Sentences with phrase «does this exhibition further»

How does this exhibition further that legacy?

Not exact matches

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.

You can take this idea one step further and instead of doing an athletic based activity, you can choose a cultural activity, such as an exhibition, visiting a museum or enjoying a live musical performance.

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.»

When all is said and done this enormous exhibition at the Whitney Museum of American Art, The American Century: Art and Culture 1900 - 1950 falls far short of any expectations of experiencing the true greatness of American Art.

They weren't that far off: The L.A. - born pioneer of the Light and Space movement, who is the subject of the gallery's inaugural exhibition, did design the green oasis, from its grassy terrace to the illuminated vines, as well as the skylights inside the galleries and a permanent Skyspace in the conference room.

This could be because the rhetoric of exhibition display was historically more actively engaged within Europe, although the 1969 Whitney Museum exhibition Anti-Illusion: Procedures / Materials did much to further institutional critique in North America.

The exhibition is slated to open in October of 2018, but no further information has been provided on what Bruguera plans to do with the enormous 35,520 square foot space.

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!

It does not help either that running concurrently, at Stella's second home, MoMA, is an exhibition of another painter derailed into sculpture, whose radical beauty has lifted even further, if that were possible, that artist's reputation.

Ebony What do you hope viewers will notice about your part of the exhibition that, so far, critics and commentators have missed?

Addendum begins to do just that by including, ad hoc, additional images, objects, gestures and performance that provide a more complete representation of many of the artists that made up the,,, exhibition, while simultaneously further problematizing the original survey.

Recent exhibitions this past year include A Promise Is A Cloud, Public Art Fund, New York; Structure & Absence, White Cube, London; The Anxiety of Photography, Aspen Art Museum, Aspen, Colorado; To What Earth Does This Sweet Cold Belong, The Power Plant, Toronto, Ontario; and in 2010, Still, Flat and Far, Institute of Contemporary Art, Philadelphia.

Notable solo exhibitions include Iran do Espirito Santo, Pinacoteca do Estado, São Paulo, Brazil (2007); toured to MAXXI (Museo Nazionale delle Arti del XXI Secolo) and a further self - titled show at the Irish Museum of Modern Art, Dublin, Ireland (2006).

However, I took this «conversation» at Pace as my point of departure for further research, and one of the first things I did was check out that Judd exhibition.

But since we haven't had a substantial exhibition of her work in the UK since 1969, when she was shown at the Whitechapel Gallery, engagement of any sort isn't something we've had much of an opportunity to commit to (and the Tate owns no paintings by her, though it does have 38 prints, none of which, as far as I can see, are on display; it owns twice as many, including paintings, by Robert Motherwell, the husband she divorced in 1971).

The exhibition does not claim to be an authority on sofas, birds and knees in photographic history — rather a brief and eccentric tour — hopefully tempting the viewer on to explore further.»

I don't know whether anyone has made a count, but LeWitt probably had more solo exhibitions worldwide than any other artist of his generation, certainly far more than anyone else producing site - specific work.

Not only did Hedrick not attend the 1959 Sixteen Americans opening at the Museum of Modern Art or even go to see the exhibition, he further distanced himself from the mainstream art world by declaring that artists such as Jackson Pollock, Franz Kline, and Robert Motherwell were too firmly rooted in formal traditions.

Culture Shifts, the title of this exhibition collection, does a lot of work in this show; initially it sets out the stall for an underrepresented culture to be pinned up in the gallery, but that's far from the line this exhibition follows.

The pairings in OCMA's exhibition don't go that far in their analysis, instead only skimming the surface of these abstract works.

Since its start in Paris in 1993, do it has become the longest - running and most far - reaching exhibition ever, giving new meaning to the concept of an «exhibition in progress.»

When Lenaghan does paint out of doors, he does not go far; the exhibition includes two views of his backyard, the interior of his garage, and the view from inside the garage looking out.

A unique occasion to explore the genesis of the prolific and irreverent vocabulary of one of contemporary art's most influential figures, this exhibition further presents key elements of an artistic legacy that appear as fresh today as they did when first exhibited.

Since entering the Atlanta art world in 1984, Jerry Cullum has done far too many things, not least among them copyediting until 2011 for Art Papers and curating exhibitions for public and private venues, and has written for far too many publications, from Raw Vision to Material Religion.

Further solo exhibitions in 2015 include the Pinacoteca do Estado, São Paulo; National Gallery of Ireland, Dublin; Palazzo Falier at the Venice Biennale, and the Romanesque chapel Santa Cecília de Montserrat, Barcelona.

It is good to see that Tracy Emin's art is reaching out beyond the confinements of London and starting to engage with those people further afield who do not normally get a chance to see major exhibitions of female contemporary artists.

ÉRIC TRONCY — You had the Americans, you had Bob Nickas, Collins and Milazzo, you had Christian Lee — incredible people, people who revolutionized the way exhibitions were done, far more than Harald Szeemann ever did.

«do it» is an exhibition that has happened in 150 cities so far, and villages all over the world, and it never stopped.

In 1933 he founded the abstract group Unit One, along with fellow artists Henry Moore (1898 - 1986), Barbara Hepworth (1903 - 1975), her husband Ben Nicholson (1894 - 1982), and the critic Herbert Read, and during the following years he staged further exhibitions, as well as doing commercial work.

Ten of the eleven paintings in the exhibition at Cohan were done between 1962 and» 65, overlapping with the art world's further shift away from Abstract Expressionism as it embraced Minimalism, Pop Art, and Color Field painting.

A further three prominent international artists will present their first one - person exhibitions in this country at IMMA in the coming year — the Portuguese artist João Penalva (opening 14 June), whose work, encompassing painting, installation and performance, is often process - based, involving language and narrative; the German photographer Candida Höfer (opening 12 July), whose exquisitely - composed photographs will present the results of a working visit to Dublin, and Iran do Espírito Santo (opening 8 November), one of Brazil's most interesting contemporary artists, best known for his sensual minimalist works dealing with structure, design and space.

Now, do it has become the longest - running and most far - reaching exhibition ever, giving new meaning to the concept of the «exhibition in progress.»