Sentences with phrase «early exhibitions juxtaposing»

Not exact matches

Barbara Bloom's installation at David Lewis — a series of posters begun in the early 1980s that juxtaposes terrorism and tourism — serves as a warm - up for an exhibition of»80s art at the Hirshhorn next year, and Anna Betbeze presents sculptures in front of ruglike wall works at Jay Gorney.

Ranging from early experimentations of the early 19th century in France to our contemporary era, this exhibition juxtaposes pioneering historical legacies with divergent contemporary trajectories, as a means of building a contextual foundation for the experience and re-experience of such work.

Commemorating one of the earliest documented moments of cross-cultural exchange between Japan and the West, this exhibition will unveil a new series by revered photographer Hiroshi Sugimoto while also juxtaposing his monumental black - and - white photographs of early modern European art and architecture with traditional Japanese artworks.

Featuring more than 100 works spanning from the early 1980s to the present, including a number of new and never - before - seen pieces, the exhibition juxtaposes graphic patterns with abstracted, figurative paintings, creating a fully immersive environment that underscores the artist's systematic dismantling of the hierarchy between design and fine art, and between three - dimensional form and two - dimensional representation.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

New York, NY, September 22, 2015 - Galerie Lelong presented Andy Goldsworthy: Leaning into the Wind, an exhibition of photographs and films juxtaposing Goldsworthy's raw, early days of exploration of action and process with never - before - seen works from the last three years that return to the focus on the artist's use of his body.

Bringing together early works from the 1950s to 1970s by Enrico Castellani, Donald Judd, and Frank Stella, and then juxtaposing them against later works by the same artists, the exhibition highlights not only the evolution of each practice, but also the way their aesthetic similarities.

The exhibition juxtaposes videos and photographs of early performance works by Zhang Huan (Chinese, b. 1965) with those of more recent performances by Li Binyuan (Chinese, b. 1985).

Occupying an area of some 1000 sq. m., the exhibition furnishes an overview of the artist's total oeuvre and juxtaposes his early works with his more recent output.

Galerie Lelong is pleased to present Andy Goldsworthy: Leaning into the Wind, an exhibition of photographs and films juxtaposing Goldsworthy's raw, early days of exploration of action and process with never - before - seen works from the last three years that return to the focus on the artist's use of his body.

In the exhibition, Steinert's experiments with textural vaselike forms turned horizontal from 1955 - 56 are juxtaposed with his early 1950s industrial smoke stacks.

The exhibition will include rarely seen early works of the 1950 - 70s, juxtaposed with important later pieces to reveal the gradual and distinct evolution of each artist's practice.

Beginning with early and ending with quite recent works — from the publication Gedruckte und ungedruckte Poster (Printed and Unprinted Posters, 2003 — 2008) and the sequence of poster and PowerPoint paintings (2010 ---RRB-, Vier Vorschläge zur Veränderung von Modern (Four Proposals for Changing Modern, 2007 ---RRB-, and Frieze (CMYK)(2007) to Filmed Film Trailer (2008)-- the exhibition at Schirn for the first time juxtaposes various of Riedel's work series to form a new installation, which offers an insight into the artist's manifold production methods.

In «The Window: Rented Earth: David Hammons,» [9] an early solo exhibition at the New Museum, Hammons dealt with the diametrically opposed relationship between spirituality and technology by juxtaposing an African tribal mask with a modern - day invention — a child's toy television set.

Born in Los Angeles in 1941, his early stardom came at Park Place Gallery in New York, and his work is at the Menil Collection in Houston, where one unforgettable exhibition juxtaposed his work with that of Brice Marden and Mark Rothko.

This permanent collection exhibition juxtaposes American illustration work from the 19th and early 20th centuries with contemporary art based on literary themes in MAM's Shelby Gallery.