Sentences with phrase «exhibition as archive»
White Column's latest excursion into exhibition as archive / open storage (through Dec. 19) pays homage to Bob Nickas, one of New York's most intrepid independent curators.
https://www.nytimes.com/ Not exact matches
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The Mass Audubon Museum of American Bird Art has presented two exhibitions of his work, in 2000 and 2011, and owns more than 30 Clem artworks, as well as his archive, including correspondence and photographs.
The Sold Out exhibition included six kaleidoscopic «Infinity Mirror Rooms,» which are small box - shaped spaces that combine mirrors and lights to stunning effect as well as 60 paintings and sculptures and archived photos documenting Kusama's life in New York in the 1960s.
As part of the BFI's major UK - wide Black Star season the BFI Southbank is currently home to the Separate Cinema Exhibition, showcasing original film posters loaned from the most extensive private holdings of African - American film memorabilia in the world, The Separate Cinema Archive.
In addition to the annual Academy Awards — in which the members vote to select the nominees and winners — the Academy presents a diverse year - round slate of public programs, exhibitions and events; acts as a neutral advocate in the advancement of motion picture technology; and, through its Margaret Herrick Library and Academy Film Archive, collects, preserves, restores and provides access to movies and items related to their history.
The longer and considerably more troubling answer is that, as of this writing, The Weeping Meadow will never see any kind of theatrical exhibition in L.A.; Good Morning, Night will play one time only, at the UCLA Film and Television Archive, in February; and The Intruder — my pick for the best film of 2005 — will receive a one - week engagement at a single area theater in March.
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.
Both Solomon's Cornell exhibition checklist and a 1958 inventory in Castelli's archive refer to the piece as «Construction with J.J. Flag.»
For his 2011 exhibition «Create,» Lawrence Rinder, director of the Berkeley Art Museum and Pacific Film Archive, collaborated with organizations that support disabled artists, such as San Francisco's Creativity Explored, Oakland's Creative Growth Art Center, and Richmond's NAID Art Center, home base for JTT artist Mullen.
Archive Gallery, Whitechapel Gallery The Whitechapel Gallery presents a dedicated programme of exhibitions curated from archives twice a year in Gallery 4, bringing them to life as a curatorial resource through rare films, photographs, artefacts and documents.
The archives of the Joan Mitchell Foundation include Joan Mitchell's personal papers, as well as significant family papers, photographs, exhibition records, interviews, published material, books from Mitchell's library, and other items collected during her lifetime.
An extensive archive of videos and documentary material related to works such as Damaged Goods Gallery Talk Starts Here (1986), Preliminary Prospectuses (1993), and Services (1994) will mark the beginning of this exhibition.
Selected solo and group exhibitions include Archive As Impetus at The Museum Of Modern Art; Underscore at The Aldrich Contemporary Art Museum; and Radical Presence at The Studio Museum in Harlem among many others.
In addition to the Center's collection of artworks, the CCS Bard Library and Archives house more than 25,000 books and exhibition catalogues focusing on contemporary art, exhibition history, and the theory and interpretation of contemporary art and culture, as well as extensive research archives comprising over 1,000 linear feet of mArchives house more than 25,000 books and exhibition catalogues focusing on contemporary art, exhibition history, and the theory and interpretation of contemporary art and culture, as well as extensive research archives comprising over 1,000 linear feet of marchives comprising over 1,000 linear feet of material.
As an integral member of the late Maryanne Amacher's research team, Tcherepnin collaborated on an exhibition of her archive at the DAAD Galerie, Berlin and a series of related performances.
Of particular note are the archives of such figures as Ivan Albright, Irving Penn, and Richard Ten Eyck, each of whom played a key role in recent exhibitions organized by The Art Institute of Chicago.
The exhibition, which will examine the artist's pioneering social, relational and activist approach to art, will include more than 100 artworks from the artist as well as rarely - seen materials from his archive and immersive film projections.
Selected solo and group exhibitions for 2013 - 2014 include Archive As Impetus at The Museum Of Modern Art; Underscore at The Aldrich Contemporary Art Museum; Open at David Castillo Gallery; Rehearsals at The Savannah College Of Art and Design; and Radical Presence at The Studio Museum in Harlem among many others.
Situating itself within current art historical and political debates, the exhibition considers work by self - taught, spiritually inspired and incarcerated artists, alongside other projects based in performance, socially engaged practice and the archive, as well as painting, drawing, sculpture and assemblage, that make insistent reference to place.
Through audio interviews with founders and key staff, a reading room of magazines and publications, documentation, ephemera and narrative descriptions, the exhibition will tell the story of pioneering spaces — like P.S. 1, Artists Space, Fashion Moda, Taller Boricua, ABC No Rio, The Kitchen, Franklin Furnace, Exit Art, 112 Greene Street, White Columns, Creative Time, Electronic Arts Intermix, Anthology Film Archives, Storefront for Art and Architecture, Just Above Midtown, and many more — as well as document a new generation of alternative projects such as Cinders, Live With Animals, Fake Estate, Apartment Show, Pocket Utopia, Cleopatra's, English Kills Art Gallery, Triple Candie, Esopus Space, and others.
The exhibition — which is part of the College's Georgia Brooks Stonewall Celebration Project — features the work of 20 contemporary artists as well as artifacts from the Lesbian Herstory Archives.
By setting intimate moments alongside landmark events (such as the Black Popular Culture Conference in 1991, the truce between the Crips and the Bloods in 1992, the Black Male exhibition at the Whitney in 1994, and the Black Nations / Queer Nations Conference in 1995), the archive constructs collective and private narratives to comment on identity, desire, sexuality, and loss.
After attending the San Francisco Art Institute (then known as the California School of Arts), Wiley, along with Robert Hudson, Bruce Nauman, Robert Arneson, and Roy DeForest, among others, formed the Bay Area Funk movement, which gained national notoriety after the infamous «Funk Art» exhibition in 1967 at the University Art Museum in Berkeley (now the Berkeley Art Museum and Pacific Film Archive).
Culled from the artist's archive of hundreds of color slides originally shot using Ektachrome film (which Kodak discontinued in 2013), Harris initially presented selections from his archive publicly as digital projections at Yale University, as well as in conjunction with the exhibition Radical Presence: Black Performance in Contemporary Art at New York University's Grey Art Gallery and the Studio Museum in Harlem in 2013 - 14.
In 2011, Frantz co-curated with Mia Locks the exhibition Cruising the Archive: Queer Art and Culture in Los Angeles, 1945 — 1980 as a part of the first Pacific Standard Time: Art in L.A., 1945 — 1980.
In addition to pivotal works by Noguchi, the exhibition illuminates his relationships through personal photographs, exhibition - related ephemera and correspondence from The Noguchi Museum Archive, as well as sculptures, paintings and drawings by those who influenced his artistic practice.
As part of the exhibition programming, the gallery will become a common space for storytelling and tea drinking with Dylan Miner; a bustling executive assistant's office with Sheryl Oring; and a tactile, expansive personal archive with the performance collective The Hinterlands.
Finally, young architects Gruppo A12 (Udo Noll, Peter Scupelli and Marco Bonelli) present Parole, an interactive and continuously mutating web - site as an experiment in breaking open the controlled systems of traditional archiving, thus moving outwards from the exhibition space through the web.
A subsequent presentation of archive selections as projected images with accompanying musical mash - up took place at the Guggenheim Museum's «Past Tense / Future Perfect» performative event, produced to accompany the exhibition Carrie Mae Weems: Three Decades of Photography and Video.
From this corpus of 82 images, some of which appeared briefly as props in Dunye's film The Watermelon Woman (1996), Leonard created The Fae Richards Photo Archive, which she first exhibited at the 1997 Whitney Biennial and which is on view in the exhibition Outliers and American Vanguard Art at the National Gallery of Art through May 13, 2018.
This exhibition opens on the same day as a symposium at the British Library to celebrate Monica Ross's life and work, and the Library's forthcoming acquisition of her digital archive.
As well as this, early collages and photographs from the archive of Martin Wong at the Fales Library were selected for the exhibition by the artists Danh Vo and Julie Ault are shown in vitrines and are displayed in the window of the gallerAs well as this, early collages and photographs from the archive of Martin Wong at the Fales Library were selected for the exhibition by the artists Danh Vo and Julie Ault are shown in vitrines and are displayed in the window of the galleras this, early collages and photographs from the archive of Martin Wong at the Fales Library were selected for the exhibition by the artists Danh Vo and Julie Ault are shown in vitrines and are displayed in the window of the gallery.
Our website will continue as an archive of our exhibitions and history.
The exhibition also highlights artists» approaches to interviewing as an integral part of their work, with contributions from Marysia Lewandowska's Women's Audio Archives and others.
As well, the exhibition is a tribute to the rich archives and ethnicity of Sugar Hill, and creative proof of the omnipresent historical force in each of our lives.
The exhibition is organized by ONE National Gay & Lesbian Archives at the USC Libraries in collaboration with The Museum of Contemporary Art, Los Angeles, and organized as a traveling exhibition by Independent Curators International (ICI).
I eagerly emailed with the exhibition's organizer, Gwen Chanzit, who serves as curator of modern and contemporary art and of the Herbert Bayer Collection & Archive at DAM, to ask her a few questions in anticipation.
Christa Maiwald moved to New York in 1973, where she established herself as a video artist with solo exhibitions at the Whitney Museum of American Art, Anthology Film Archives, Holly Solomon Gallery, and Franklin Furnace, among others, and was included in the 1979 Whitney Biennial.
Whether this happens in the form of projects dealing with real archival material or artworks in which artists use the archive as a theme (sometimes even inventing material), the idea of the archive continues to be an undeniable force and organizing structure in exhibitions today.
In this exhibition, Sohrens explores the physical traces of the archive as well as broader questions about originality and authorship.
One of the most accomplished curators anywhere, Hans Ulrich Obrist has devoted his life to the pursuit of a categorical understanding of the artistic tendencies of his time, both in his role as what he calls an «exhibition - maker» and as a kind of human archive of art - historical knowledge.
We see the responsibility of the gallery as threefold: to work for the long - term development of each artist's career, acting as a liaison to international galleries and museums as well as placing works in collections; to create an historical archive for each artist; and to act as an accessible public space in which the exhibitions become an exemplary gesture of the power of subjectivity to the audience at large.
As we mark the four - year anniversary of the Helen Frankenthaler Foundation, I am pleased to share some highlights from among 2017 exhibitions and public and education programs, as well as the developing work of the Foundation's archives and philanthropAs we mark the four - year anniversary of the Helen Frankenthaler Foundation, I am pleased to share some highlights from among 2017 exhibitions and public and education programs, as well as the developing work of the Foundation's archives and philanthropas well as the developing work of the Foundation's archives and philanthropas the developing work of the Foundation's archives and philanthropy.
The Archives at the Center for Curatorial Studies at Bard College serve as the institutional repository for the Center, and the Hessel Museum of Art and as a collecting repository which actively acquires, preserves, and provides access to a wide range of primary materials documenting the history of the contemporary visual arts and the institutions and practices of exhibition - making since the 1960s.
The exhibition juxtaposes works from various periods of Stella's career, revealing his aesthetic development and focusing on his «Working Archive,» which contains material never exhibited before, such as notes, sketches and maquettes that shed light on his growth as an artist.
As mentioned in a past post, we are currently preparing to present online materials from LACMA's archive for its landmark 1976 exhibition, Two Centuries of Black American Art.
««The Possible» exhibition serves as creative exchange of art,» The Pioneer, February MFA Now 2014: Juried Exhibition and Archive Projectexhibition serves as creative exchange of art,» The Pioneer, February MFA Now 2014: Juried Exhibition and Archive ProjectExhibition and Archive Project, February
Today seemed particularly cacophonous as I walked the galleries at Berkeley Art Museum and Pacifica Film Archive (BAM / PFA) the L@TE Friday Nights performance series in conjunction with the (ironically named) «Silence» exhibition.
The exhibition will also feature other documents, including photographs and archives, which will shed light on a little - known aspect of this artist's life and work, that being the influence of the South of France and French painters (such as Paul Cézanne and Jean Lurçat), gleaned during Nash's various journeys to France in the 1920s and 1930s, including a short stay in Arles.