Sentences with phrase «earliest work in the exhibition»

Charlie Was a Sailor also references and underscores earlier works in the exhibition such as Places (2005), which deals with the notions of absence / presence, loss and memory in combination with the exploration of the meaning of «place» and the possibility of rendering this philosophical concept into a work of art, and Places [Lost](2010), which explores places of memory that concentrate meanings, events and fragments of experience.

And the earliest work in the exhibition, Vija Celmins's 1964 painting Heater, sets the glowing red center of an electric space heater amid a field of deep grays — reminding us of the constant, ever - shifting dialogue between hot and cool, color and shadow.

That Mammen absorbed and worked with the dominant artistic styles of the time was obvious even from her early years in Paris and Brussels, and some of the earliest works in the exhibition — shown in the final room so as to contrast with some of her last — demonstrate the influence of symbolism and aestheticism.

The earliest work in the exhibition dates from 1952, the year of his first gallery show (of drawings), at Alexandre Iolas's Hugo Gallery, in New York, and the latest comes from 1962, the year he debuted his Campbell Soup Cans at Ferus Gallery in Los Angeles.

Neel painted Isabetta, 1930, the earliest work in the exhibition, soon after recovering from a nervous breakdown.

The earliest works in the exhibition from the 1960s by the visionary designer Buckminster Fuller, and the Japanese collective, The PLAY provide a further through - line from the»60s countercultural sentiment that artists, designers, and free thinkers could redirect us toward a more sustainable future.

As Williams explains, Diller, born in 1906 in the Bronx, experimented with cubism in the early»30s, as the earliest work in the exhibition, an untitled graphite drawing from 1930, makes clear.

The earliest work in the exhibition, Spehre was created in 1959 when the artist was forty - seven years old.

His modular paintings (first shown in the exhibition Kurgan Waves, at the Canada gallery, New York, in 2006) are composed of single - color canvases installed to create geometric, often overtly figural forms, such as the long - legged, slicker - and - galoshes - wearing The Fisherman's Friend from 2005, one of the earliest works in the exhibition.

The earliest work in the exhibition, John Lennon and Yoko Ono's public art work, War Is Over / If You Want lt (1969), considers ideation as a powerful tool for social change.

One of the earliest works in this exhibition is alternate diagonals of March 2, 1964 (to Don Judd), made shortly after Flavin centred his entire artistic practice on the use of fluorescent light.

The earliest work in the exhibition SOURCE... (1981).

The collaborative sound and painting performance by K.R.H. Sonderborg, Wolfgang Hannen, Günter Christmann and Paul Lovens «in actu music & painting,» created in 1993 and produced by Institute for Music and Acoustics of the Center for Art and Media, ZKM Karlsruhe, Germany, is the earliest work in the exhibition.

The earliest works in this exhibition - a series of simplified torsos that date from 1929, when the artist was still a teen - ager - are the only ones to make any reference to the figure.

These artists» role in Guston's development is evident in the two earliest works in the exhibition, Mother and Child (1930), and Drawing for Conspirators (1930), in which swollen Picassoid figures are located in eerie, vacant cityscapes.

The earliest work in the exhibition is Pablo Picasso's Suite Vollard, a set of etchings that span 1930 to 1937, named after the art dealer who commissioned them, Ambroise Vollard.

The earliest works in the exhibition are rarely seen early paintings, such as East Broadway, which show Stella's absorption of Abstract Expressionism and predilections for bold color and all - over compositions that would appear throughout the artist's career.

The earliest work in our exhibition is a 1961 sculpture formed of a mass of lacquered wire «swelling snowman - style», to use the artist's words, from a central point.

The earliest works in the exhibition are examples of Bloom's «advertisements» of windows for modernist homes, «Crittall Metal Windows» (1972), which the curator, Douglas Ecklund, writes were a manifestation of Bloom's interest in producing an artwork «so certain that it would disappear».

One of the earliest works in the exhibition is alternate diagonals of March 2, 1964 (to Don Judd), made shortly after Flavin centred his entire artistic practice on the use of fluorescent light.

The earliest work in the exhibition, Izhar Patkin's Unveiling of a Modern Chastity (1981), is the artist's response to first observing Kaposi sarcoma on the bodies of fellow patients in medical waiting rooms.

Exemplifying the freeform style of his contemporaries and the expressive aesthetic characteristic to the postwar era, the earliest works in the exhibition, T -1952-3 (1952) and T -1956-23 (1956), feature bold strokes of paint assembled onto colored grounds.

The earliest work in the exhibition is from 1989, the year that Tim Berners - Lee invented the World Wide Web while working at CERN, the European Particle Physics Laboratory outside of Geneva, Switzerland.

Cubes and Anarchy places these acknowledged masterpieces in context with Smith's earlier works in an exhibition that includes sculptures, drawings, paintings, and photographs, many provided by the Estate of David Smith.

The earliest works in the exhibition use biomorphic sh...

The earliest work in this exhibition is a stone shaped like a human face that was picked up by early human ancestors 3m years ago.

The earliest works in the exhibition are from his 1960s Children of Society Series.

The earliest works in the exhibition use biomorphic shapes to provide circular movement (1962 to 1964).

Izhar Patkin's Unveiling of a Modern Chastity, the earliest work in the exhibition, was made as the first gay men were coming down with the then - unknown illness; it's a sickly yellow painting, shot through with oozy, rust - colored wounds.

The earliest works in the exhibition are the installation The structure of myths, and 74 pages ofPapeles de Verrazano (Verrazano's papers), both from 1985, who are both presented for the first time again since 1986.

The earlier works in the exhibition date from the 1980s, when Garcia Sevilla was one of the principal proponents of the so - called return to painting.

The earliest works in the exhibition — portraits of Cecily Brown and Cindy Sherman — reveal the beginnings of this process, leaving the painting's development visible.

It is evident in the earliest works in the exhibition — those by Mary Kelly, Adrian Piper, and Martha Rosler — and is brought into sharp relief by the artists of the following generation — Judith Barry, Gretchen Bender, Dara Birnbaum, Jimmie Durham, Jenny Holzer, Silvia Kolbowski, Barbara Kruger, Louise Lawler, William Leavitt, Sherrie Levine, Paul McCarthy, Allan McCollum, and Haim Steinbach — who embraced expansive appropriation strategies by boldly incorporating existing images and forms into their works.

«Just as Josef Albers investigated color relationships using squares within squares, Grigoriadis explores the interaction of patterns using a bilaterally symmetrical format of frames within frames,» (Hayden Herrera, Art in America) in her earliest works in the exhibition.

The earliest works in the exhibition, a series of works on paper in the Concretist tradition, illustrate the indebtedness of Clark's early practice to the abstract traditions of Modernism that had come to be assimilated into Brazilian culture in the 1940s.

Not exact matches

They talk about Blake's pioneering digital art, which often obliquely if not directly referenced pop culture; one exhibition of his work was named after the eyeglass vendor in David Cronenberg's Videodrome, Spectacular Optical, and borrowed its ideas from the spatial dynamics in Cronenberg's early movies.

His work has also been featured in a series of major outdoor exhibitions in cities since the early 1970s, including in 1975 the first exhibition of a living artist at the Tuilleries in Paris and then a citywide exhibition presenting work in all five boroughs in New York City.

I've been selling my art since my mid teens and had successful exhibitions since the early eighties, and all of this was done while working full time in at least two jobs / careers at a time as well as raising a family.

As I dug deeper I was struck by the sense of outrage and loss this painting aroused in so many people: The family of Lea Bondi, determined to reclaim the stolen portrait she had failed to recover in her lifetime; the Manhattan District Attorney who sent shock waves through the international art world and enraged many of New York's most prominent cultural organizations when he issued a subpoena and launched a criminal investigation following the surprise resurfacing of Portrait of Wally; the New York art dealer who tipped off a reporter about the painting during the opening of the Schiele exhibition at MoMA; the Senior Special Agent at the Department of Homeland Security who vowed not to retire until the fight was over; the art theft investigator who unearthed the post-war subterfuge and confusion that ultimately landed the painting in the hands of a young, obsessed Schiele collector; the museum official who testified before Congress that the seizure of Portrait of Wally could have a crippling effect on the ability of American museums to borrow works of art; the Assistant United States Attorney who took the case to the eve of trial; and the legendary Schiele collector who bartered for Portrait of Wally in the early 1950s and fought to the end of his life to bring it home to Vienna.

Beginning in early 2000, Walter Hopps (a leading curator of 20th - century art and founding director of the Menil Collection in Houston) and art historian William C. Agee began kicking around ideas for a comprehensive exhibition of Abstract Expressionist work from... Read More

Penjweny, who also worked as a news photographer for Reuters, had a solo exhibition that included the «Saddam» series at the Ikon Gallery in Birmingham, England, earlier this year.

From his lush early paintings of the Arkansas nature conservancy Grassy Lake and the Texas Gulf Coast; to his reliefs, sculptures, and assemblages created in a variety of materials; to his most recent paintings depicting survivors of Hurricane Katrina, self - portraits, and a return to still life, this exhibition provides an in - depth look at the work of a unique and significant American artist.

This exhibition is the first comprehensive look at the artist's work in nearly twenty years and includes rarely exhibited watercolors and early experiments.

This exhibition is a first, not only in Austria, with its overview of Oehlen's work from the early 1980s to the present, and key works from different stages in the painter's career.

Varejão's recent debut exhibition in Hong Kong, at Lehmann Maupin gallery, itself marked the artist's boomerang - like return to China — a place that she had visited earlier in her career and sparked her long - running interest of incorporating its culture into her work.

The image - rich volume «Thornton Dial in the 21st Century» coincided with a 2005 exhibition at the Museum of Fine Arts, Houston, that included a series of large - scale works Dial created in tribute to the Gee's Bend artists, and «Thornton Dial: Thoughts on Paper» explores his early drawings.

Notable early exhibitions include a 1977 show of minimalist works by Carl Andre, Dan Flavin, Donald Judd, and Sol Lewitt; seven of Bruce Nauman's seminal early shows; eleven Richard Long exhibitions; and the installation of one of Mario Merz's celebrated glass and neon igloos in 1979 — part of the gallery's ongoing dedication to Arte Povera artists, including Alighiero Boetti.

In LONDON, starting October 2012, Laurent Delaye Gallery presents Experiment in Time, a new exhibition that creates new dialogues between exceptional early works from the Sixties by British artists Norman DILWORTH, Stephen GILBERT, Anthony HILL, Peter LOWE, Victor PASMORE, Jeffrey STEELE and Gillian WISIn LONDON, starting October 2012, Laurent Delaye Gallery presents Experiment in Time, a new exhibition that creates new dialogues between exceptional early works from the Sixties by British artists Norman DILWORTH, Stephen GILBERT, Anthony HILL, Peter LOWE, Victor PASMORE, Jeffrey STEELE and Gillian WISin Time, a new exhibition that creates new dialogues between exceptional early works from the Sixties by British artists Norman DILWORTH, Stephen GILBERT, Anthony HILL, Peter LOWE, Victor PASMORE, Jeffrey STEELE and Gillian WISE.

I am currently creating new work for a European art fair in June, and I am working toward a solo exhibition at Richard Heller Gallery early 2017.

Williams's work was first presented in Hanover as part of group exhibitions at the Sprengel Museum in the early 1990s.