Sentences with phrase «earliest piece in the exhibition»

The earliest piece in the exhibition was begun eleven days before 9/11 and the exhibition follows my intuitive trajectory over the last fifteen years, which has allowed me to consider the transforming power of art when it's experienced in different moments and contexts.

The earliest piece in the exhibition, a black ski mask the artist pulled apart and rewove, stares down at the viewer.

The earliest piece in the exhibition, Black Celebration, 1988, is projected in the gallery's center room.

The earliest piece in the exhibition, Black Celebration (1988), is projected in the gallery's center room.

Not exact matches

This solo exhibition is the first in Japan to offer a true overview of Suh's career to date, from early efforts to latest pieces.

On view in P.S. 1's second floor galleries, the exhibition includes six works from the early 1970s and one contemporary piece.

The exhibition consists important bodies of new «Strip», «Flow» and «Doppelgrau» paintings, the show will also include a large glass sculpture and a selection of key earlier pieces that help the viewer to understand his course in the art world.

Arcangel's exhibition in Bergamo, This is all so crazy, everybody seems so famous, includes a further 20 pool noodle works, as well as a new carpet piece, early modified computer games and four of his recent Lake works (reflective, meditative flatscreen videos), all of which will be presented in the historic Sala de Giuristi, the oldest municipal building in Italy.

Select pieces in the exhibition were created for LG's «The Art of the Pixel» nationwide competition held earlier this year.

This exhibition will feature key works from the Museum's collection, including sculptures in stone, a selection documenting Noguchi's experimentation with stainless steel and aluminum sculptures from the 1950s, as well as rarely shown pieces from the early 1940s incorporating string and wood elements.

This is the first major solo exhibition of Mona Hatoum's work in the UK and displays early sketches through to more recent pieces.

The exhibition also features First Sounds (2012), a piece Tang created in collaboration with astronomer Mark Whittle, who used computer calculations rooted in the Cosmic Microwave Background data to recreate the fundamental tone and higher harmonics of the sound of the early universe.

Strategically placed in the upper level of the gallery, the exhibition avoids a dull chronology of highlighting these earlier pieces, managing to truly focus on the core of Chung's creative output.

James Cohan Gallery opened in New York City in September 1999 with an inaugural exhibition of early photo - pieces by Gilbert & George.

This second exhibition of Wynne's work at the gallery presents new mirrored - glass words and revisits early mixed - media pieces that contextualize his long - standing interest in, and engagement with text.

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..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..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..in the early 1950s.9 Looking back at that period some ten years later, he commented, «Today I wouldn't do that....

Presented publicly for the first time in an accompanying special exhibition at the Deutsche Guggenheim in Berlin, this new work is shown alongside earlier pieces — both black - and - white photographs as well as transparencies mounted in light boxes — to create an ensemble that resonates formally and thematically.

Highlighting Qatari artist Yousef Ahmad's most striking artworks, from 1970s to today, this exhibition showcased three phases in Ahmad's artistic career, from early oil paintings to mixed media calligraphic pieces, to his latest contemporary pieces derived from the medium he creates.

The lure of the current Robert Barry survey exhibition at the Mary Boone Gallery in West Chelsea begins with an early conceptual piece from the artist's Psychic Series (1969).

Included in the exhibition are newly commissioned artworks by Nathan Carter, Marlo Pascual, David Thorpe, and Garth Weiser, plus significant earlier pieces of Henning Bohl, Matthew Brannon, Jeff Burton, Jason Dodge, Trisha Donnelly, Geoffrey Farmer, Liam Gillick, Annika von Hausswolff, Brain Jungen, Jonathan Monk, Diego Perrone, Julia Schmidt, Simon Starling, Gabriel Vormstein and Johannes Wohnseifer.

This is the first major solo exhibition of the artist's work in the UK and displays early sketches through to more recent pieces.

Tonight's exhibition brings back several artists who participated in 2014, including Ted Brusubardis — whose piece Pacel Galvu became one of the best short videos I've experienced in many moons when it was shown in an appropriately darkened room at Portrait Society Gallery earlier this year — Adam Carr, Sara Condo, Cathy Cook, Paul Druecke, Kim Miller, Andrew Swant, Wes Tank, Xav Leplae, and co-organizer Marla Sanvick.

An early work in the Pace exhibition, M - Violet - M (1965), a monochrome painting on an irregular piece of plywood, is spare in the extreme.

In addition to Benglis's extraordinary poured latex pieces from the 1960s and 1970s, drawing on themes from her childhood and her Greek roots, the exhibition includes early bronze casts, wax reliefs, and videos, revealing the creative universe of an artist who has radically reinvented the language of contemporary sculpture.

This is perhaps most evident in the artist's practice of incorporating parts of earlier works into newer pieces, including several of the works on view in the current exhibition.

The exhibition, which extends on over 1,000 square meters, presents pieces made by the Swiss artist in over forty years, from her early works of the»80s to the installation Pixelwald, expressly conceived for the Kunsthaus Zurich, a dreamlike constantly - changing forest composed by 3000 LED lamps suspended on wires, a «screen exploding in space» as Rist herself defined it.

This solo exhibition showcases a new Garry Fabian Miller tapestry created in collaboration with Dovecot Tapestry Studio, placing it within Garry Fabian Miller's recent body of work as well as tracing back long term influences through key early pieces from the artist's career.

Exhibition «Keys to a Passion» held from 1st April to 6 July 2015 at Fondation Louis Vuitton gathered many an iconic piece, lent by the greatest museums and private collections in the world, so bold and daring at the time they were created they marked a turning point in the history of art in the early 20th century: from Monet, Mondrian and Hodler to Malevitch and Rothko, from Bonnard to Picasso, from Munch to Giacometti and Bacon, from Delaunay and Léger to Picabia, from Matisse and Kupka to Kandinsky...

The exhibition explores all facets of Callahan's rich contribution to 20th - century American art from his earliest work made in Detroit during World War II, to photographs made in Chicago in the late 1940s and 1950s, to works made in Providence in the 1960s and 1970s, to his final pieces made during travels around the world in the later 1970s, 1980s, and 1990s.

Some of Broodthaers's earliest pieces, which were on display in the exhibition's second gallery, take national identity as their key subject, while simultaneously portraying the artist as subject to his national identity.

Opening: Lorraine O'Grady at Alexander Gray Associates This exhibition focuses on two early projects: the performance art piece Rivers, First Draft and her first collage series Cutting Out The New York Times, showcasing «the artist's nuanced perspectives on art history — specifically Dada and Surrealism — and the topical issues of the late - 1970s and early 1980s, when Multiculturalism and Feminism were articulated and tested in the art world,» according to a press release.

Anchoring the exhibition are two iconic works from the 1960's: Robert Morris» Box with the Sound of Its Own Making (1961), a seminal piece from early process - based art and Joseph Beuys» multiple Ja ja ja ja ja nee nee nee nee nee (1969), a stack of felt with an audio tape in its center that plays Beuys chanting the German words for «yes and no,» thereby muffling the potential for discourse.

The exhibition brings together around 170 pieces, including watercolours, gouaches, luminous reliefs, collages, paintings, mobiles, sculptures and interdisciplinary projects, in addition to a documentary section on the period stretching from 1949 to the early 1980s.

The Guggenheim Museum in New York, which is organized a touring Richard Prince retrospective, also dates the artist's career from 1980 on its Web site: «Since his first solo exhibition, at Artists Space in New York in 1980...» In this, the Guggenheim is following the lead of the Whitney Museum of American Art, which staged the last retrospective of Prince in 1992 and did not include a single early work by the artist, although a few mid-1970s pieces were mentioned in the cataloguin New York, which is organized a touring Richard Prince retrospective, also dates the artist's career from 1980 on its Web site: «Since his first solo exhibition, at Artists Space in New York in 1980...» In this, the Guggenheim is following the lead of the Whitney Museum of American Art, which staged the last retrospective of Prince in 1992 and did not include a single early work by the artist, although a few mid-1970s pieces were mentioned in the cataloguin New York in 1980...» In this, the Guggenheim is following the lead of the Whitney Museum of American Art, which staged the last retrospective of Prince in 1992 and did not include a single early work by the artist, although a few mid-1970s pieces were mentioned in the cataloguin 1980...» In this, the Guggenheim is following the lead of the Whitney Museum of American Art, which staged the last retrospective of Prince in 1992 and did not include a single early work by the artist, although a few mid-1970s pieces were mentioned in the cataloguIn this, the Guggenheim is following the lead of the Whitney Museum of American Art, which staged the last retrospective of Prince in 1992 and did not include a single early work by the artist, although a few mid-1970s pieces were mentioned in the cataloguin 1992 and did not include a single early work by the artist, although a few mid-1970s pieces were mentioned in the cataloguin the catalogue.

The current exhibition of paintings and drawings includes early pieces, as well as examples from two bodies of work that he made after he left Pace Gallery in 1972.

Two main exhibition galleries were filled with monumental altar pieces, life - size portraits, some of the earliest still - life paintings in Europe, full - length carved and painted wooden sculptures of Spanish saints and more than 50 pieces of Spanish glass and ceramics.

Magnetic Fields features early - and later - career works, pieces from specific series, several exhibited for the first time, and the long - awaited reappearance of iconic works such as Mavis Pusey's large - scale painting Dejygea (1970) from the Whitney Museum of American Art's 1971 exhibition Contemporary Black Artists in America.

In her exhibition at Lisson Gallery, Susan Hiller wpresents a number of recently discovered early pieces as well as celebrated classics and new works made this year.

This exhibition will also include early pieces in neon and mixed media and two sculptures from his Tesla series, which have not been shown in over fifteen years.

GILBERT & GEORGE: DRINKING PIECES & VIDEO SCULPTURES, 1972 - 1973: This exhibition set in the ground floor Ely Gallery brings together a group of «Drinking Pieces» and «Video Sculpture» dating from the early PIECES & VIDEO SCULPTURES, 1972 - 1973: This exhibition set in the ground floor Ely Gallery brings together a group of «Drinking Pieces» and «Video Sculpture» dating from the early Pieces» and «Video Sculpture» dating from the early 1970s.

For the diptych Trails, previously exhibited earlier this year in her inaugural solo exhibition at Whitespace, Dowda inserts a circular piece of convex black glass known as a Claude glass (or, more simply, a black mirror) between two large prints showing shadowy landscapes.

Distorted in such a way that they resemble Edvard Munch's iconic angst - ridden expressionist piece «The Scream» (1893)(also the subject on an earlier Tal exhibition Damage Control at Lima Zulu last year), «Cityscape Pictures (1, 2)» become what the artist calls «a sardonic re-activation of this idea of speed and modernity that such images rely on and work on emotionally».

Developed for or adapted to the catalogue's format, these projects reflect the status of the exhibition at an early stage and serve to complement and augment the pieces shown in the museum itself.

In the artist's debut exhibition at Lisson Gallery, Hiller is presenting a number of recently discovered early pieces as well as celebrated classics and new works made this year.

The exhibition at Slought is unique in that it will consist of new and reformulated installations by Gary Hill, many of which are being shown for the first time in a gallery exhibition context, and includes a rare showing of some of his early pieces.

The museum's contemporary collection consists of over 5,500 works and is defined as holdings dating from 1970 to the present, although some earlier pieces which would have set the stage for artists working in the subsequent decades are also included in this exhibition, including a 1967 ink drawing by Eva Hesse and a 1959 Robert Ryman painting.

Together with a number of wall objects, sculptures and early drawings by Donald Judd, the exhibition will show early Baltz photographs from The Prototype Works and from the 25 - piece The Tract Houses that were first exhibited in 1971 at Leo Castelli.

2006 The Downtown Show, The New York Art Scene 1974 - 1984, New York University Grey Art Gallery, New York, US Onestar Shop by Hans Schabus, Art Metropole, Toronto, CA Public Space / Two Audiences, Works and Documents from the Herbert Collection, Museu d'Art Contemporani de Barcelona, ES Draft Deceit, Kunstnernes Hus, NO Location Shots, Galerie Erna Hecey, Brussels, BE Pierre Huyghe: Celebration Park, Musée d'Art Moderne de la Ville de Paris / ARC, FR Cerealart, Cerealart Lounge Pier 90, The Armory Show, New York, US Artists for Chinati, Phillips de Pury & Company, New York, US The Early Show: Video from 1969 - 1979, curated by Constance De Jong, The Bertha and Karl Leubsdorf Art Gallery at Hunter College, New York, US Onestar Press, The First Five Years, The Engholm Engelhorn Gallerie, Vienna, AT Message Personnel, Yvon Lambert, Paris, FR Not Quite Ten Years Without Martin Kippenberger, a project by Chris Hamond, Bar MOT for Kippenberger (MOT), London, UK That Was Then This Is Now, De Appel, Amsterdam, NL Czesław Miłosz / To Allen Ginsberg, Dvir Gallery, Tel - Aviv, IL Mental Image - Wortwerke und Textbilder, Kunstverein St. Gallen Kunstmuseum, CH Conceptual Comics, curated by AA Bronson, Max Schumann, Walter Phillips Gallery at the Banff Centre for the Arts, Banff Alberta, CA Libri Books Bücher, Museo D'Arte Contemporanea, Rivoli (Torino), IT The Shape of Sound, Radio Arte Mobile, Sound Art Museum, Rome, IT Wall Works - Sol LeWitt, C.A. Swintak, Lawrence Weiner, Art Gallery of Ontario, Toronto, Ontario, CA I: An Exhibition in Three Acts, Futura Gallery, Prague, CZ I Will Not Make Any More Boring Art, Lithographs, Publications and Ephemera from The Nova Scotia College of Art & Design, Printed Matter, Inc., New York, US On the Ball, Galerie Anselm Dreher, Berlin, DE Group Exhibition, curated by Peter Kogler, Galerie Mezzanin, Vienna, AT The Title As The Curator's Art Piece, A Summer Show by Mathieu Copeland (spoken word exhibition), Blow de la Barra, London, UK Into Me / Out Of Me, curated Klaus Bisenbach, P.S. 1 Contemporary Art Center, Long Island City, New York, US; KW Institute for Contemporary Art, Berlin, DE A Bit Of Matter And A Little Bit More, screening Turtle, curated by Michael Shamberg, Chelsea Space, London, UK Moving On: Motion, Galerie Thomas Schulte, Berlin, DE The Known and the Unknown, Gallerie Nicolai Wallner, Copenhagen, DK As If By Magic, Bethlehem Peace Center, West Bank & Art School Palestine, Palestine, IL The Materialization of Sensibility: Art & Alchemy, Leslie Tonkonow Gallery, New York, US The Urban Forest Project, Times Square Information Station, Times Square, New York, US Word, curated by L. Brandon Krall, Deborah Colton Gallery, New York, US Printemps de Septembre, Toulouse, curated by Jean - Marc Bustamante, City of Toulouse, FR Contraband, curated by Carolina Grau, Galeria Luisa Strina, São Paulo, BR São Paulo Bienale, Escola São Paulo, São Paulo, BR Busy Going Crazy, collection Sylvio Perlstein, La Maison Rouge, Paris, FR The RxArt Ball, New York, US The Title As The Curator's Art Piece (spoken word exhibition) curated by Matthieu Copeland, Blow de la Barra, London, UK Concrete Language, Contemporary Art Gallery, Vancouver, CA Project 2023 - Arteast Collection 2000 +23, Moderna Galerija Ljubljana, SL Break Even, Andrew Roth Gallery, New York, US Open, CCS Bard Hessel Museum, Annandale - on - Hudson, New York, US Wrestle, CCS Bard Hessel Museum, Annadale - on - Hudson, New York, US Ideal City - Invisible Cities, curated by Sabrina von der Ley & Markus Richter, Europe Projects, Zamość, PL Into A Journey, Meyer Riegger, Karlsruhe, DE Magritte and Contemporary Art: The Treachery Of Images, designed by John Baldessari, LACMA, Los Angeles, California, US Art Metropole: The Top 100, National Gallery of Canada, Ottawa, CA Poster, Paula Cooper Gallery, New York, US Pandora's Reisen, Brigitte March Galerie, Stuttgart, DE Dedica - 20 Anni Della Galleria Alfonso Artiaco, curated by Julia Draganovic, Palazzo delle Arti Napoli, Naples, IT Good Riddance, curated by Claire Davies & Sam Gathercole, MOT, London, UK Art in America: 300 Years of Innovation, curated by Susan Davidson, National Art Museum of China (NAMOC), Beijing, CN Not For Sale, curated by Alanna Heiss, P.S. 1 Contemporary Art Center, New York, US Il Faut Rendre À Cézanne, The Collection Lambert, AExhibition in Three Acts, Futura Gallery, Prague, CZ I Will Not Make Any More Boring Art, Lithographs, Publications and Ephemera from The Nova Scotia College of Art & Design, Printed Matter, Inc., New York, US On the Ball, Galerie Anselm Dreher, Berlin, DE Group Exhibition, curated by Peter Kogler, Galerie Mezzanin, Vienna, AT The Title As The Curator's Art Piece, A Summer Show by Mathieu Copeland (spoken word exhibition), Blow de la Barra, London, UK Into Me / Out Of Me, curated Klaus Bisenbach, P.S. 1 Contemporary Art Center, Long Island City, New York, US; KW Institute for Contemporary Art, Berlin, DE A Bit Of Matter And A Little Bit More, screening Turtle, curated by Michael Shamberg, Chelsea Space, London, UK Moving On: Motion, Galerie Thomas Schulte, Berlin, DE The Known and the Unknown, Gallerie Nicolai Wallner, Copenhagen, DK As If By Magic, Bethlehem Peace Center, West Bank & Art School Palestine, Palestine, IL The Materialization of Sensibility: Art & Alchemy, Leslie Tonkonow Gallery, New York, US The Urban Forest Project, Times Square Information Station, Times Square, New York, US Word, curated by L. Brandon Krall, Deborah Colton Gallery, New York, US Printemps de Septembre, Toulouse, curated by Jean - Marc Bustamante, City of Toulouse, FR Contraband, curated by Carolina Grau, Galeria Luisa Strina, São Paulo, BR São Paulo Bienale, Escola São Paulo, São Paulo, BR Busy Going Crazy, collection Sylvio Perlstein, La Maison Rouge, Paris, FR The RxArt Ball, New York, US The Title As The Curator's Art Piece (spoken word exhibition) curated by Matthieu Copeland, Blow de la Barra, London, UK Concrete Language, Contemporary Art Gallery, Vancouver, CA Project 2023 - Arteast Collection 2000 +23, Moderna Galerija Ljubljana, SL Break Even, Andrew Roth Gallery, New York, US Open, CCS Bard Hessel Museum, Annandale - on - Hudson, New York, US Wrestle, CCS Bard Hessel Museum, Annadale - on - Hudson, New York, US Ideal City - Invisible Cities, curated by Sabrina von der Ley & Markus Richter, Europe Projects, Zamość, PL Into A Journey, Meyer Riegger, Karlsruhe, DE Magritte and Contemporary Art: The Treachery Of Images, designed by John Baldessari, LACMA, Los Angeles, California, US Art Metropole: The Top 100, National Gallery of Canada, Ottawa, CA Poster, Paula Cooper Gallery, New York, US Pandora's Reisen, Brigitte March Galerie, Stuttgart, DE Dedica - 20 Anni Della Galleria Alfonso Artiaco, curated by Julia Draganovic, Palazzo delle Arti Napoli, Naples, IT Good Riddance, curated by Claire Davies & Sam Gathercole, MOT, London, UK Art in America: 300 Years of Innovation, curated by Susan Davidson, National Art Museum of China (NAMOC), Beijing, CN Not For Sale, curated by Alanna Heiss, P.S. 1 Contemporary Art Center, New York, US Il Faut Rendre À Cézanne, The Collection Lambert, AExhibition, curated by Peter Kogler, Galerie Mezzanin, Vienna, AT The Title As The Curator's Art Piece, A Summer Show by Mathieu Copeland (spoken word exhibition), Blow de la Barra, London, UK Into Me / Out Of Me, curated Klaus Bisenbach, P.S. 1 Contemporary Art Center, Long Island City, New York, US; KW Institute for Contemporary Art, Berlin, DE A Bit Of Matter And A Little Bit More, screening Turtle, curated by Michael Shamberg, Chelsea Space, London, UK Moving On: Motion, Galerie Thomas Schulte, Berlin, DE The Known and the Unknown, Gallerie Nicolai Wallner, Copenhagen, DK As If By Magic, Bethlehem Peace Center, West Bank & Art School Palestine, Palestine, IL The Materialization of Sensibility: Art & Alchemy, Leslie Tonkonow Gallery, New York, US The Urban Forest Project, Times Square Information Station, Times Square, New York, US Word, curated by L. Brandon Krall, Deborah Colton Gallery, New York, US Printemps de Septembre, Toulouse, curated by Jean - Marc Bustamante, City of Toulouse, FR Contraband, curated by Carolina Grau, Galeria Luisa Strina, São Paulo, BR São Paulo Bienale, Escola São Paulo, São Paulo, BR Busy Going Crazy, collection Sylvio Perlstein, La Maison Rouge, Paris, FR The RxArt Ball, New York, US The Title As The Curator's Art Piece (spoken word exhibition) curated by Matthieu Copeland, Blow de la Barra, London, UK Concrete Language, Contemporary Art Gallery, Vancouver, CA Project 2023 - Arteast Collection 2000 +23, Moderna Galerija Ljubljana, SL Break Even, Andrew Roth Gallery, New York, US Open, CCS Bard Hessel Museum, Annandale - on - Hudson, New York, US Wrestle, CCS Bard Hessel Museum, Annadale - on - Hudson, New York, US Ideal City - Invisible Cities, curated by Sabrina von der Ley & Markus Richter, Europe Projects, Zamość, PL Into A Journey, Meyer Riegger, Karlsruhe, DE Magritte and Contemporary Art: The Treachery Of Images, designed by John Baldessari, LACMA, Los Angeles, California, US Art Metropole: The Top 100, National Gallery of Canada, Ottawa, CA Poster, Paula Cooper Gallery, New York, US Pandora's Reisen, Brigitte March Galerie, Stuttgart, DE Dedica - 20 Anni Della Galleria Alfonso Artiaco, curated by Julia Draganovic, Palazzo delle Arti Napoli, Naples, IT Good Riddance, curated by Claire Davies & Sam Gathercole, MOT, London, UK Art in America: 300 Years of Innovation, curated by Susan Davidson, National Art Museum of China (NAMOC), Beijing, CN Not For Sale, curated by Alanna Heiss, P.S. 1 Contemporary Art Center, New York, US Il Faut Rendre À Cézanne, The Collection Lambert, Aexhibition), Blow de la Barra, London, UK Into Me / Out Of Me, curated Klaus Bisenbach, P.S. 1 Contemporary Art Center, Long Island City, New York, US; KW Institute for Contemporary Art, Berlin, DE A Bit Of Matter And A Little Bit More, screening Turtle, curated by Michael Shamberg, Chelsea Space, London, UK Moving On: Motion, Galerie Thomas Schulte, Berlin, DE The Known and the Unknown, Gallerie Nicolai Wallner, Copenhagen, DK As If By Magic, Bethlehem Peace Center, West Bank & Art School Palestine, Palestine, IL The Materialization of Sensibility: Art & Alchemy, Leslie Tonkonow Gallery, New York, US The Urban Forest Project, Times Square Information Station, Times Square, New York, US Word, curated by L. Brandon Krall, Deborah Colton Gallery, New York, US Printemps de Septembre, Toulouse, curated by Jean - Marc Bustamante, City of Toulouse, FR Contraband, curated by Carolina Grau, Galeria Luisa Strina, São Paulo, BR São Paulo Bienale, Escola São Paulo, São Paulo, BR Busy Going Crazy, collection Sylvio Perlstein, La Maison Rouge, Paris, FR The RxArt Ball, New York, US The Title As The Curator's Art Piece (spoken word exhibition) curated by Matthieu Copeland, Blow de la Barra, London, UK Concrete Language, Contemporary Art Gallery, Vancouver, CA Project 2023 - Arteast Collection 2000 +23, Moderna Galerija Ljubljana, SL Break Even, Andrew Roth Gallery, New York, US Open, CCS Bard Hessel Museum, Annandale - on - Hudson, New York, US Wrestle, CCS Bard Hessel Museum, Annadale - on - Hudson, New York, US Ideal City - Invisible Cities, curated by Sabrina von der Ley & Markus Richter, Europe Projects, Zamość, PL Into A Journey, Meyer Riegger, Karlsruhe, DE Magritte and Contemporary Art: The Treachery Of Images, designed by John Baldessari, LACMA, Los Angeles, California, US Art Metropole: The Top 100, National Gallery of Canada, Ottawa, CA Poster, Paula Cooper Gallery, New York, US Pandora's Reisen, Brigitte March Galerie, Stuttgart, DE Dedica - 20 Anni Della Galleria Alfonso Artiaco, curated by Julia Draganovic, Palazzo delle Arti Napoli, Naples, IT Good Riddance, curated by Claire Davies & Sam Gathercole, MOT, London, UK Art in America: 300 Years of Innovation, curated by Susan Davidson, National Art Museum of China (NAMOC), Beijing, CN Not For Sale, curated by Alanna Heiss, P.S. 1 Contemporary Art Center, New York, US Il Faut Rendre À Cézanne, The Collection Lambert, Aexhibition) curated by Matthieu Copeland, Blow de la Barra, London, UK Concrete Language, Contemporary Art Gallery, Vancouver, CA Project 2023 - Arteast Collection 2000 +23, Moderna Galerija Ljubljana, SL Break Even, Andrew Roth Gallery, New York, US Open, CCS Bard Hessel Museum, Annandale - on - Hudson, New York, US Wrestle, CCS Bard Hessel Museum, Annadale - on - Hudson, New York, US Ideal City - Invisible Cities, curated by Sabrina von der Ley & Markus Richter, Europe Projects, Zamość, PL Into A Journey, Meyer Riegger, Karlsruhe, DE Magritte and Contemporary Art: The Treachery Of Images, designed by John Baldessari, LACMA, Los Angeles, California, US Art Metropole: The Top 100, National Gallery of Canada, Ottawa, CA Poster, Paula Cooper Gallery, New York, US Pandora's Reisen, Brigitte March Galerie, Stuttgart, DE Dedica - 20 Anni Della Galleria Alfonso Artiaco, curated by Julia Draganovic, Palazzo delle Arti Napoli, Naples, IT Good Riddance, curated by Claire Davies & Sam Gathercole, MOT, London, UK Art in America: 300 Years of Innovation, curated by Susan Davidson, National Art Museum of China (NAMOC), Beijing, CN Not For Sale, curated by Alanna Heiss, P.S. 1 Contemporary Art Center, New York, US Il Faut Rendre À Cézanne, The Collection Lambert, Avignon, FR

Spanning three floors of the museum, the exhibition provides an overview of the artist's career, from earlier studies and drawings to recent work created in 2015, bringing together several pieces that have never been seen before.

On the occasion of her first solo exhibition, at 106 Green in Greenpoint, Brooklyn, artist Nick Irzyk talked to Campbell about desperate humor, her early performance pieces,... read more... «Karin Campbell's grins and grimaces»