Sentences with phrase «early exhibitions took»

Harriet Korman's early exhibitions took place in the 1970s in Cologne, New York, Los Angeles and San Francisco.

Her early exhibitions took place at the Galerie Ricke in Cologne, Lo Guidice Gallery in New York, Claire Copley Gallery in Los Angeles and the Daniel Weinberg Gallery in San Francisco.

One of Emin's earliest exhibitions took place in 1993 — 94 at the influential White Cube gallery on Duke Street (1993 — 2002).

Not exact matches

The Trio launch for our retail customers will take place at forthcoming exhibitions: The IPM in Essen in late January and the Berlin Fruit Logistica in early February.

After a year there, I expressed a desire to curate, so I planned my first exhibition, Berenice Abbott's Circle, which was of photographs Berenice Abbott took of her fabulous friends in Paris in the early 1900's.

The summit announcement follows a special roundtable session about halal tourism, organised by Reed Travel Exhibitions, which took place earlier this year in Dubai.

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.

In the wake of protests in Charlottesville, Va., and Boston earlier this month — and the Women's March in January — the size of which have not been seen since the Vietnam War era of the Seventies, the Whitney Museum's latest exhibition takes a creative approach to political and social activism, and how the past can inform the present.

The following conversation between Professor Harry Naar of Rider University and Louis Finkelstein took place on the occasion of an earlier exhibition there.

His first solo exhibition took place at Kordansky's gallery in Los Angeles in 2013, a selection of early, Hard - Edge paintings curated by gallery - mate Rashid Johnson.

In the present moment of virtual like, love, and swipe, when all aspects of public and private life circulate in seemingly endless supply on the Internet, the exhibition takes a step back to look at the formidable history of this subject from photography's early days to the present.

Today, the majority of these artists are best known for the large - scale, daring abstractions they created in the 1950s and 1960s, but the careers of each painter featured in the exhibition began to take off in the 1930s and early 1940s, when surrealism still held a central place among the avant - garde.

The exhibition coincides with the artist's 80th birthday, which took place earlier this year on July 9, 2017.

An earlier version of this article referred incorrectly to exhibitions that took place under the leadership of Kathy Halbreich.

As demonstrated in the exhibition's 1972 portrait of Warhol, he began by appropriating commercially printed imagery, and it was not until the early 1970s that he took his first photographs with a Polaroid camera.

For many artists in the exhibition, the radical language of modernist painting developed during the early twentieth century - of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life - continues to evolve as distortions and mutations of the image take on new permutations with each technological advance.

Highlights from the exhibition include black - and - white photographs from the early 1970s taken on the streets of downtown L.A., color pictures made on Rodeo Drive in the mid-1980s, and selections from his critically acclaimed series Landscapes for the Homeless, completed in 1991.

So began Riley's impromptu exhibition tour, delivered to a gaggle of journalists shortly before its opening earlier this summer, which took in not just the history of her own curve paintings but a substantial chunk of art history, too.

When I saw your exhibition Radiohalo at Blain Southern, in London, earlier this year, I was taken by the strange beauty of your very large works, associating silver nitrate with photographic processes, and therefore illumination, yet the chemical substance is also a toxic one.

Sterling Ruby opened an exhibition at the Gagosian's 980 Madison Avenue gallery in Manhattan earlier this month, which focuses on the artist's ceramics — a medium he took interest in as an undergraduate in Chicago.

TAKE ME (I»M YOURS) «Don't touch the art» is the usual edict at museums, but this exhibition of 40 contemporary artists (expanded from an earlier 12 - artist project in London) encourages visitors to interact with the works — and take some of them home with TAKE ME (I»M YOURS) «Don't touch the art» is the usual edict at museums, but this exhibition of 40 contemporary artists (expanded from an earlier 12 - artist project in London) encourages visitors to interact with the works — and take some of them home with take some of them home with you.

The Whitney has tried to reinforce its own early recognition of the most famous member of the School of Paris by devoting a room to photographs taken by the American painter Charles Sheeler of the 1923 Whitney Studio Club exhibition, Recent Paintings by Pablo Picasso and Negro Sculpture.

Other exhibitions such as «It Takes a Nation: Art for Social Justice: With Emory Douglas, and the Black Panther Party, Africobra, and Contemporary Washington Artists» at American University in Washington, D.C., and «Ruddy Roye: When Living is a Protest» at Steven Kasher, make the connection between earlier black rights movements and today's Black Lives Matters activism.

ARS17, a major exhibition showcasing international contemporary art inspired by digital technology, will take over Helsinki's Kiasma art museum from 31 March 2017 until early 2018.

The artist Christopher D'Arcangelo — another mythic figure that Garcia Torres has addressed in earlier work — created another challenge in this regard, opting in 1978 to remove his name from the announcement and printed materials associated with an exhibition that he was asked to take part in at Artists Space in New York.

The exhibition, which takes its name from the symmetry shown in the late 19th - early 20th - century snowflake photographs by Wilson «Snowflake» Bentley, highlights cross-disciplinary connections in an installation that places objects from across time, cultures, and disciplines in dialogue.

Featured throughout the exhibition is a black and white photograph Meckseper took of the Niedersachsenstein monument built by the Expressionist artist Bernhard Hoetger in her hometown, the early 20th century artist colony, Worpswede.

Sarah Dobai's first major solo exhibition in the UK took place in 2006 at Kettles» Yard, Cambridge, coinciding with the end of her two - year residency at London's Delfina Studio Trust and featured photographic and film works made during that time, including a new, specially commissioned, two - screen film installation, as well as key earlier works.

The latest exhibition at the Ludwig Museum in Cologne, «James Rosenquist: Painting as Immersion», has taken on added significance after the death of the artist earlier this year aged 83.

In the early 1990s, Necrorealism reaches international acclaim, and the works by group members take part in the most prominent exhibitions of Perestroika era, such as «In the USSR and Beyond» (1990; Stedelijk Museum, Amsterdam), «Binazionale: Soviet Art around 1990» (1991; Kunsthalle, Düsseldorf; Central House of Artists, Moscow; Israel Museum, Jerusalem), «Kunst Europa» (1991; Kunstverein, Hannover), and others.

My goal for the exhibition program is to either really put my neck on the line for artists who are early in their careers, for whom the critical legitimation process has not yet taken place, or for artists who have received a lot more attention, but not in the U.S.. That's where Markus falls in — he has zero presence in the U.S., yet he represented Austria in the Venice Biennial in 2011.

Taking over all four floors of the Vancouver Art Gallery, this groundbreaking exhibition will offer an international survey of mashup culture, documenting the emergence and evolution of a mode of creativity that has grown to become the dominant form of cultural production in the early 21st century.

The exhibition incorporates contemporary artworks, informed by earlier generations of women, which take a variety of forms — quilts, assemblage, hangings, embroidery on cloth and paper, among others — and that consciously blurs the art versus craft distinction.

A solo exhibition focused on Graves's early works, Morris Graves: The Early Works 1932 - 1938, took place in 1998 at the Whitney Museum of American Art; Museum of Northwest Art, La Conner, WA; Greenville County Museum of Art; and the Art Museum of South East Texas, Beaumontearly works, Morris Graves: The Early Works 1932 - 1938, took place in 1998 at the Whitney Museum of American Art; Museum of Northwest Art, La Conner, WA; Greenville County Museum of Art; and the Art Museum of South East Texas, BeaumontEarly Works 1932 - 1938, took place in 1998 at the Whitney Museum of American Art; Museum of Northwest Art, La Conner, WA; Greenville County Museum of Art; and the Art Museum of South East Texas, Beaumont, TX.

Any attempt to critically deal with this exhibition's surprising juxtaposition of works by Monika Baer and Thomas Bayrle must first take into account the clear differences between their aesthetic positions: Since the early»90s, Baer has been developing...

The exhibition is divided into several sectors: On the seventh floor, the section «Portrait of the Artist» brings together self - portraits with portraits of artists and other members of the creative community; Early Twentieth Century Celebrity and Spectacle; under the rubric of «Street Life» the exhibition presents artists who took to the pavement with their cameras, photographing subjects as they encountered them, sometimes surreptitiously; Portraits Without People; Body Bared (nude portraits); Self Conscious; Institutional Complex and Postwar Celebrity.

The exhibition takes in key motifs in her art as they have developed since the early 1950s, her engagement with the body and her expansive conception of space.

After experiencing several tragedies in a short period of time, she took a departure from the bright colors and whimsical nature of her earlier work.Originally created for an exhibition at the University of Maryland, River Road was adapted by Pfaff specifically for the Weatherspoon's Falk Gallery.

For many artists in the exhibition, the radical language of modernist painting developed during the early twentieth century — of collapsing and expanding picture planes responding to the frenetic pace and fragmentary encounters of modern life — continues to evolve as distortions and mutations of the image take on new permutations with each technological advance.

This exhibition explores the path that all three artists took from their early Pittsburgh roots to an ambitious start in New York.

Taking its cue from the resurgence of figurative sculpture in the late 1980s and early 1990s, and from Sigmund Freud's essay «The Uncanny» (1919), the exhibition brings together mannequin - related art works, mostly from the 1960s onwards, with objects from disparate cultural contexts that engender a similar sense of unease in the viewer: medical dolls, anatomical waxworks, religious statues, pagan figurines, ventriloquists» dummies, sex dolls, taxidermy and so on.

This exhibition is a collaboration with Nottingham Contemporary, where Devotional Document (Part 1) took place earlier this year.

Featuring works by leading artists from the 1960s to the present day, the exhibition takes as its starting point Robert Heinecken's seminal series of photograms Are You Rea, 1964 — 68, as well as works by «Pictures Generation» artists, including Richard Prince, Barbara Kruger and Louise Lawler, who came of age during the media - driven consumer culture of the late 1970s and early 1980s.

The exhibition takes as its starting point the punishment of a group of women falsely framed for arson in Paris in the early 19th century.

«The latest exhibition taking place at the New York University Art Gallery on Saadiyat island, Inventing Downtown: Artist - Run Galleries in New York City, 1952 — 1965, features more than 200 very early works of over 50 artists offering a unique and rarely explored perspective of the cross-section of creative life in the city during that period.»

This companion volume to the artist's largest exhibition to date is a feast taken from countless visual documents of Kelley's early formation, such as his involvement with the experimental band Destroy All Monsters (DAM), which also featured Jim Shaw, Cary Loren, and Niagara (born Lynn Rovner) in 1973 while Kelly and Shaw were students at the University of Michigan in Ann Arbor; early performative sculptures and objects; drawings; paintings; handmade dolls and stuffed animal sculptures; photography; videos; and endless inventive installations in various forms and shapes that explore and deal with the themes of self - destruction, repression, class relations, sexuality, religion, politics, and whatever else lies between the grotesque and the sublime, the sacred and the profane.

Kratsman regularly publishes photos in the long - running liberal newspaper Ha'aretz, which took a stand for Kratsman early last year when a joint exhibition with Ai Weiwei was cancelled by the Tel Aviv Museum of Art, accusing the institution of censorship.

David Zwirner is pleased to announce the gallery's first exhibition dedicated to the work of Ruth Asawa since having announced the representation of the artist's estate earlier this year, which will take place at the 537 West 20th Street location.

Although the exhibition was national in scope, a significant portion of the artists were from Los Angeles and were part of a group working with Noah Purifoy and the Watts Towers Arts Center to reclaim the remains of the Watts uprising, which had taken place just one year earlier, by using them to make art.

The artist's early training in Miniature art from the National College of Arts, Lahore, takes a three - dimensional, physical form in this exhibition, actualised through the unusual medium of bricks.