Sentences with phrase «exhibition about painting»

PETER LAMB's work will be included in RIFF / T, a group exhibition about painting, abstraction and representation.

I remember conducting an interview for a... I was asked to have several artists who were participating in an exhibition about painting, to talk about painting.

RIFF / T was a group exhibition about painting, abstraction and representation taking place at BALTIC's project space at BALTIC 39, Newcastle Upon Tyne.

1990 Inconsolable: An exhibition about Painting, Louver Gallery, New York, USA Painting Alone, The Pace Gallery, New York, USA

Andy Parkinson blogs about the exhibition About Painting at Castlefield Gallery, Manchester, curated by Lisa Denyer, on view through June 29, 2014.

The exhibition is a large diverse international salon - style multigenerational exhibition about painting, featuring other artists such as Michael Craig - Martin, Julian Opie, Richard Wentworth amongst many others.

Not exact matches

London, England About Blog Nadia Attura is a Fine Art Photography Blog talking about my work drawing with light mark making painting exhibitions art for sale and publications Frequency about 1 post per month Since Sep 2009 Website nadiaattura.com + Follow Facebook fans - 1About Blog Nadia Attura is a Fine Art Photography Blog talking about my work drawing with light mark making painting exhibitions art for sale and publications Frequency about 1 post per month Since Sep 2009 Website nadiaattura.com + Follow Facebook fans - 1about my work drawing with light mark making painting exhibitions art for sale and publications Frequency about 1 post per month Since Sep 2009 Website nadiaattura.com + Follow Facebook fans - 1about 1 post per month Since Sep 2009 Website nadiaattura.com + Follow Facebook fans - 1,344.

Leila Packer, Curator at The National Gallery in London, talks about the Gallery's groundbreaking monochrome exhibit, the first major exhibition to trace the history of black and white paintings from the 12th century to today.

The building I is appointed as the permanent exhibition venue to display the paintings with Wayang style from I Gusti Nyoman Lempad and the explanation about the existence of Pita Maha Organization.

About Blog Artscape is troupe of art loving enthusiasts, teachers and collectors that document modern and upcoming artists, exhibitions, and trends in sculpture, painting and mixed media.

I guess that's one of the things that makes them different from photographs, in that a photograph might be a record, a snap, one moment — a painting I think is about creating a small world around that photo... I really like that idea of something that you can enter like a box or an exhibition space, and enter these little rooms which for me are memories, but it's not about nostalgia — it's more about setting up something that's still living — so it's almost they're all in the present, rather than in the past.»

He spoke about some of Kusama's work that he owned, including an Infinity Net painting of the kind currently on view in an exhibition at the Judd Foundation in New York through December 2.

Courtney J. Martin writes about the paintings of Frank Bowling on the occasion of the exhibition Frank Bowling: Paintings 1967 — 2012 at Spanierman Modern, New York, through April paintings of Frank Bowling on the occasion of the exhibition Frank Bowling: Paintings 1967 — 2012 at Spanierman Modern, New York, through April Paintings 1967 — 2012 at Spanierman Modern, New York, through April 20, 2013.

Kessler writes that the exhibition «is not only about a group of Mark Rothko paintings done at the peak of his career, but it's also about an ingenious restoration technique — a way to restore the color of these faded murals via non-invasive digital projections... The exhibition features a much - damaged five - panel mural that Rothko was commissioned to make in 1961 - 62 for the penthouse dining room of Harvard University's Holyoke Center... 38 studies for the murals... And, presented here for the first time, a sixth [undamaged] mural which was painted for the commission and held in reserve until Rothko decided which five paintings he wanted for the final installation.»

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.

Exhibitions about Laura Aguilar, queer Chicanx networks, and Mexican painting will come to museums around the world.

These blogs feature regular or semi-regular writing about painting related topics including interviews, exhibition reviews and commentary.

John Seed writes about a new triptych by painter Kyle Staver on view as part of the exhibition Kyle Staver: A Survey of Paintings and Prints on view at the Pennsylvania College of Art & Design through January 20, 2012.

I'd seen his paintings in a few exhibitions, and had researched to learn more about them.

Joan Waltemath talks with Raphael Rubinstein about the exhibition Reinventing Abstraction: New York Painting in the 1980s, a show he curated at Cheim & Read, New York, on view through August 30, 2013.

She is about to bring her skills to southern California with her new exhibition «MRS EAVES 101: The Hand - Painted Typography of Gemma O'Brien» at the Laguna College of Art + Design in Laguna Beach, California, March 3 - 26, 2016.

Hunter writes: «In the show, twelve recent, mostly large - scale, conventionally stretched works share fast - looking brush strokes; few visible layers of oil or acrylic; a graphic, flat appearance that emphasizes surface; and the impression — confirmed in the curatorial statement — that these paintings did not take long to make... The works in the exhibition raise the question, for me, of what it is that we value about painting right now — where we locate meaning and value in paintings made quickly.»

Steven Alexander blogs about the exhibition Larry Zox: Collage Paintings From the 1960's on view at Stephen Haller Gallery through August 5, 2011.

As I teach, judge, visit exhibitions and look at work in books or across social media, I see bits and pieces of paintings that cause me to think about how a particular effect or even a type of brush stroke could impact my own work.

As it's a major exhibition, with 24 paintings on its checklist, I very much wish I could rave about it from beginning to end, but I'm afraid that I found it uneven.

2010 was an exciting year for contemporary painting, from a painting - heavy Whitney Biennial, to stand - out works in MoMA PS1 «s Greater New York, to huge showings at art fairs like NADA and Art Basel Miami Beach, and with each exhibition a new way of thinking about the medium itself.

To say a show of about 30 of his smaller paintings dating from 1911 to 1955 is a «museum - quality» exhibition might seem a bit of a stretch.

For Brooklyn Rail, Laila Pedro talked with Hendricks in Spring 2016 about a solo exhibition of new paintings he was presenting at Jack Shainman Gallery in New York (March 17 — April 23, 2016).

BOOKSHELF To learn more about Robert Colescott's work consider «Robert Colescott: A Retrospective, 1975 - 1986,» which accompanied his first survey exhibition, along with other catalogs, such as «Robert Colescott, Recent Paintings» (1997) and «Robert Colescott: Troubled Goods - A Ten Year Survey (1997 - 2007).»

ABOUT THE EXHIBITION Guest curated by Robert Storr, professor and dean of the Yale University School of Art and former senior curator of painting and sculpture at the Museum of Modern Art, the exhibition and an accompanying catalogue will bring fresh perspective to these artists and examine the figurative impulses that conEXHIBITION Guest curated by Robert Storr, professor and dean of the Yale University School of Art and former senior curator of painting and sculpture at the Museum of Modern Art, the exhibition and an accompanying catalogue will bring fresh perspective to these artists and examine the figurative impulses that conexhibition and an accompanying catalogue will bring fresh perspective to these artists and examine the figurative impulses that connect them.

Dumas grasped as well as anyone what made Neel unique, and she writes about it in the catalog for Alice Neel: Painted Truths, a knockout of an exhibition at the Museum of Fine Arts, Houston.

The featured works in the exhibition — ranging from painting and sculpture to photography, film and installation — examine the passage of time by alluding to nostalgia or sentiments about aging, often depicting specific places in states of decay; these works can act as documentation, memorial or symbol.

If your blog is centred around your own art, then you might want to write about what inspired you to paint a particular piece, or what you learned from a recent exhibition.

In an illuminating interview with Barbara Takenaga, which is included in the catalogue accompanying her exhibition of New Paintings at DC Moore Gallery (September 5 — October 5, 2013), Robert Kushner makes an observation that goes to the heart of a question that I want to raise about the artist's recent work:

This groundbreaking exhibition follows the artist's exploration of interlined topics, including a halting suite of works about 9/11; contemporary «history paintings» on life in America since the events of 9/11; homages to his friends, the women quilt makers of Gee's Bend, Ala.; memories of vanishing ways of life and his childhood in the the South; and evocations of human struggles for freedom.

A case in point is the current exhibition of painting and installation by the artist Franklin Evans where a physical copy of Painting as Modelsits up front and center on the gallery floor while material unleashed from the book orbits about thpainting and installation by the artist Franklin Evans where a physical copy of Painting as Modelsits up front and center on the gallery floor while material unleashed from the book orbits about thPainting as Modelsits up front and center on the gallery floor while material unleashed from the book orbits about the space.

I began thinking about Brown's near invisibility when I went to his exhibition at DC Moore, his second at this spacious New York gallery, of paintings spanning from 1978 to 1995, with the majority done during the»80s and»90s.

This exhibition features about 40 drawings and paintings by Knowxville - born Beauford Delaney from the holdings of his hometown museum.

The Los Angeles County Museum of Art is hosting the first - ever major exhibition paintings that reflect what many upper - class Spaniards thought about race, class and skin color during the 1700s, when Mexico was a colony of Spain.

This exhibition film features leading British artist, Marcus Harvey, talking about his summer exhibition at Jerwood Gallery, his artistic practice and the painting that was the hot topic at the Sensations exhibition in 1997, the portrait of Myra Hindley.

Building on Artists Space's history as an institution whose program has increasingly emphasized community participation and political organization (see last year's Decolonize This Place, which turned the gallery into a weekly activist meeting hub), Coop Fund foregoes traditional media like painting or sculpture in favor of video, art - science hybrids, updated junk sculpture, and institutional critique, making an implicit statement about these media that, for their associations with high - modernist seriousness, are appropriate to a politically engaged exhibition.

After a long absence following his last solo show at Paula Cooper (in 1977), Van Buren's work finally began filtering back into public view in New York about 10 years ago, first at small venues such as Mitchell Algus Gallery and Sideshow, and in the revelatory exhibition 2007 traveling exhibition «High Times Hard Times: New York Painting 1965 - 1975.»

The exhibition features the artist's bold and experimental work challenging traditional assumptions about figuration and abstraction, and works that reveal her interest in how paintings function in a given room.

And so at the moment about two dozen of Ms. Crockett's sparkling late paintings, with their bright tangles of jazzy lines and shapes floating on pale, brushy backgrounds, form a surprising exhibition at Meredith Ward Fine Art.

As she prepared for that exhibition (opening September 9) and two other upcoming shows at the University Art Museum in Albany and Klemm's in Berlin, Ferris welcomed Artspace's Karen Rosenberg to her Bushwick studio to talk about her embrace of body art and what it means for her paintings.

Like a wolf in sheep's clothing this exhibition pretends to be about art while it undermines American painting and sculpture.

An art review on Friday about the exhibition «Florine Stettheimer: Painting Poetry» at the Jewish Museum referred incorrectly to the feminist movement in the 1970s that coincided with a 1973 exhibition of Florine Stettheimer's work.

At Ad Reinhardt's prodding, in late 1961 his Parisian dealer Iris Clert offered him a solo show in her gallery, but because of expenses and scheduling it did not become a reality until June 1963.1 Reinhardt was elated about how great his painting looked as part of the Guggenheim survey exhibition, Abstract Expressionists and Imagists, which had opened October 13, 1961.

With a focus on works from the period between their first meeting in 1955 until their separation in 1979, the exhibition shows how Mitchell and Riopelle, who lived together in Paris, then in Vétheuil in the Seine valley, developed unique but related bodies of work while they were engaging in a vigorous exchange about abstraction and painting.

I honestly can't say if the Soutine / Bacon exhibition is a great one, but it clearly reveals something about the enigma of painting.