Sentences with phrase «exhibition alludes»

The title of the exhibition alludes to George Kubler's groundbreaking book of 1962 that challenged the notion of style by placing the history of objects and images in a larger continuum whereby processes of innovation, replication, and mutation are in continuous dialogue.

As the title of Husain's exhibition alludes, we are at once an active participant as well as a vehicle or vessel for continual change.

The exhibition alludes rather wanly to the ongoing animosity between Germany and Greece.

The title of the exhibition alludes to Roszak's fascination with the dynamics of metamorphosis — the transformative energies of the natural, organic world as well as the potential of technology and industry to alter the world, for better and for worse.

The title of the exhibition alludes to William S. Burroughs» subversive novel, The Soft Machine (1961), populated by control and the controlled where narcotics, alcohol, sex, power, money, religion, ideology and language expose the fragile entry points of the animal psyche, and the brutality exacted by the modern world.

Following the enormous success of his most recent installation «Nutsy's», shown last summer at the Deutsche Guggenheim in Berlin, this exhibition alludes to many things Connecticut: Alexander Calder; David Smith; Josef Albers; Yale University; President George W. Bush; affluent suburbs; and McDonald's.

Wesselmann's collages in this exhibition allude to the Old Masters and to the practice of the still life, as they repeat themselves throughout art history.

Not exact matches

Troy Michie's exhibition at Company Gallery alluded to the Zoot Suit Riots in 1943, when white servicemen in Los Angeles beat and stripped Californians of color, primarily Mexican - Americans, for the mere fact of the clothes they chose to wear.

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.

The title of the exhibition, memoria, alludes to the phenomenon of time as memory, as awareness, where time should be understood as utopian time in contrast with the common notion of chronological time.

While the title alludes to the well - known 1984 novel The Unbearable Lightness of Being by Milan Kundera, this exhibition focuses on a literal lightness of materials and engages the tradition of abstraction.

Nari Ward's exhibition TILL, LIT at Lehmann Maupin gallery alludes to and signifies those key systems of social organization that we can't seem to escape: race and class.

(The show's title is not alluding to the controversial 1997 Royal Academy exhibition of Young British Artists, also called Sensation.)

The exhibition's title Sigmud's Cave is spelled out above and around every subject, thus alluding to the fact that these are not simple dog portraits but rather codes of a Freudian universe.

The exhibition's title Sigmund's Cave is spelled out above and around every subject, thus alluding to the fact that these are not simple dog portraits but rather codes of a Freudian universe.

The title of the exhibition, The Great Blue Mountain Range, in relation to these small studies of stones, alludes to yet another comparison of difference — scale.

A number of these were featured in the exhibition, both individually and in packages such as Auswahlbeutal Kiloware (Kiloware Assorted Bag, 1967) that allude to the idea of stamp collections as representations of the world as a whole.

The word «alchemy» in the exhibition title alludes to transformation on many levels: chemical, magical and spiritual.

Titled after the photographic term «nearest neighbor», referring to the type of sampling used when resizing a digital image, the exhibition also alludes to the personal nature of Ethridge's work, evident beneath the commercial façade.

As written in Ampersand Gallery's press release about their last exhibition with Hall, «[his] finely detailed assemblages bring to mind the dioramas & curiosity cabinets of natural history museums, yet on a deeper level they allude to the ritualistic strangeness of reliquaries, thereby serving as an intersection where notions of religion, science, folklore & quackery collide with the artist's imagination.»

His April - May 2009 exhibition at Postmasters Gallery presented five projects based on the same concept (one of them a video), and made over the last several years, with the selection of sites alluding to Thomas Cole's series of allegorical landscape paintings (at the New - York Historical Society), «The Course of Empire.»

The title of the exhibition, Gates of Horn and Ivory, references Greek literature and alludes to the divergence between the artist's personal memories and how they are revealed through his work.

In the 1960s, however, he produced some paintings alluding to racism in the American South, and they are among the exhibition's most imposing works.

In this sense, the exhibition's enigmatic title alludes to potential forms of knowledge or intelligence that are intrinsic to the body but independent of the mind.

Among the significant artwork included in the exhibition are Porter's 1970s photographs alluding to space and the body, and a series of prints referencing surrealist René Magritte that interrogate image, representation and simulacra.

The exhibition title alludes to the artist's current approach to his art practice, making visible the concept of «recurrence» — a daily phenomenon and a mental way of understanding a revelatory sense that inhabits both life and art.

It is this unending vicious cycle to which Collishaw alludes in the exhibition's title; there is no escape — this is not an exit --

The exhibition includes a number of commissioned works, including a major new braided sculpture by Diamond Stingily that snakes through gallery floors, trailing from the Fourth Floor all the way down to the Museum's Lobby, and alludes to the racial dimensions of beauty conventions as well as to Medusa, the mythological snake - haired woman whose gaze could turn men into stone.

While there is no immediately apparent connection between the works, they do allude to the larger conversation between the collector, the artists, the collection, the institution, the exhibition, and the curator: histories and entanglements that Exhibitionism ultimately seeks to explore.

A clearly defined group by the mid-1940s, they gained the name Automatistes from an exhibition in 1947, the name alluding both to the freedom of gestural abstract painting and to the longstanding surrealist practice of automatic writing and drawing.

Whether literally depicted, or figuratively alluded to, animals will dominate this exhibition of approximately 25 freestanding and wall - mounted paintings and sculptures.

On exhibition will be a group of oil paintings alluding to the art historical moment during which the old guard of painting was overtaken by the pioneers of modernism.

Doggedly focused on the flat picture plane (though he does occasionally make sculpture) and eschewing performance, Uemae was forced onto the «solitary path» alluded to in the exhibition's title — one that was not travelled by his action - based contemporaries Kazuo Shiraga or Shozo Shimamoto.

A solo exhibition that is at once immersive and intricate, On the Wall: Nadia Haji Omar simultaneously alludes to the uniquely complex cultural histories of Sigiriya as a built and natural environment replete with overlapping religious narratives, artistic styles, and the calligraphic traditions of the Sinhalese and Tamil languages, among others.

In his current exhibition, Green Thoughts at the Alan Cristea Gallery in London, for instance, A Summer Dress may allude to a particular day outside, a special friend, or simply the memory of happy dappled sunlight and a beautiful woman.

The exhibition title — Government — more specifically alludes to political policy and communication within society.

HOME alludes to London itself and is a return home for the artist — the first solo exhibition of new works by Remi Rough in London since 2009.

The title of the exhibition, Stones to Stains, alludes to the development of the artist's idiosyncratic form of draftsmanship and its relationship to the transformative properties of water.

The exhibition reflects and addresses the pivotal role of the studio in artists» practice while alluding to its enduring status in the -LSB-.....]

The works in the exhibition challenge the familiar, divisive narratives of a «we,» such as the nation and the so - called «refugee crisis,» and allude to emotions as entry points for manipulation.

The exhibition brings together recent work, medium scale paintings where a figure or figures are situated in psychedelic and symbolic landscapes, alluding to spiritual or heightened emotional interiors.

The title subtly alludes to the the play of light and dark that the artists in this exhibition experiment with.

The exhibition reflects and addresses the pivotal role of the studio in artists» practice while alluding to its enduring status in the popular imagination.

The exhibition will include a number of commissioned works, including a major new braided sculpture by Diamond Stingily that pierces through gallery floors, trailing from the Fourth Floor all the way down to the Museum's Lobby, and alludes to the racial dimensions of beauty conventions as well as to Medusa, the mythological snake - haired woman whose gaze could turn men into stone.

Within a relatively sparse exhibition, actions and histories alluded to have more impact than what is before us.

This, in part, is that to which the exhibition title alludes.

This exhibition presents a new series of paintings and three dimensional works which allude to architecturally modelled space.

The middle panel alludes to the indexical trace of a fingerprint, similar to Rauschenberg's 1964 Self - Portrait (for «The New Yorker» Profile), also included in this exhibition, with a spiral - patterned text that documents significant events of Rauschenberg's life and artistic career, centering on a photograph of the artist as a child surrounded by his family.

Alluding to the the poem «Fabilau of Florida» by Wallace Stevens (1879 - 1955), the exhibition will include a previously unseen body of portraiture - based paintings built upon Smith's Dutch - inspired meticulous detail.

Many of the exhibition's Minimalist pieces foreground the process of art's construction, a premise to which Walker Evans's crisp image of a hand tool and Steve Wolfe's handmade sketchbook slyly allude.