Sentences with phrase «exhibition addresses history»

Much like the Jorge Luis Borges book after which it is named, the 18th Street Arts Center's PST: LA / LA exhibition addresses history and its delineations, whether entirely or partially fictitious, in order to question the role of master narratives in general, and particularly in the case of the LA / LA (Los Angeles and Latin America) diaspora.

Not exact matches

ACAC commissioned the artists to develop their first exhibition addressing a Southern context and during the past several months they have visited Atlanta three times; Burns and Young engaged the Antioch Baptist Church North, New Horizon Baptist Church, Atlanta History Center, Hammonds House Museum, Margaret Mitchell House and Museum, Souls Grown Deep Foundation, The Wren's Nest, WonderRoot, and numerous antique stores, farmer's markets, and private homes.

For his exhibition at the Greater Reston Arts Center, Bailey will address his family's history in Virginia, and the history of the Underground Railroad in the state's Great Dismal Swamp.

João Penalva's project for Culturgest in Porto addresses the history of the exhibition space, a renovated former bank designed by seminal Portuguese architect Pardal Monteiro.

While portraiture has illustrated political and social circumstances throughout history, the artists in this exhibition try to transform portraiture into a genre that can hold its own weight amongst the innovations of the contemporary art world by using Neel's portraiture as inspiration means to address the complexities of personal identity.

Poetry parade for Site and Sight, Whitney Museum of American Art, September 26, 2015 This Poetry Parade responded to the inaugural exhibition America Is Hard to See, while also addressing the new building itself, its location and histories relating to the evolution of the Meatpacking District and the Whitney as an institution.

In her third exhibition at Locks Gallery, Pat Steir shows works that address the history of painting.

In the exhibition Lost and Found: Queerying the Archive these issues are addressed from queer perspectives through art works offering alternative histories and reworked archives.

This exhibition and event series invited contemporary artists to respond to archival materials and poetry relating to the history of white southerners who migrated to northern cities in the 1960s and 70s and organized cross-racial social movements, while addressing historical and contemporary questions of equity, justice, and race relations.

The 1993 Whitney Biennial was one of the most criticized exhibitions in history; incidentally, it was also one of the first times a prominent New York institution unapologetically addressed identity politics.

This exhibition creates a visual landscape in which formal elements are a medium to address larger concerns in the recent history of architecture.

For the public symposium keynote address given on November 18, 2016, in conjunction with the exhibition Los Angeles to New York: Dwan Gallery, 1959 — 1971 at the National Gallery of Art, Pamela M. Lee revisits the history of the Dwan Gallery as a negotiator of two distinct but converging art cultures and the formative role Virginia Dwan played in bringing them closer together.

Tarek El - Ariss addresses the thinking behind the research exhibition From the Archive that accompanies No to the Invasion and how he considers reading the archive as a tool for understanding affective histories of Arabs in the modern era.

A major group exhibition of ninety nine artists based in the United States, 99 Cents or Less addresses Detroit's ongoing economic crisis and its 2013 bankruptcy — the largest municipal bankruptcy filing in the history of the United States.

The anniversary online exhibition encourages new scholarship on the original show and hopes to foster a renewed appreciation of how the digitization of art historical resources offer distinctive frameworks to address complex political, social, and cultural issues related to art history and museum practices.

Presented within the format of» a natural history display case, the exhibition: addresses our love of foods, and our penchant for defining and categorizing our surrounding experiences.

«PICTURE INDUSTRY,» curated by the artist Walead Beshty at the Hessel Museum of Art at Bard, has quietly thrown down the gauntlet, not only for exhibitions that address the history of photography, but for all future surveys of twentieth - century art and political imagery broadly.

Highlights of the exhibition include Liu Jianhua's work in porcelain, which responds to Chinese cultural history while addressing themes of globalization and consumerism.

Combined, the works in the exhibition represent a convergence of various voices addressing this often difficult aspect of Canada's colonial history.

Kostis Velonis's A Puppet Sun highlights the history and significance of the site while simultaneously addressing new and unexpected relations between the exhibition space and works of art created in its distinct environment.

Tate Britain's dreary exhibition about history painting last year completely failed to address the bodice - ripping appeal of paintings like Charles Landseer's The Plundering of Basing House, 1836.

This exhibition turns to history and addresses the particular sense...

Like his previous exhibition at the gallery, Exquisite Terribleness, combining images from the Ghanaian landscape with work made in the U.S. problematizes Gray's position within the African Diaspora, while referring to the celebrity and music culture of Los Angeles that Gray was a part of and participant in, and addressing notions of identity, memory, history and loss.

(His current exhibition, at New York's Guggenheim Museum, addresses both the history and structure of Wright's building.)

While not explicitly addressing the contested narratives of territory in the history of Derry / Londonderry, the exhibition is further animated by this context.

This is the second solo exhibition in a series of three intending to address issues of marginalization and history - making, first articulated in Podedworny's earlier curatorial project, Rethinking History which was mounted -Lhistory - making, first articulated in Podedworny's earlier curatorial project, Rethinking History which was mounted -LHistory which was mounted -LSB-...]

In an effort to address the absence of Latin American female artists in the history of contemporary art, Hammer Museum opened, in September, the exhibition «Radical Women: Latin American Art, 1960 — 1985».

«The pieces in my exhibition address Jewish history of the 20th century, as well as loss and translation,» explains Glass.

Developed over the last year, Mihnea Mircan's group exhibition History of Art, the, addresses art history, and more explicitly how contemporary artists navigate and inscribe themselves in a future art history and how they negotiate their future interpretation and their translation as hHistory of Art, the, addresses art history, and more explicitly how contemporary artists navigate and inscribe themselves in a future art history and how they negotiate their future interpretation and their translation as hhistory, and more explicitly how contemporary artists navigate and inscribe themselves in a future art history and how they negotiate their future interpretation and their translation as hhistory and how they negotiate their future interpretation and their translation as historyhistory.

In recent years Museion has consciously decided to «activate» its collection by means of themed exhibitions that address different topics in art history and forge new dialogues with existing works, and between older pieces and «new entries».

The exhibition, which runs until 20 May 2016, brings together a variety of practices and media and aims to reveal the chaos of the world by addressing enduringly pertinent issues, from migratory displacement to an in - depth examination of identity and history.

Both exhibitions reference imagery from art history in order to address, in Minoliti's case, what it is to have a gendered or non-gendered body in the digital age.

It includes works in several media, including four new video works commissioned by the ASU Art Museum, and is part of the «Contact Zones» exhibition series addressing «contemporary migration and its intricate uncertainties within border culture, destiny and contested histories.»

The exhibition addresses one of the fundamental postulates of 20th Century Avant - garde movements, the mutual penetration or even fusion of art and everyday life, is indebted to three phenomena known from the history of 20th Century art which have remained topical and universal until the present day.

Organized by the Museum with guest curator Dan Cameron, the exhibition features paintings and drawings from the early 1960s to the present, including large - scale «historical epics,» satires of art history, and several of his most recent paintings addressing World War II and the war in Iraq.

During the symposium, a selection of key experts in the field have addressed these questions and framed them in the wider context of the naissance of the modern and contemporary art museum and the role models of Pontus Hultén and Willem Sandberg, our continuous engagement with the art production of the 1960s, the place of these exhibitions in the wider artistic oeuvres of the participating artists, post-1960s «labyrinthine» exhibition practices at large, and the growing discipline of exhibition history.

The linked exhibitions address the architecture and cultural histories of each site, calling attention to connections between them.

This is the second solo exhibition in a series of three intending to address issues of marginalization and history - making, first articulated in Podedworny's earlier curatorial project, Rethinking History which was mounted at Mercer Union in the Spring ohistory - making, first articulated in Podedworny's earlier curatorial project, Rethinking History which was mounted at Mercer Union in the Spring oHistory which was mounted at Mercer Union in the Spring of 1992.

Radical Presence: Black Performance in Contemporary Art at Grey Art Gallery is the first of a two - part exhibition originating at the Contemporary Arts Museum Houston [the second is at the Studio Museum of Harlem] that addresses the history of black performance art since the 1970s.

His first exhibition in Turin» Dopo» unfolds inside the Fondazione Merz gallery spaces, is conceived as a total installation, a choral narrative addressing individual and collective memory, entwining the past with the present, urging unattended promises, recombining History with each individual's life.

The artists in this exhibition address these fears in terms of a history of ideas, but also their specific psychological manifestations.

Cynthia A. Brinich - Langlois is bringing work she made during previous residencies at the Ucross Foundation in Clearmont, Wyoming — a collection of handmade artist books that address the history of various cultures, settlements, and range management techniques that converge in this place — to a group exhibition at the Ucross Foundation Art Gallery.

HONOLULU, HAWAI`I — The Honolulu Museum of Art's anticipated Abstract Expressionism: Looking East from the Far West, opening Sept. 7, is the first museum exhibition to address a gap in the history of Abstract Expressionism, bringing artists of the New York School together with Asian American artists who studied and worked in New York in the 1940s and 1950s, examining their presence within this circle, as well as the influence of Asian intellectual and artistic traditions on artists long revered as uniquely American.

More broadly they will address their editorial work for Afterall's» Exhibition Histories» series of books, demonstrating and analysing some of the processes this work demands.

The work of Anselm Kiefer, one of the world's most prominent contemporary artists, launches a new exhibition series at NSU Art Museum Fort Lauderdale focusing on post-World War II artists whose work addresses issues of identity and the convergence of history and mythology.

Curator Yasha Young shares, «This exhibition addresses the fact that art created by women has been historically dismissed as craft as opposed to fine art, affecting the development of women in art throughout history.

The National Museum of the American Indian in Washington, DC, has been roundly maligned since it opened last fall, and the sheer range of critical charges — from insufficient scholarly contextualization and scattershot exhibitions to annoying electronic touch displays and too many gift shops — testifies to the difficulty of addressing Native American history in the nation's capital.

An exhibition (19 May — 2 September 2018) of works from across Joffe's career addressing themes of portraiture, motherhood, passing time and art's relationship to history.

In conjunction with the exhibition Ocean of Images: New Photography 2015, and on the occasion of the 30th anniversary of the signature New Photography series, this panel addresses the history and impact of the series and the state of photography in the early 21st century.

The Florida Museum of Natural History recently hosted an exhibition about the science of surfing that addressed the effects of sea level rise and coastal erosion on catching a wave.