Sentences with phrase «early poster work»

Not exact matches

D'Amelio won a top award at the Mid-Atlantic regional ESA meeting earlier this year for the poster on this work — earning her a trip to present it at ESA 2013 in Minneapolis.

We are still well over a year away from that release date, but Blumhouse is wasting no time in working on the marketing and official product tie - ins that will come with the new movie, attending the annual Licensing Expo on Las Vegas in May 2017, where a very early piece of promo art was on display in the form of a teaser poster that recalls Carpenter's minimalist approach to the original film and echoes the team's comments about taking the franchise back to basics.

He details his early career and how he came to collaborate with Assonitis, which is interesting (the folks at Arrow overlay some stills of the posters for movies he worked on — a neat touch).

Along with the usual archival stills and posters you get six excellent articles covering everything from Hooper's early work, the fascinating, uber - detailed document of The Texas Chainsaw Massacre 2's dealings with the censors, right up to a retrospect on the entire franchise.

We reported earlier on a 4Chan discussion thread in which the original poster claimed that Samsung showed off the Galaxy Nexus at his place of work.

If you love this style of work, check out Nick's earlier works including a minimal movie poster series, and a simple take on classic album covers.

«Feminist Masked Avengers 30 Early Guerrilla Girls» Posters, Recent work by Guerrilla Girls, Guerrilla Girls BroadBand, Guerrilla Girls on Tour!

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.

In conjunction with the May 2017 opening, MASS MoCA also installed a temporary exhibition of early Holzer works, including rarely seen sketchbooks, notebooks, hand - drawn posters, and paintings.

Since the early sixties Schumann and his puppeteers have been pouring out work after work on every scale: political works, mysterious works, grand works, modest works, works on the street and works in fields, works to be played in every size theater on four continents, books, prints, posters, and banners which live as show - and - tell in so many homes.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

Topics include his early work in ceramics; his posters and set designs for the counterculture gender - bending theater collectives the Cockettes and Angels of Light; his individualized calligraphy for his poetry, and his distinctive merging of writing and image; and his creative output after returning to San Francisco before his death from AIDS in 1999.

Often described as the purest of Australia's abstractionists, this exhibition celebrates Upward and will features more than fifty works including paintings, screen prints and posters from the late 1950s through to the early 1980s.

To that aim, Bowers mines an archive of feminism, from rare early glimpses of empowered women — in political posters and placards from the late 19th century and the early years of the women's movement — to contemporary documentations of activists currently working to broaden the scope of inclusion.

In early 1895, Paris artist Alphonse Mucha debuted his work with a lithographed poster for the play Gismonda featuring Sarah Bernhardt.

Although Lowman's work is influenced by such earlier appropriation artists as Andy Warhol, Richard Prince, and Cady Noland, his own brand of image recycling disperses into an unstructured installation - environment in which posters, record jackets and silk - screened imagery create a large - scale narrative that ruminates on specific issues, from American gun culture to celebrity cults.

One of the early works in the series on view, North Carolina 30 (1951), shows the bare legs of a woman framed by the words «IN» and «AND» amid layers of peeling layers of posters.

Selected exhibitions at Kunsthaus Zürich: «Signs and Wonder — Niko Pirosmani and Contemporary Art», 1995, «Birth of the Cool — American Painting from Georgia O'Keeffe to Christopher Wool», 1997, «Martin Kippenberger — Early Paintings, Sculptures and the Complete Posters», 1998, «Hypermental — Rampant Reality from Salvador Dali to Jeff Koons», 2000, «Public Affairs», 2002, «Georgia O'Keeffe», 2003, «Sigmar Polke — Works & Days», 2005, «The Expanded Eye — Stalking the Unseen», 2006, «Peter Fischli & David Weiss — Flowers and Questions», 2007,» Friedrich Kuhn — Der Maler als Outlaw», 2008, Katharina Fritsch, Kunsthaus Zurich and Deichtorhallen Hamburg, 2009.

23 June: Will Martyr's works take inspiration from post-war American painting and early 20th century posters.

The Walker, which started collecting the Guerrilla Girls» work early on, will be presenting 88 posters created by the anonymous female artists between 1985 (the year of the group's founding) and 2012.

Born in 1922, Fangor studied and taught art during the early years of his career, producing paintings inspired by various styles of the European avant garde before shifting his artistic output to poster design and eventually works that relate to both Optical Art and Color Field painting.

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, Avignon, FR

In the early 1980s, Koons (American, b. 1954) ushered in an influential new era of art with works that borrow from liquor advertisements or posters of basketball legends, as well as over-the-top celebrations of household goods like vacuum cleaners, in order to redefine the boundaries of taste.

Works included in the exhibition range from film posters painted by Peter Doig for his weekly film club in Trinidad, a video projection, Ligne de Foi, 1991, by James Coleman, Polaroid photographs by film director Andrey Tarkovsky, which were selected by Dominique Gonzalez - Foerster for their poetic representation of landscape, photographs presenting an example of early self - cinema by Victorian photographer Lady Clementina Hawarden and the screening of Michael Powell and Emeric Pressburger's iconic The Red Shoes, 1948.

It includes more than 200 works, among them early paintings and constructions; drawings; photographs; posters, books and catalogs he designed; the sculptures he prefers to call structures and the wall drawings that are probably his greatest inspiration.

The exhibition shows recent works such as The Crocodile Who Ate The Sun (1982/2015) as well as earlier works, namely the 2008 video responsible for Mroué's rise to prominence on the international scene, entitled On Three Posters.

Also seen only in Philadelphia are Mimmo Rotella's The Hot Marilyn, 1962 — a decollage of an Italian movie poster shredded from wear on the street — and Ed Ruscha's Felix, 1960, an early example of his work in the idiom of Pop Art, of which he was one of this country's pioneering figures.

This collection mainly includes painting and sculpture from the late 19th - century and early 20th - century (featuring movements like Impressionism, Post-Impressionism, Expressionism, Fauvism, Cubism, Ecole de Paris, Dada and Surrealism, Abstract Expressionism and Pop Art, Minimalism and Conceptual Art), as well as drawings and poster art, and works representing design movements such as Art Nouveau, the Bauhaus Design School, and the modernist idiom of Art Deco.

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 mePoster (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 meposter 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.