Sentences with phrase «entire exhibitions as»

Other unusual and noteworthy spaces: Right Window, a gallery in the windows of Artists» Television Access 992 Valencia Street, SF; Incline Gallery, a zigzagging ramp inside of an old warehouse, now offices, 766 Valencia Street, SF; The Thing Quarterly, entire exhibitions as objects, 447 O'Farrell Street.

Taking note from Marcel Duchamp, who first utilized the found object as readymade, Broodthaers reworked its implementation and used groups of objects and even entire exhibitions as readymades, as in Section des Figures (1972), installed by his «fake» art museum referenced above.

Also on display: «A series of drawings runs through the entire exhibition as a parallel narrative: monsters, which the children's book illustrator Johan Olander, who lives in New York, developed for the work of Philippe Parreno — interpretations of an oeuvre — mutate to funny, threatening, shocking and amusing ogres.

Not exact matches

Note that in my original analysis I used a per - share value for the entire company of about $ 4.50 which included components not included above, such as the value of the digital archives relating to the Titanic discovery, theTitanic salvage rights, the exhibition business itself and any cash on the balance sheet.

These are the4 milestones of Host, the International Exhibition of the Hospitality Industry which, besides being the leading market place for the sector, also stands as the unrivaled trend setter for the entire world.

The entire museum is devoted to the exhibition presenting works by Motherwell that are relatively unknown but are rising in recognition as being «crucial to his own career as well as the history of post-war painting,» according to an exhibition release.

Spanning the gallery's entire ground floor, Joo's exhibition encompasses a body of new «caloric tray paintings,» as described by the artist himself, influenced by an older series, The Saltiness of Greatness, produced back in 1992.

With an exhibition area of 1,800 sq metres, the Tanks are more than half as big as the not - small Turbine Hall, and exceed the display space of entire regional galleries, such as the Turner Contemporary in Margate.

The universal nature of the album, its maverick edge and the significance of its 50th anniversary prompted Nhlengethwa to devote his entire upcoming solo show to Kind of Blue; the exhibition adopting the album's title as its namesake.

In the exhibition A Political Idiom, Radical Praxes fills the entire space not so much with a soberly installed objects as with a very specific intensity.

Where once art took over the entire building, with the majestic Upper East Side mansion as their playground, these primary structures have to settle for half an exhibition at a time, on the second floor.

Jana Gunstheimer's Mental Duels is part of a series of exhibitions at the GEM featuring artists like Marcel Dzama and Marcel van Eeden, all of whom take drawing as the starting point for the creation of entire worlds.

You can see them all on Pier 94 as the sister fairs CONTEXT New York and Art New York will utilize the pier's entire 133,000 square - foot exhibition hall.

It ranges from the NMWA's women only collection and exhibition - programme to an entire wing of the Brooklyn Museum being dedicated to feminist art; there's also The Metropolitan Museum of Art's decision to show work by lesser - known artists like Helen Torr and Elizabeth Catlett that has never been on view in «Reimagining Modernism: 1900 — 1950» (the rehang of their modern art collection); and there's the recent acquisition by the Tate of a painting by Mary Beale, who is regarded as Britain's first professional female artist.

A grand portrait of America, the work stands as the centerpiece of the exhibition, filling the entire main gallery and spanning over 300 linear feet.

Occupying the entire gallery space, as well as the building's façade and surrounding garden, the exhibition highlights the extraordinary expansion of an artistic movement that developed on the streets of New York in the early 1970's to rapidly become a worldwide phenomenon.

To speak more about the selection process for this show, it is also interesting to note that as we narrowed our focus there were a number of directions this exhibition could have taken and while it became clear that we could have, for instance, created an entire exhibition strictly of triangular shapes in corners (with pieces by Benglis, Morris, Smithson, and Turrell, for example), we chose to mount an exhibition where each work engages the corner in its own unique and distinctive way.

Today, the MCA houses an entire floor dedicated to the MCA Collection, offering a major national resource for education and interpretative programs, as well as two floors of galleries for exhibitions.

Whiteread has since established herself as one of the country's leading artists, and this exhibition is her most comprehensive to date, spanning her entire career, from sculptures displayed in her first solo show in 1988, to new works produced especially for Tate Britain.

Through the exhibition and catalogue, the UB Art Galleries seeks to encourage critical reassessment of Okumura's entire oeuvre and secure her position as a dynamic and integral figure in art history.

Aitken's «Sleepwalkers» exhibition at MoMA in 2007 transformed an entire block of Manhattan as he covered the museum's exterior walls with projections.

And for her exhibition «Forever,» opening in Berlin this weekend, Kruger plucked a quotation from Woolf's extended essay «A Room of One's Own,» filling an entire gallery wall with: «You know that women have served all these centuries as looking glasses possessing the magic and delicious power of reflecting the figure of man at twice its natural size.»

The exhibition presents a mapping of the entire collection — developed in collaboration with Paris - based Brazilian artists Angela Detanico and Rafael Lain — in an attempt to open up, to an interested audience, the idea of the collection as a system with variable entrances.

In Act Four «darkness» which the artist distinguishes from «black» begins to seep in, as seen in this exhibition with Kabakov's Dark and Light paintings, and by the finale of Act Five «darkness covers the entire surface of the painting».

With more than 250 works on show, the exhibition explores the tireless experimental spirit that drives Raysse's entire artistic output, from his small, playful sculptures to the self - discipline of drawing; from films expressing the libertarian trends of the 1970s to Raysse's use of neon as colour; and from installations celebrating consumer society to his paintings, which represent the most complete aspect of his work — among them, transcriptions of great Renaissance masterpieces, female portraits, large group paintings, and imaginary landscapes.

For The End — Venezia, Kjartansson transformed Iceland's pavilion into an artist's painting studio and had fellow Icelandic performance artist Páll Haukur Björnsson act as his life model for the entire six months of the exhibition.

Spread across the entire Basement level of Mana Contemporary, the show uses Mana's versatile studio environment as exhibition space, combining works that range from interactive sound work to machine vision and moving light sculptures.

This exhibition is organized by the entire curatorial staff of the Smart Museum of Art, with Senior Curator Richard A. Born as coordinating curator.

Gréaud's first solo exhibition LADI ROGEURS with Galerie Max Hetzler in Paris in the beginning of this year was conceived as a three - dimensional sketch, encompassing the entire gallery space.

As of 2013, New York's Museum of Modern Art had only dedicated four solo exhibitions in its main galleries to female artists in its entire history.

Especially these wall paintings, which will extend over all the rooms of the Kunstverein and thereby serving as the backdrop of the entire exhibition, cross the boundaries between free and applied arts, design, decorations, and site - specific installations.

I am highlighting no picture in particular as an example because this pertains to the entire exhibition.

For example, an entire exhibition - within - the - exhibition, «Dios es marica» (God Is Queer), organized by Peruvian curator Miguel A. López and including self - portraits by Mexico's Nahum Zenil and Franco - era Spanish drag artist José Pérez Ocaña, among others, occupies a central position in the biennial's trajectory, as do the samplings of comparable work by São Paulo — based artist Hudinilson Jr. and Peruvian philosopher and drag queen Giuseppe Campuzano, whose ambitious Línea de vida / Museo Travesti del Perú (Life's Timeline / Transvestite Museum of Peru), 2009 — 14, a fictional museum, is one of many things in the biennial «that don't exist» — yet.

In addition to artworks which literally claim the entire space of the room, the exhibition features a number of pieces that function as prisms or mirrors to activate their surrounding space.

These two short epics serve as a coda to the entire exhibition, recapitulating the themes encountered in its other works.

As a result of this combined gift and purchase, PAMM now owns the entire contents of the museum's 2013 exhibition «A Human Document» and a selection of 150 other pieces.

Images such as the one featured above are far more representative of Prince's exhibition than the image that lead to a sweeping conclusion that the entire show was a copyright infringement.

With a generous and coveted cash award of $ 50,000 as well as a solo exhibition for one talented Georgia Artist, the Hudgens Prize is one of the largest awards given to an individual artist in the entire nation.

Occupying the entire building and, save for one loan, drawn entirely from the museum's holdings, the opening exhibition, «America Is Hard to See,» served as a kind of manifesto for the reinvented institution, bringing a fresh perspective to the collection and recasting the museum's mission as one in which the history and identity of American art would be treated as an open question.

Time Has Ceased Space Has Vanished (2006), by example, is outwardly quite simple, as it comprises the entire lighting system of a museum, institution or commercial gallery exhibition space, and a single light switch.

To emphasize on the character of a work in progress and the open discourse and artistic practice of transformation from which these new works derive, Sciascia decided to use the entire building at Sarang I as a setting for his exhibition.

Another layer of displacement involves the data for the entire exhibition, which is digitally backed at an underground data center known as the Swiss Fort Knox.

«From the call for entry to the preparation and installation of the artwork, the entire process is a learning experience - for the first time exhibitors as well as the organizers of the exhibition,» says Main.

He develops his work in relation to space (understood as extended territory), using simple objects associated with everyday life to create installations that expand until they become imposing and complex structures, capable of enveloping the entire exhibition space.

A blend of found objects and materials mixed with the artist's own texts, Witkin creates an entire room exhibition that can be conceived through its disparate parts or as a whole.

Since it will be in a constant state of flux, the exhibition is never the same and never entire, but is always virtually composed and completed by visitors: the museum as a deferred action and a mental space.

As with any exhibition, many minds went into thinking about it, and making it manifest in space, so a huge thank you to the entire Walter Phillips Gallery team that realized the exhibition in all its material practicalities.

In a way, by using this book as a point of departure, this exhibition explores and questions the role of certain books and how some of them affect entire generations of artists, becoming unofficial guides that dictate and influence artistic creation in a certain period of time.

It is quite appropriate that this work and the exhibition as a whole share a title: its constituent video projections occupy an entire wall of the gallery, with no other works in its immediate presence to interfere with the experience.

It will be impossible to see the entire exhibition at once, just as there is something in the woman's nature, the object of desire, that forever eludes the protagonist's grasp.