Sentences with phrase «exhibition hall into»

Featuring 12 internationally - based abstract and minimalist artists, Downshifting will transform RedLine's 6,000 - square - foot exhibition hall into a sanctuary of abstract works with programming that explores sensory deprivation rather than spectacle and provocation.

These have spilled out of the main exhibition hall into other galleries, into the interstitial spaces of the building, and to other locations throughout the city.

Not exact matches

Walking into Steinway Hall is like entering a gallery where the world's finest pianos sit on display as exhibitions of...

Larger in scope than 2016, with an estimated 3,200 exhibitors representing more than 70 countries; covering 149,500 sqm split into 21 unique food sectors spread over 13 halls, this years» exhibition is poised to provide even more unique opportunities for innovation than ever before.

With an estimated 3,400 exhibitors representing more than 70 countries, occupying 162,000 sqm of exhibition space divided into 21 unique food and beverage sectors across 13 halls, this years» exhibition is poised to provide even more opportunities for international collaboration and industry innovation than ever before.

Under no circumstances are any children permitted into the exhibition halls during the setting up and disassembling of the show.

In addition to a packed exhibition hall there will be a two - day learnShops programme which will see inspirational industry speakers providing valuable insight into the latest developments, technologies and research.

The venue and show as a whole felt very professional — it's amazing how they transform it from an empty shell into a shiny exhibition hall!

Or consider JB Priestley's account of travelling out of London in 1933 along the Great Western road and confronting the endless, low - density exurbia of ribbon sprawl: «We might suddenly have rolled into California... This is the England of arterial and by - pass roads, of filling stations and factories that look like exhibition buildings, of giant cinemas and dance - halls and cafes, bungalows with tiny garages, cocktail bars, Woolworths, motor - coaches, wireless, hiking, factory girls looking like actresses, grey - hound racing and dirt tracks, swimming pools, and everything given away for cigarette coupons.»

An exhibition in the old town hall, formerly used as the headquarters of the Belgian army in 1914, aims to tell the unique, personal and remarkable stories of the townspeople, divided into themes including religion, jurisdiction, diplomacy and medical care.

As part of the large scale upgrade of the University's facilities, they decided to install a state of the art projection solution into their largest lecture theatre which also serves as an exhibition hall.

You might even be able to slip into the tasting hall to catch a glimpse of the permanent art exhibition.

AIME continues to be the must attend event in the Asia - Pacific region for the meetings and events industry and has won the prestigious «Exhibition of the Year» award at the Meetings and Events Australia (MEA) National Awards for the years of 2008, 2009 and 2010, thus placing AIME into MEA's Hall of Fame for this award category.

Guest Contributor Joshua Sevits / The Hall Art Foundation in bucolic Reading, Vermont, is located in a faithfully restored stone farmhouse with three large barns, each of which has been turned into exhibition space.

It continues with works from the world's leading innovators in the arts, as they break through thresholds of space, memory, sound, and genre — from Philippe Parreno who, in his largest exhibition in the U.S. to date, transforms the presentation of visual art into an evolving sensory journey; to Wayne McGregor, Olafur Eliasson, and Jamie xx as they create a new contemporary ballet; to avant - garde performance artist Laurie Anderson who, through a site - specific installation in the Armory's drill hall, will expand upon her work with storytelling and technology to create a site - specific environment that serves as a meditation on time, identity, surveillance and freedom; and finally to Igor Levit and Marina Abramović as they interpret Bach's renowned Goldberg Variations, to create a concentrated durational performance that reflects upon music, time, space, emptiness, and luminosity.

In 2013, the Hall Art Foundation entered into a partnership with the Ashmolean Museum of Art and Archaeology in Oxford, England to present a series of exhibitions of contemporary and postwar art curated by Sir Norman Rosenthal.

Selected solo exhibitions of Anish Kapoor include: «Objects», Seoul: Leeum, Samsung Museum of Art (2012); «Anish Kapoor: Flashback», Manchester Art Gallery, Manchester (2011); «Monumenta», Grand Palais, Paris (2011); «Anish Kapoor», Fabbrica del Vapore, Milan (2011); «Anish Kapoor: Delhi / Mumbai», National Gallery of Modern Art (NGMA), New Delhi and Mehboob Studios, Mumbai (2010); «Turning the World Upside Down», Kensington Gardens, London (2010); «Anish Kapoor», Museo Guggenheim de Arte Moderno y Contemporáneo, Bilbao (2010); «Anish Kapoor», Middlesbrough Institute of Modern Art, MIMA, Middlesbrough (2010); «Turning the World Upside Down», Kensington Gardens, London (2010); «Anish Kapoor: Shooting into the Corner», MAK Museum, Vienna (2010); «Drawings», Regen Projects, Los Angeles (2009); «Memory» Guggenheim, New York (2009); «Place / No Place: Anish Kapoor in Architecture», Royal Institute of British Architects, London (2008); «Anish Kapoor», Haus der Kunst, Munich (2007); «Anish Kapoor, Sky Mirror» Rockefeller Centre, New York (2006); «Anish Kapoor Japanese Mirrors», Scai The Bathhouse, Tokyo (2005); «My Red Homeland», KUB, Kunsthaus Bregenz (2003); «Marsyas», Turbine Hall, Tate Modern, London (2002 - 03); Tel Aviv Museum of Art, Tel Aviv (1993); Mala Galerija, Moderna Galerija Ljubljana, Museum of Modern Art, Slovenia (1994); «Anish Kapoor, XLIV Biennale di Venezia», British Pavilion, Venice (1990).

Divided into two exhibition halls, the gallery accommodates various types of art, including oriental painting, photography, calligraphy, sculpture and media art.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquExhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquexhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquExhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

GUILD HALL - «Gallery Talk with Christina Strassfield» - Guild Hall Museum Director / Chief Curator Christina Strassfield gives an exhibition tour and insights into the work of Cornelia Foss on Monday at 12:30 pHALL - «Gallery Talk with Christina Strassfield» - Guild Hall Museum Director / Chief Curator Christina Strassfield gives an exhibition tour and insights into the work of Cornelia Foss on Monday at 12:30 pHall Museum Director / Chief Curator Christina Strassfield gives an exhibition tour and insights into the work of Cornelia Foss on Monday at 12:30 p.m..

Part of the museum's main exhibition hall is transformed into a gay nightclub, where the public encounter the remnants of a party, witnessing an activity going on prior to the opening of the exhibition.

With more than 100 previously unseen works from the Hall Collection, this expertly curated exhibition offers new insights into the life and work of Andy Warhol, while also revealing something about the personality of the collector.

The Exhibition at Guild Hall will be divided into three components that will highlight various media that Anderson works in, allowing the visitor to experience the genius of this unique artist.

The viewer experiences the work sonically prior to the visually, as the show evolves into a complex installation in the exhibition hall.

Yokohama Triennale 2014 / ART Fahrenheit 451: Sailing into the Sea of Oblivion at Yokohama Museum of Art, Shinko Pier Exhibition Hall and various and other venues; Defying Stability: Artistic Process in Mexico 1952 — 1967 at MUAC, Mexico City; Os Gêmeos: A Ópera da Lua at Galpão Fortes Vilaça, São Paulo.

The space is transformed into an autonomous universe where the viewer completely delves, discovering a poetry installation that converts the exhibition hall of the foundation in a colorful and dreamy world.

Since his inclusion in the 2010 Whitney Biennial — whose Sculpture Court he transformed into an installation that served as a communal gathering space for performances, social engagement, and meditation — Gates has become a near ubiquitous presence in museum exhibitions, biennials, and lecture halls throughout North America, Europe, and beyond, showing his sculpture, channeling African - American musical traditions, and preaching a gospel of ground - up urban revitalization.

2018 Diaspora Pavilion Wolverhampton Art Gallery, UK, 10 Feb — 29 April 2018 Presence — A Window into Contemporary Chinese Art The Vaults, St George's Hall, Liverpool, UK, 9 Feb — 2 June 2017 Diaspora Pavilion Palazzo Pisani Santa Marina, Venice, 13 May — 26 November 2017 Sonic Soundings Venice / www.echoes.xyz 1 Sept — 30 November 2015 - 16 1st Asia Biennial & 5th Guangzhou Triennial Guangdong Museum of Art, Guangzhou 2013 The Global Archive Hanmi Gallery, London 2012 Everything Flows De La Warr Pavilion, Bexhill 2012 Blue Crystal Ball Samsung IOC Olympics Media Art Collection, screenings at De La Warr Pavilion, Bexhill 2012 Blue Crystal Ball Samsung IOC Olympics Media Art Collection, exhibition, AND Festival, Holden Gallery, Manchester 2012 March 2012 part of Time Lapse SITE Santa Fe, New Mexico 2011 Fraternise — the Salon Beaconsfield, London 2010 How We Became Metadata University of Westminster Gallery, London 2010 Tables of Thought Academy of Fine Arts, Helsinki, Finland 2009 Hit the Ground Hatton Gallery, Newcastle (Great North Run Cultural Programme) 2008 Artradio exhibition & online station, Cornerhouse, Manchester (featured soundwork) 2006 Cruel / Loving Bodies 2 exhibition, Hong Kong Arts Centre & Goethe Institute 2005 Private View exhibition, Shanghai Duolun MoMA 2005 Lightsilver exhibition, Beaconsfield Contemporary Art, London 2005 Reassurance exhibition, SPACE Triangle, London & Chinese Arts Centre, Manchester 2004 New Nasubi Gallery in «Osawa Tsuyoshi: Answer with Yes and No!»

As part of Culture night 2017, the galleries will be open until 8 pm with free access into the main exhibition and St Carthage Hall from 6 - 8 pm.

Oliver Laric is a great admirer of glyptotheques and plaster - cast collections, and so his exhibition Photoplastik transforms the Secession's main hall into a sculpture display.

Underlining and highlighting the transition from the past to the present, the complex identity of which it is important to conserve, it has been decided to graft the exhibition in its totality — walls, floors, installations and art objects, including their relative positions — onto the historical architectural and environmental structure of Ca» Corner della Regina, thereby inserting — on a full - size scale — the modern rooms of the Kunsthalle, delimited by white wall surfaces, into the ancient frescoed and decorated halls of the Venetian palazzo.

Selected Exhibitions 2009 Zenith Gallery, Washington, DC, For Real, group exhibit 2008 Zenith Gallery, Washington, DC, What Remains: The American Landscape Portfolio Edition, solo exhibit Zenith Gallery, Washington, DC, Trees of Life, 30th Anniversary Show, group exhibit 2007 Zenith Gallery, Washington, DC, What Remains: The American Landscape, solo exhibit 2006 Zenith Gallery, Washington, DC, 28th Anniversary Exhibition, group exhibit 2005 Zenith Gallery, Washington, DC, Into the Minds of Nine, group exhibit Zenith Gallery, Washington, DC, La vie quotidienne: Scenes from Paris to Provence, solo exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 22nd Annual Portrait Show 2004 Land Trust of Virginia, Middleburg, VA, Vanishing Landscapes 2004, group exhibit Parker Gallery, Washington, DC, Beyond Brittany: 1977 - 1979, group exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 21st Annual Portrait Show Zenith Gallery, Washington, DC, Zenith Style: Art & Craft for Home & Office, group exhibit Zenith Gallery, Washington, DC, This Land is Your Land, This Land is My Land, group exhibit 2003 Bermuda National Gallery, Hamilton, Bermuda, Inside & Out, House & Home, group exhibit Zenith Gallery, Washington, DC, Near and Far: Recent Landscape Paintings, solo exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 20th Annual Portrait Show 2002 Land Trust of Virginia, Middleburg, VA, Vanishing Landscapes Zenith Gallery, Washington, DC, The Dog Days of Summer Zenith Gallery, Washington, DC, New Artists... New Space, Summer Show 2002 2002 Hilligoss Galleries, Chicago, IL, Oil Painters of America, Eleventh Annual National Juried Exhibition of Traditional Oils Francesca Anderson Fine Art, Portraits North, Lexington, MA, 19th Annual Portrait Show 2001 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour Northern Virginia Fine Arts Association, Alexandria, VA, Contemporary Realism: A Survey of Washington Area Artists Zantman Art Galleries, Palm Desert, CA, Oil Painters of America, Tenth Annual National Juried Exhibition of Traditional Oils Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Francesca Anderson Fine Art, Portraits North, Lexington, MA, 18th Annual Portrait Show 2000 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour Rock Creek Gallery, Washington, DC, Studio 310 Reunion Francesca Anderson Fine Art, Portraits North, Lexington, MA, 17th Annual Portrait Show Spectrum Gallery, Washington, DC, Spectrum Plus Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Zenith Gallery, Washington, DC, Zenith Gallery at 22 1999 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour, recipient of the Steven L. Aschenbrenner Collector's Award Zenith Gallery, Washington, DC, New Works for the Millenium Francesca Anderson Fine Art, Portraits North, Lexington, MA, 16th Annual Portrait Show Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape 1998 Byrne Gallery, Middleburg, VA, Lightmotifs, solo exhibit Mystic Maritime Gallery, Mystic, CT, 19th Annual International Marine Art Exhibition Francesca Anderson Fine Art, Portraits North, Lexington, MA, 15th Annual Portrait Show Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape 1997 Arts Club of Washington, Washington DC, Luminous Journeys, solo exhibit Ballantyne & Douglass Fine Art Gallery, Cannon Beach, OR, featured artist The Artists» Museum, Washington, DC Francesca Anderson Fine Art, Portraits North, Lexington, MA, 14th Annual Portrait Show Morgan Peyton Fine Arts, Charleston, WVA, Journeys through the Virginias, solo exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit Howard / Mandville Gallery, Edmonds, WA, Paintings of the American Landscape 1996 Howard / Mandville Gallery, Kirkland, WA, Pleasures of the Garden Francesca Anderson Fine Art, Portraits North, Lexington, MA, 13th Annual Portrait Show Howard / Mandville Gallery, Edmonds, WA, 2nd Annual Paintings of the American Landscape Gallery 4, Alexandria, VA, Landscapes Cudahy Gallery, Richmond, VA, 15th Anniversary Celebration Charles County Community College, La Plata, MD, Landscapes, solo exhibit 1995 Cudahy Gallery, Richmond, VA, Landscapes 1994 Hollis Taggart Gallery, Washington, DC, Portraits Montgomery County College, Rockville, MD, George Washington Faculty Exhibit DeMatteis Gallery, Annapolis MD, The Figure Fine Arts Gallery, Georgetown University, Washington, DC, Portraiture, co-curator 1993 Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1992 Fine Arts Gallery, Georgetown University, Washington, DC, faculty exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1991 Fine Arts Gallery, Georgetown University, Washington, DC Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1989 Plum Gallery, Kensington, MD, Capital Image 1989 Cudahy Gallery, Richmond, VA, National Portrait Exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1988 Fine Arts Gallery, Georgetown University, Washington, DC, Images of Georgetown, A Bicentennial Celebration 1986 Dimock Gallery, George Washington University, Washington, DC, Alumni Juried Exhibition 1985 Gallery 4, Alexandria, VA, Washington Landscapes Plum Gallery, Kensington, MD, The Capitol Image Today 1985 The Times Journal Co., Springfield, VA, In and Around Washington 1984 St. Petersburg Historical Society, St. Petersburg, FL 1984 Dimock Gallery, George Washington University, Washington, DC, Alumni Juried Exhibition Strathmore Hall, Rockville, MD, Metro Art Fairfax County Council of the Arts, Fairfax, VA, juried exhibit curated by Michael Botwinick, director, Corcoran Gallery of Art, Washington, DC World Bank Art Society, Washington, DC 1983 Arlington Arts Center, Arlington, VA, Areawide Painting Exhibition, juried by Frederick Brandt, curator, Virginia Museum of Fine Arts, Richmond, VA American Artists Professional League, New York, NY, Juried Grand National Exhibition Twentieth Century Gallery, Williamsburg, VA

The doors opened this morning on the 2013 edition of the Armory Art show, welcoming press and VIP's into the massive exhibition halls of Piers 92 and 94 on the waterfront of New York City's Hell's Kitchen neighborhood.

Importing reflections on yesterday's dystopias to today, an international group exhibition across the hall, «Futures,» examined retro - futurist nostalgia: «How do outdated desires gain new, unfamiliar forms and turn anew into promises for the future?»

The largest Bruce Nauman exhibition in Europe since 1998, this survey follows the American artist's understated yet commanding occupation of Tate Modern's Turbine Hall last year and takes as its focus the artist's ongoing investigations into the human condition.

Finally, inviting audiences into the exhibition is a site - specific work from Hormazd Narielwalla which, set in the entrance hall of the FTM, fuses the worlds of fashion and international travel.

The Yokohama Triennale 2014: «ART Fahrenheit 451: Sailing into the sea of oblivion» August 1 — November 3 The Yokohama Museum of Art & Shinko Pier Exhibition Hall, Yokohama

At 11.30 pm Paris time, a small group of White House officials dashed into a temporary plywood hut in the exhibition hall where, a few hours earlier, a historic legal agreement to cut emissions causing climate change was secured.

Wandering through the exhibition hall at ABA Techshow last week, I'd ask friends I bumped into whether they'd seen any new products that interested them.

I got a headache just going into the exhibition halls.