Sentences with phrase «did the exhibition come»

Only when the works are understood as a collective does the exhibition come together, and since all of them are so different, it's surprising how simple and unified the ambitions of both Arcadia Missa and Preteen seem to be.

How did the exhibition come about?

Not exact matches

For if you have dared to attend an exhibition of worldly art, then by doing this, you yourself must have come to understand what is meant by spiritual.

As spring comes to St. Charles, so does the eighth annual Sculpture in the Park exhibition.

«How do you make it the premier convention, exhibition site where companies all across the country want to come here all year long?»

Single people who are interested in art often come alone to such places and they usually don't mind admiring the exhibition together with some attractive person.

The New Jersey Education Association's annual convention came back yesterday in full force with capacity - crowd workshops, a busy exhibition hall, and plenty of questions about coming changes in how teachers do their jobs.

Getting your book into an exhibition booth doesn't come cheap, unfortunately.

The lecture - like format made it clear that my feedback wasn't going to be welcome, but as the visit started to wind down, I was asked a question for the first time that morning: «So, what exhibitions do you have coming up that you might want to put our artist into?»

I came home, staged an exhibition in London which loads of people came to, and I thought, right — this is what I want to do from now on.

I hope that the exhibition will prompt visitors to consider not only how far we as a society have come but also, crucially, what still needs to be done to combat prejudice and realise true equality.»

Coming across Drexler's paintings singly, or even in solo gallery shows, doesn't prepare you for the chromatic intensity of her canvases, especially the mid-1960s paintings, which were the main focus of the exhibition.

PATTERSON: My coming - out - of - retirement event — a solo exhibition of objects and visual art at the Emily Harvey Gallery — was the first exhibition I had ever done of visual work.

Do women get the short end of the male stick when it comes to exhibitions?

Notable solo exhibitions have included This Much at Galerie Krinzinger in Vienna, Austria; no I didn't go to any museums here I hate museums museums are just stores that charge you to come in there are lots of free museums here but they have names like real stores at Maryam Nassir Zadeh in New York City, NY; attainable excellence at AMOA - Arthouse in Austin, TX; and, most recently, somebody place at Lisa Cooley in Dallas, TX.

«One knows that, by some accidental brushmarks, suddenly appearance comes in with a vividness that no accepted way of doing things would have brought about» — Francis Bacon This, according to Francis Bacon, is «the mystery of appearance in the mystery of making» — the title and structuring concept for the major new exhibition of -LSB-...]

With the upcoming exhibition of Pedro Matos «Reality Show» this Friday in Lisboa, comes also a special studio visit done in the past months...

With the upcoming exhibition of Pedro Matos «Reality Show» this Friday in Lisboa, comes also a special studio visit done in the past months with the help of Pedro S.R..

So not unlike projects I had done in the past that came from writing, this exhibition was born from an essay that I was asked to write for the 2006 Whitney Biennial, Day For Night, where there was an assignment to address ideas of the underground and the alternative space.

So although I did several group exhibitions at Thread Waxing Space that I feel really proud of, exhibitions that were in conversation with exhibitions that had come before, such as Christian Leigh's I am the Annunciator, I wanted to talk back to certain curatorial strategies.

2005 Experiencing Duration, Biennale d'art Contemporain de Lyon, Lyon, France Ten Year Anniversary Exhibition, Stephen Friedman Gallery, London, England Ecos y Contrastes, Museo de Arte y Diseño Contemporáneo, San José, Costa Rica Colleció Fundació La Caixa - 20 anys amb l'art contemporani, Caixa Forum, Barcelona, Spain Tropicalia, touring exhibition, Museum of Contemporary Art, Chicago, USA Urban Cocktail, Walker Art Center, Minneapolis, USA Here Comes the Sun, Magasin 3, Stockholm, Sweden Always a Little Further, 51st Biennale di Venezia, Venice, Italy Como é doce morrer no mar, Museu de Arte Contemporânea do Ceará - Centro Dragão do Mar de Arte e Cultura, Fortaleza, Brazil 5th Biennal de Arte do Mercusol, Porto Alegre, Brazil Water Event, The Astrup Fearnley Museum, Oslo, Norway Desenhos: A-Z, Porta 33, Madeira, Portugal EducaExhibition, Stephen Friedman Gallery, London, England Ecos y Contrastes, Museo de Arte y Diseño Contemporáneo, San José, Costa Rica Colleció Fundació La Caixa - 20 anys amb l'art contemporani, Caixa Forum, Barcelona, Spain Tropicalia, touring exhibition, Museum of Contemporary Art, Chicago, USA Urban Cocktail, Walker Art Center, Minneapolis, USA Here Comes the Sun, Magasin 3, Stockholm, Sweden Always a Little Further, 51st Biennale di Venezia, Venice, Italy Como é doce morrer no mar, Museu de Arte Contemporânea do Ceará - Centro Dragão do Mar de Arte e Cultura, Fortaleza, Brazil 5th Biennal de Arte do Mercusol, Porto Alegre, Brazil Water Event, The Astrup Fearnley Museum, Oslo, Norway Desenhos: A-Z, Porta 33, Madeira, Portugal Educaexhibition, Museum of Contemporary Art, Chicago, USA Urban Cocktail, Walker Art Center, Minneapolis, USA Here Comes the Sun, Magasin 3, Stockholm, Sweden Always a Little Further, 51st Biennale di Venezia, Venice, Italy Como é doce morrer no mar, Museu de Arte Contemporânea do Ceará - Centro Dragão do Mar de Arte e Cultura, Fortaleza, Brazil 5th Biennal de Arte do Mercusol, Porto Alegre, Brazil Water Event, The Astrup Fearnley Museum, Oslo, Norway Desenhos: A-Z, Porta 33, Madeira, Portugal Educação, Olha!

Lee Sharrock: Where does the exhibition title «I Rose Madder» come from?

We want to do a long weekend — a citywide exhibition of sorts, bringing in as many artists as are able to come and doing a whole host of activities and events meant to recollect all of the ideas from this two year process.

HR: Did the title of the exhibition, Natures, Natural and Unnatural, come after you were drawn to the works or was the nature motif something you were already thinking about?

Around 2000, as time passed, I started to do more solo shows, and I came up with a lot of conceptual shows that were more about «the rule of the game,» and time - based exhibitions too, like «Do It» and «Cities on the Move,» co-curated with Hou Hanrdo more solo shows, and I came up with a lot of conceptual shows that were more about «the rule of the game,» and time - based exhibitions too, like «Do It» and «Cities on the Move,» co-curated with Hou HanrDo It» and «Cities on the Move,» co-curated with Hou Hanru.

She named an early solo exhibition The Battle of Faith and Doubt, and even if you don't think those terms are a binary, still her reference to the dark night of the soul, as a metaphor for artistic creation, is reminiscent of lines by the poet from Soho and Lambeth — which sounds a lot like Lambent, come to think of it.

They all sat down and agreed to accept, and then came the «challenging» process of deciding what to do for the exhibition.

There's a persistent interest, I think, in giving a context for this material, as when Lynne did this exhibition with Rosemarie Trockel that came to the New Museum here, where it was juxtaposed with the work of someone like Judith Scott, who I presented here at White Columns before I co-curated her retrospective at the Brooklyn Museum.

You're talking about the 1993 exhibition you did together at the Kunsthalle Wien, «The Broken Mirror: Positions in Painting» — how did that show come together?

WHITEWALL: How did the idea of a show focused on Kusama's «Infinity Mirror Rooms» rather than, say, a survey exhibition, come about?

My arrival to the MAC's came by way of an invitation by the museum director and the education department, who were familiar with my artwork and wanted me to do a residency and mount an exhibition of my time there.

It does this primarily through support of Hockney projects — he has four major exhibitions scheduled in the coming year, as he turns 80.

Sarah Cain was featured in the Pizzuti Collection's exhibition, NOW - ISM: Abstraction Today and will be doing a site - specific installation coming in 2018.

The exhibition did three things: firstly, like other subsequent Asian biennials, it contributed to the «normalisation» of installation: film, video and performance becoming the dominant strand of contem - porary art, with curatorial validation and the exhibition opportunities that came with the emerging biennial circuit.

«The [last day of the] first exhibition in the Do You Know Where Your Art Comes From?

Since the African - American women Thomas portrays in her paintings are in control and decidedly done up — dressed to the nines and posed in studio spaces full of busy fabrics — there's clearly an ironic twist in the exhibition title, She's Come Undone!

Whilst she's not really one for the shows and exhibitions crowd, she always comes up with active projects and startling stories that tread the fine line of alegality — responding to issues through making and doing some rather than pointing a finger at them.

Ironically, Mthethwa, a dandyish figure who came to international prominence in 1999 after his work was included in the exhibition «Liberated Voices» (1999) at the Museum for African Art in New York, has done much the same.

On the heels of Mickalene Thomas's widely screened HBO documentary Happy Birthday to a Beautiful Woman (2012) comes «I was born to do great things,» yet another heartfelt exhibition dedicated to Sandra Bush, Thomas's late mother and longtime muse.

The exhibition features works with quirky, unexpected titles, like «A Fatigue Always Comes with a Dream», «Only the Turtle Does Not Know about Our Weekends», and «The Hardship is Whispering Hope».

People are waiting to see what Tate Britain will do with its collection of Turner paintings to warrant the entrance fee to «Late Turner» (opening 10 September), and also to see which of Britain's cherished Old Masters will come out on top when the V&A opens its Constable exhibition 10 days later (20 September).

The exhibition came about because there were so many shows that I've done that have dealt technology in a really narrow sense.

But given artists like Kulendran Thomas» embrace of the inevitable in the Absolute Bearing collaborative exhibition with Annika Kuhlmann and Jesse Darling, and the concerns of urban displacement in the Woolley - curated K.I.S.S. group exhibition, the title's allusion to a sort of drill for the coming precarity might have something to do with it.

While the objects in this exhibition do not seem to share any formal or technical common denominator, they nevertheless coalesce into a narrative about the development of craft, particularly as it came into being in the United States during the postwar period.

The Lowry exhibition, scheduled for June 2013, has received the most attention as it comes after critics lampooned the Tate for not displaying its collection of his paintings, and arguing that if they continued to do so the works should be sold.

While Wesselmann had a touring museum retrospective two years ago, that exhibition did not come to New York.

Their exhibition did not have a title, but the word lessness came to serve a quasi-titular function, invoked in all the reviews and acting as a polestar orienting critical response.

I've never been able to come up with a top ten list of exhibitions; big, lasting ideas don't always take place in art on the wall.

Caudill: They don't come to the exhibitions.

So why does her last decade appear to be neglected by the big Hepworth exhibition coming to Tate Britain this year?