Sentences with phrase «does your exhibition frame»

Not exact matches

Your upcoming exhibition is framed as «working within the parameters set forth by the structure and progression of Palermo's installation...» How did you and Øvstebø navigate working within Palermo's parameters in the context of the Renaissance Society's distinct space?

«So how does this exhibition get framed within Vancouver?

Last night at Baxter St at the Camera Club of New York's opening of «Do Not Destroy,» California artist Sadie Barnette's first solo exhibition in New York City, Rodney Barnette stood in between two large framed photographs of himself from nearly 50 years ago: one, dressed in the uniform of the U.S. Army before he was sent to fight in Vietnam, and after, outfitted in the black turtleneck, black leather jacket, solidarity - fist button, and black beret that were the de-facto uniform of the Black Panther Party, of whom he was once an organizer.

Solo Exhibitions 2014 God made me extremely creative (in all that I do), Chert, Berlin 2012 Deep down into the Ditch, Chert, Berlin 2010 Frame, Frieze, London A House.

Youth Leadership Council members at Intermedia Arts will facilitate a discussion among youth artists in the gallery framed by the exhibition Hands Up, Don't Shoot — HER and the themes of race, gender, equity, and social justice.

Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art, Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.

Recent exhibitions have included: 2005 «Incorrigible, Sentimental», Filles du Calvaire Brussels; 2006 Terrace London; 2008 «False Friends», Five Years London; 2012 Broadbent London; «Ever Since I Put Your Picture in a Frame», 42 Carlton Place Glasgow; «The Smallest Composite Number», Standpoint London.

Grounded within this historical frame, the exhibition's extensive use of biographical information doesn't feel out of place.

The thirty - five framed photographs in this debut solo exhibition were small and pale, with subjects that don't reveal anything spectacular — and yet the works of Margarete Jakschik, a Polish - born artist who has lived in Germany since 1980, when she was six years old, fascinate at first sight.

With the first displayed serially on a digital photo frame and the latter on slim wooden mantels, their domestic presentation confirms the sense that this exhibition addresses human creative relationships as much as it does rigorous, rehearsed formal experimentation.