Sentences with phrase «exhibition documenting the history»

Mike Kelley Foundation Grants Ten Los Angeles nonprofits received grants from the Mike Kelley Foundation for the Arts, including the Underground Museum (to support videos and performances by Rodney McMillian, $ 45,000), Craft & Folk Art Museum (to present the first institutional solo show of Oakland - based artist Indira Allegra, $ 25,000), and the Museum of Latin American Art (to fund an exhibition documenting the history of printmaking in the Americas, $ 40,000).

From Selfie to Self - Expression is the world's first exhibition documenting the history of the selfie, exploring its roots and cultural relevance.

Not exact matches

The exhibition brought many of the fascinating case histories referred to in the book to life in the form of original documents, photographs, and paintings.

Today Desmond Castle hosts the International Museum of Wine Exhibition, an intriguing story that documents the unique history of Ireland's wine links with Europe and the Read More...

While the exhibitions upstairs at the Stadsarchief (City Archives) come with a small charge, downstairs, in the basement, «The Treasury» displays significant items from the city's history at no cost, from ancient maps to documents from the Nazi occupation.

To establish provenance, the borrower must provide the lender with proof, such as purchase documents, exhibition history, and sales history, and must state whether any catalogs have included the artwork.

The title of the exhibition refers not only to Walker's record of his experiences, but also to the antiquarian text on which he draws — a 17th century document of the Dutch Colonial empire of Brazil — which in turn becomes the theater in which the Afro - Brazilian women Walker befriended emerge from and dominate within the history of colonization and enslavement.

A «catalogue raisonné» is a systematic and comprehensive scholarly reference text in which each work known to have been executed by a particular artist is illustrated, thoroughly documented and described, giving information such as title, alternative titles, date, medium, size, inscriptions, provenance, exhibition history, and publication history, and in which each work is assigned a permanent reference number.

In the basement, a sculptural installation by Marc Andre Robinson weaves together formalism with black cultural history, while another, «Lorraine O'Grady: Art Is...» offers a fantastic exhibition of photographs documenting Ms. Grady's performance piece during the 1983 African - American Day Parade, in which she skillfully weaves together art, activism and participation.

This exhibition presents this history with an installation of archival documents, photographs, video and a newly - published issue of High Performance.

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.

Recognizing the shifting centers of the art world, the West Coast Initiative seeks to document the histories of innovative, and often overlooked, contemporary art exhibition venues situated on the West Coast of the United States and extending into Southwestern British Columbia, Canada, by retrospectively collecting their publications.

Utilising a range of source materials from found imagery, film stills and the internet, the new works featured in this exhibition raise narratives and juxtapositions regarding the history of the painted canvas and the photographic medium as visual document.

By actively acquiring, preserving, and providing access to the archives and manuscripts of significant curators, innovative commercial art galleries, not for profit art spaces, arts collectives and initiatives, the Archives & Manuscripts Collection seeks to document the history of the contemporary visual arts and the institutions and practices of exhibition - making since the 1960s, representing a broad range of contemporary discourses and curatorial practices.

Archival materials documenting the Latino Museum's exhibition history, along with featured work by three visual artists, highlight LA's Chicano and Latino art and culture.

In addition to her work on various exhibitions and publications, she oversees Glenstone's Oral History Program, conducting interviews to document its institutional history and to enrich the understanding of the artists in the foundation's collHistory Program, conducting interviews to document its institutional history and to enrich the understanding of the artists in the foundation's collhistory and to enrich the understanding of the artists in the foundation's collection.

Questioning whether photography's role of documenting facts persuades a viewer to truthfully consider the complex history that precedes the reality depicted in a photograph, the exhibition explores the difference between the decisive moment for photography and that of history.

With a detailed production and exhibition history of the video and performance works, as well as the first comprehensive bibliography and biography of the artist, this intensively researched and authoritative book documents the range, breadth and depth of one of the most prolifically original artists of the twentieth and twenty - first centuries.

The exhibition features the photographic opus «The Selected Gifts (1974 — 2015)», a collection of 67 photographs documenting the history of gifts the artist received over a period of 41 years.

The exhibition is a fitting tribute to Jacob Lawrence, a storyteller who documented both transformational moments in U.S. history and everyday aspects of the African American experience with a modern, disciplined approach to color and line, techniques that remain fresh today.

A new exhibition highlights the Atlanta History Center's collection of 650 war - related oral histories with photographs, documents and artifacts.

This catalogue documents a two - part project that included an exhibition with works by Eadweard Muybridge and Jan Dibbets, together with a documentary created by Chris Dercon for Dutch television on the history and future of cinema.

The first publication to document the Museum's collection and its connections to dramatic changes in artistic practice over the past 70 years, Unpacking the Collection introduces this vital regional center for craft through photographs of work, essays, texts, archival photographs, decade - by - decade accounts of the institution's links to modern craft history and an abbreviated exhibition chronology.

On its tenth anniversary, this comprehensive volume documents its history and its increasingly strong exhibition program — over the five years between the end of 2001 and the end of 2006, the Kunsthaus put up a total of 31 exhibitions, all but one self - produced, and saw more than 20 new works created in conjunction with its architecture.

Except in the case of prints, whose exhibition histories have not been documented, all exhibition and publication details have been confirmed with primary documentation.

The exhibition documents a portion of the history of prostitution in Southold Town.

Next month, she will engage the National Museum of American History in D.C. in a Smithsonian Artist Research Fellowship and later this year she will have a solo exhibition at Document in Chicago.

Guest curated by UMass Art History Assistant Professor Karen Kurczynski September 15 — November 20, 2016 Opening Reception: September 14, 6 — 8 p.m. Organized by NSU Art Museum Fort Lauderdale and guest - curated by UMass Amherst assistant professor Karen Kurczynski, a leading scholar of Danish Cobra artist Asger Jorn (1914 — 1973), who represents a new generation of art historians specializing in Cobra, the exhibition presents the history of Cobra through paintings, sculpture, prints, and primary documents by artists such as Asger Jorn, Pierre Alechinsky, Karel Appel, Constant, and CorHistory Assistant Professor Karen Kurczynski September 15 — November 20, 2016 Opening Reception: September 14, 6 — 8 p.m. Organized by NSU Art Museum Fort Lauderdale and guest - curated by UMass Amherst assistant professor Karen Kurczynski, a leading scholar of Danish Cobra artist Asger Jorn (1914 — 1973), who represents a new generation of art historians specializing in Cobra, the exhibition presents the history of Cobra through paintings, sculpture, prints, and primary documents by artists such as Asger Jorn, Pierre Alechinsky, Karel Appel, Constant, and Corhistory of Cobra through paintings, sculpture, prints, and primary documents by artists such as Asger Jorn, Pierre Alechinsky, Karel Appel, Constant, and Corneille.

«This exhibition will be a landmark, both in our history of documenting the achievements of Alexander Calder and in our long and productive relationship with the Acquavella Galleries.

A new exhibition highlights the Atlanta History Center's collection of more than 250 Vietnam War - related oral histories with photographs, documents and artifacts from Atlanta veterans.

The exhibition consists of three parts: the artworks, the archival materials, and a lexicon of over five thousand artists born between 1880 and 1980, essentially documenting one hundred years of Chinese modern art history, which was discovered on his computer.

He pointed out that exhibitions are not collected nor have they been documented with the consistency and depth that historical research requires, leaving in obscurity the work and imagination of curators who absorbed the lore of their elders and informally passed on their accumulated expertise to the succeeding generation: Only by comprehending those genealogies can we understand how some objects rather than others entered into conventional art history.

Along with works of art, the exhibition features archival materials aimed to document and contextualize key moments and movements in this contested history.

ANNANDALE - ON - HUDSON, NY, May 11, 2016 — Imponderable is an extensive research project, exhibition, film, and publication that investigates the personal collection of American artist Tony Oursler, a remarkable trove of more than 2,500 photographs, documents, publications, and unique objects, tracking a social, spiritual, and intellectual history of the paranormal dating back to the early eighteenth century.

Overall, the book provides for the first time ever, through an abundance of documents and images, an extensive and insightful look into the production and reception of exhibitions that made art history.

Its collection of 7,000 works of art, artifacts and ephemera documents nearly the entire history of the literary, artistic, military, enslaved, and free lives of Black people in America and inspires a range of exhibitions and public programs and events.

The three artists included in this year's residency exhibition extend this notion to explore how communities themselves can influence the ways in which art is produced, whether through incorporating images that document change and progress, questioning the contexts of cultural and physical representation so as not to repeat history's mistakes, or archiving materials from a community's past in order to benefit future generations.

Through eleven drawings from the permanent collection of The Arts Club, including works by André Derain, Paul Klee, Henri Matisse, Joan Miró, Isamu Noguchi, and Pablo Picasso, this exhibition documented the collection, exhibition history, and patronage of The Arts Club of Chicago.

16 May 2013 The Telegraph posts a slideshow documenting the Horniman walrus as it is moved from the National History Gallery and installed in «Curiosity: Art and the Pleasures of Knowing,» an exhibition curated by Brian Dillon

The MCAC exhibition will present posters and photographs that document the history of the Guerrilla Girls while also launching an all - Ireland Guerrilla Girl Research Tour.

As co-curator of street art exhibition and Prospect P. 3 + site ExhibitBE, Lydia researched and documented the history of the blighted apartment complex in which the work was created to guide the curatorial process, managed community programming and daily operations, and, after the exhibition closed, coordinated the #PaintWhereItAint Tour through which several ExhibitBE artists traveled across the southwest United States to collaborate with artists in other cities on community - centered public art projects.

Exhibition catalogue: The exhibition is accompanied by a publication designed by the graphic design studio cyan with numerous illustrations and reproduced documents about the history of Black Mountain College as well as 12 essays i.a. by Gabriele Brandstetter, Brenda Danilowitz, Mary Emma Harris, Annette Jael Lehmann, Andi Schoon and the editors of the catalogue Eugen Blume, Matilda Felix, Gabriele Knapstein and CatherinExhibition catalogue: The exhibition is accompanied by a publication designed by the graphic design studio cyan with numerous illustrations and reproduced documents about the history of Black Mountain College as well as 12 essays i.a. by Gabriele Brandstetter, Brenda Danilowitz, Mary Emma Harris, Annette Jael Lehmann, Andi Schoon and the editors of the catalogue Eugen Blume, Matilda Felix, Gabriele Knapstein and Catherinexhibition is accompanied by a publication designed by the graphic design studio cyan with numerous illustrations and reproduced documents about the history of Black Mountain College as well as 12 essays i.a. by Gabriele Brandstetter, Brenda Danilowitz, Mary Emma Harris, Annette Jael Lehmann, Andi Schoon and the editors of the catalogue Eugen Blume, Matilda Felix, Gabriele Knapstein and Catherine Nichols.

P.B. - The book is also generously documented with many important photos of MoMA's exhibition history.

Building on its rich exhibition history, extended slowly through material contributions, the collection - in - the - making promises to include primary source material, such as sketches and drawings, from artists and in - house team members, curatorial correspondence, artists» documents, as well as audio and video recordings of artist talks, lectures, and symposia.

Neil Beloufa's solo exhibition L'Ennemi de mon ennemi is a curation of works, historical documents, war museum artifacts, and found objects that assemble a telling of history and explore the lingering ambiguity of perspective.

It is comprised of nine themed sections, including: «New Lands» (on shows such as Magiciens de la Terre, The Short Century and After the Wall); «Biennial Years» (which documents influential biennials such as the Documentas [10, 11, 13] and the Berlin and São Paulo Biennials); «New Forms» (including experiments in exhibition - making such as Do It and NowHere); «Others Everywhere» (on «identity politics» shows such as In a Different Light, Phantom Sightings and the 1993 Whitney Biennial); «Tomorrow's Talents Today» (on influential group exhibitions of emerging artists such as Helter Skelter and Sensation); and «History» (on historical surveys such as Inside the Visible, Global Conceptualism and WACK!).

«Imponderable» is a combination of a 90 - minute film with a exhibition of «findings» culled from Tony Oursler's extensive research (and personal collection) representing a trove of over 2,500 photographs, documents, publications and unique objects that track a social, spiritual, and intellectual history dating to the early 18th century.

In 2011 her works were featured at a major exhibition at the Pinacoteca do Estado de São Paulo Arte como registro, registro como arte, documenting the history of art performance in Brazil.

The exhibition will also feature a selection of documents from NYU's Tamiment Library and Robert F. Wagner Labor Archives, an internationally renowned center for the study of the history of labor and the Left.

Utilising a range of source materials from found imagery, film stills and the internet, the new works featured in this exhibition raise new narratives and juxtapositions regarding the history of the painted canvas and the photographic medium as visual document.