Museum, Southhampton, NY; curated by Marge Goldwater 1989 On Kawara: Date Paintings 1966 - 1988, The Renaissance Society at the University of Chicago, Chicago, IL Signs of Life: Contemporary American Sculpture, Fundacao Calouste Gulbenkian; Fundacao Luso - Americana Para O Desenvolvimento, Lisbon, Portugal; curated by Judith Russi Kirshner.

Never Ending Stories presents the first extensive examination of the loop phenomenon in art, films, architecture, music and literature in a context of a museum exhibition, taking a comprehensive interdisciplinary look at the subject at hand by keeping in perspective factors like time, place, form and content.

Together these exhibition projects consider the essential components and fundamental dynamics of aesthetic experience: light, color, pictorial form, the context of the exhibition.

In this exhibition, her 9th with the gallery, D'Arrigo continues to consider the possibilities for integrating painting, drawing, improvisational process and animated sculptural form within the context of the ceramic vessel.

★ METROPOLITAN MUSEUM OF ART: «JERUSALEM 1000 - 1400: EVERY PEOPLE UNDER HEAVEN» (through Jan. 8) Three major faiths — Judaism, Christianity and Islam — have called Jerusalem their own, and its varying histories as a sacred space, a theater of conflict and a cosmopolitan cultural emporium are reflected in this exhibition modeled along classic Met epic lines: 200 fascinating objects from 60 international collections, with a time frame in the past and context in the present (in the form of short videos in each galleryOF ART: «JERUSALEM 1000 - 1400: EVERY PEOPLE UNDER HEAVEN» (through Jan. 8) Three major faiths — Judaism, Christianity and Islam — have called Jerusalem their own, and its varying histories as a sacred space, a theater of conflict and a cosmopolitan cultural emporium are reflected in this exhibition modeled along classic Met epic lines: 200 fascinating objects from 60 international collections, with a time frame in the past and context in the present (in the form of short videos in each galleryof conflict and a cosmopolitan cultural emporium are reflected in this exhibition modeled along classic Met epic lines: 200 fascinating objects from 60 international collections, with a time frame in the past and context in the present (in the form of short videos in each galleryof short videos in each gallery).

The artist has gained recent attention; having been relatively forgotten since Chillida's Guggenheim exhibition in 1980, and represents a now familiar European Post-war sculpture; with works investigating form, space, and material usage in sculptural practice, site - specific, weighty objects reflecting architecture and nature, here seemingly taken a little out of context.

For his solo exhibition with Chelsea» David Zwirner, Ming uses Francisco Goya «s Black Paintings as the starting point to explore a new form of painted collage by abstracting the content and appropriating an existing narrative into a contemporary context.

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.