Sentences with phrase «do exhibitions there»

How did you come to do the exhibition there, with its attendant studies?

I did an exhibition there in the late»80s with Louise Lawler and John Knight.

Not exact matches

No matter what time of year you visit San Francisco, there are always plenty of things to do, from concerts to festivals to art exhibitions.

When in history there has been any exhibition of spiritual nobility, some soul standing strong in stormy days, whether in humble duty - doing or in the Garden of Gethsemane, there you find a soul saying, I must.

While you are there, don't forget to check out the Shinique Smith exhibition too!

Even if you don't make it to the ICA tomorrow, there are lots of interesting upcoming events, performances, and exhibitions.

One thing didn't change was my annual date with Raffles College of Design and Commerce — I attended the college's graduate exhibition and runway show in December, and boy, there were so many cute things I wanted to wear for the New Year!

It doesn't matter if you're both are as far from science as New York from Sidney, the exhibition there is made in such a way with lots of visual effects that everything looks incredibly impressive.

There are so many things to do in this city: Private parties, art exhibition, musical extravaganza, gallery walk, book launch and so on.

Another thing that tha wold be nice would be create your own Event and after a match in Exhibition Mode it would be nice to be able to choose another figter instead of just Rematch and Quit (wich takes you back to the star meny and you have to choose sides everything again) But well no game is perfect and other then some minor thing here and there THQ has done a awesome job, after all it's their first try to make a MMA game on a next gen console.

In fact, there was so much business being done that the exhibition floor was still buzzing as late as Friday afternoon, the final day of the show.

There are many activities to do and see such as swimming, walking paths, art exhibitions, film festivals!

Worlds away from uninspiring exhibitions, there are lots of fun things to do here, from discovering dinosaurs and Formula One cars to playing with indoor hot air balloons.

After your meal, head to one of the many performances or exhibitions — there's plenty to see and do, year - round.

BTM Exhibition director Paul Robin commented: «We are excited by the business opportunities the co-location with WTM gives our clients, but the good news doesn't end there.

Another thing that tha wold be nice would be create your own Event and after a match in Exhibition Mode it would be nice to be able to choose another figter instead of just Rematch and Quit (wich takes you back to the star meny and you have to choose sides everything again) But well no game is perfect and other then some minor thing here and there THQ has done a awesome job, after all it's their first try to make a MMA game on a next gen console.

For a more casual experience, there's a private 1vs1 mode, and an Exhibition 3v3 mode, although that's unranked and doesn't provide rewards.

It doesn't end there, the exhibition also walks through the world of consoles from the first console to ever be released, «The Brown Box» (1968) to hand held consoles such as the original Nintendo Gameboy (1989).

This game is fun as hell, the exhibition mode is fun (with friends), classic fights are a good way to get someone who wasn't into MMA interested in it (e.g. me) Career mode is fun but the problem is that you don't age is kinda dumb to be honest, you're «CRED» has no real purpose other than to get you new equipment, sponsors, sparring partners and opportunities to increase your «CRED» the controls are confusing to someone who's never played a game like this A.K.A me but I'll give it credit for innovation, you can go to training camps which upgrade you're striking and grappling which gives you new moves, their is a few exploits in the game No. 1 if you manage to get all the sponsors you can use them in create a fighter (which by the way has a decent enough amount of options) you can put all of the sponors that give the most cred and get everything easily and I mean everything No. 2 when you go to a training camp all you have to do is watch two demonstrations by the camp fighter and you have full stamina No. 3 any fighter you can beat within a minute of the first round you can beat a few times and shoot up the ranks, the music is good but you'll soon get sick of it and turn it off cause it repeats itself soo often, they didn't add intro walks, music and cage entries which would've made you feel more like an actual UFC fighter, but overall its a fun game but there's a few missed opportunities and not many fighting styles to choose from but rent it if you are curious about the game.

I want to use them for presents and maybe next time when I do an exhibition in the market house gallery (that is a Saturday morning only free space for Limerick Art Society members) I try the cushions there, too.

Julian Cox, co-curator of the exhibition, believes Mandel did not become better known because «she was a very private person, very modest by nature, and she really created her greatest work before there was such a thing as an art market for photography.

Frankly I wish there were more inclusions by living artists like Milton Resnick, John Griefen, William Pettet, Dan Christensen, and Ronald Davis» Music Series and I'd like to see the museum do an in depth expansion of this exhibition.

In 2011, Thomas did a residency at Claude Monet's home in Giverny, France, and the works inspired by her time there are featured in this exhibition.

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.

This Gemini nature of Eisenman's sensibility is well demonstrated by this mid-career exhibition, though one has to ask: who does Eisenman battle if not her own mark — are there any stakes for the viewer outside of this solo encounter?

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.

Of course, for those with long memories, there was the Whitechapel Gallery exhibition of 1991, but though it provided the impetus for the belated honour, it seemed to do little to bring the paintings of Richard Diebenkorn into the public realm.

The solo exhibition will feature work from several of Hanzlová's photographic projects, including Rokytnik and Forest, taken in the Czech village and surrounding forest where the artist grew up; Cotton Rose, taken in Gifu, Japan; as well as the artist's three most recent series, Horses, Flowers and There Is Something I Don't Know.

It of course helped that Jim had written an essay for an exhibition I did about five years ago, and in it there was a passage about one of my small paintings, which I'd always thought was just so fabulous.

In the ones on exhibition at Algus Greenspon, he seems to have upped the requirements and ultimately the stakes, becoming both more meticulous and more rigorous; there is no other way he could have made the linear weave paintings he did between 1980 and ’83 without such intense concentration.

Because she feels there is so much interesting and exciting work being done today in photography and because part of Viridian's mission is to give exposure to outstanding under - known artists, the gallery's director, Vernita Nemec, selected the images of twenty - five photographers not selected by Blessing to be shown in an ongoing Power Point presentation during the exhibition.

It basically let me curate solo exhibitions in the space, so people don't just see one piece by an artist here and there in a mishmash, but can see a solo exhibit of Jon Rafman, a solo exhibit of Chris Hood, a solo exhibit of Charlie Billingham, a solo exhibit of Oscar Murillo.

It's not his first time at the gallery, having previously held his Brixton 28s exhibition there last year, and though no concrete information is given about the nature of the upcoming solo show, Blunt fans can expect the standard discomfiting weirdness that colours much of what he does.

There is nothing quite like walking into a new exhibition and letting yourself be guided by the rush of curiosity from seeing an artwork that shocks, confuses, intrigues, or maybe does all of the above.

«There is a certain logic that an exhibition program ends after an acquisition program does.

Craig - Martin said his first response to being asked to curate the enormous show was that he «didn't want to do it at all», adding: «There are few exhibitions of this scale so it is very demanding to look at and it is very demanding to hang and can be very demanding to make sense of without collapsing into a sense of confusion.»

While the minimal tightness of the show does justice to the tenets of well - edited exhibitions, there is a lot that goes unexplored.

The 1951 three - panel White Painting is believed to have been painted over almost immediately as Untitled [matte black triptych](ca. 1951, fig. 2).6 In fact, there is no exhibition history or any other evidence to indicate that White Painting [three panel] was extant between 1951 and 1968; 7 in those years, most of the original White Paintings had slipped out of existence, their canvases used as the supports for other pieces.8 Though artists throughout history have created new works on used canvases, Rauschenberg did so with an unusual frequency and ease, particularly in the early 1950s.9 Looking back at that period some ten years later, he commented, «Today I wouldn't do that....

So we thought it would be interesting to do an exhibition where we showed these different positions, but not as a staged show — in the «80s there were a lot of staged shows, like Kasper himself had done «From Here Out» [a 1984 survey of «two months of new German art»]-- but rather as a quite nonhierarchical exhibition where it would just be a couple of paintings by each artist.

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.

Although there is clearly a degree of parody in the exhibition's premise, the show's curators emphasize that they do not bode any hostility towards these types of lists.

There could be deeper psychoanalytics at work, as the exhibition title does recall award - winning 2002 British documentary series The Century of the Self, which focused on Freud (both pater and filia) and PR pioneer Edward Bernays» influence on corporations and governments in public «suggestion».

While there is no immediately apparent connection between the works, they do allude to the larger conversation between the collector, the artists, the collection, the institution, the exhibition, and the curator: histories and entanglements that Exhibitionism ultimately seeks to explore.

There are also forays into iPhone photography, many of which do not sit well with the exhibition's overall cosmic dimensions, although Utah (2017) is an exception, a large - scale recreation of a smartphone snap taken from a moving vehicle, prefab houses blurred and telegraph poles smeared into digital glitches across the desert mountains.

My one regret is that there are no paintings done after 1974 included in the exhibition; this is where, I believe, he put everything together.

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.

From Wednesday night's opening exhibition on the work and collaborative legacy of early digital / conceptual artist Alison Knowles at The Graduate Center to Thursday night's absolute must - see double exhibition of Meleko Mokgosi [pictured] at both of Jack Shainman's Chelsea locations there's plenty to see and do.

Did you feel there was a lesser or greater sense of freedom than you might typically have on a group exhibition?

«Every time he went, [Jackson] Pollock would ask him who he was and what he was doing there,» says Achim Borchardt - Hume, director of exhibitions at Tate Modern and co-curator of the new retrospective.

As if it's not already hard to pick among so many things to see and do during the weekend, there's also the Harbour Arts Sculpture Park, the city's first open - air exhibition of its kind!