Sentences with phrase «exhibition making practices»

In addition to her exhibitions making practice, Betancourt also is responsible for developing the Samdani Art Foundation collection.

Not exact matches

In the scheme of things — after Woods» shot - making exhibition at Sage Valley Club that reportedly included a 300 - yard drive, which followed his «progressing nicely» home video, and reports he was up to five hours of practice and playing some holes on his home course — a Tiger turnout in North Carolina may seem the next obvious step.

Education, exhibitions, and, in general, making women's presence felt as part of normal practice in fields like art and, we hope, science and medicine.

This exhibition offers a survey of Ahtila's practice through seven film installations made between 2001 and 2018 and a series of drawings.

Through the friendship and careers of the trio of artists — all who live and work in The Hamptons — the exhibition explored paintings made and the intersections and divergences of each of their art practices during this time period.

Inclusive of practicing Oklahoma artists, this triennial exhibition invites audiences to investigate current art making in Oklahoma.

The exhibition makes the most of Tate St Ives» expansive new display areas to show a number of Heron's large - scale paintings, and marks the evolution in his visual language, aesthetic sensibility and practice.

Just want to say that I am really enjoying this new practice of museums and artists making video previews to promote their upcoming exhibitions.

«A good exhibition is one that makes me reconsider my own practice,» he says in Artforum.

This exhibition is about the practice of making art during tumultuous times.

The exhibition, at Chelsea's Ameringer McEnery Yohe, comprises fifty - six oil landscapes that were all made within the past two years — a considerable testament to the vitality of Kahn's vision and practice.

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.

is vital reading for arts professionals, art and curatorial studies students, art historians, practicing artists, and anyone curious about exhibition - making today.

Including paintings made during the last four years and a new video, the installation extends Bittle's practice of using exhibitions as a medium for storytelling.

Her practice includes sound art and design, deejay performance, exhibition making, and collaborations within communities of difference.

Slanguage bases their practice on a three - pronged approach to art - making that includes education, community - building, and interactive exhibitions.

Coyne incorporates past practices and makes a sweeping, audacious leap forward in Vermilion Fog, a significant exhibition for the artist.

Prior to her trumpeted appointment, she'd made her mark on the Los Angeles art landscape at the Hammer Museum, where she not only shepherded the first L.A. solo shows of contemporary visionaries Simone Leigh and Njideka Akunyili Crosby into fruition, but was also integral in realizing the exhibitions at Art + Practice (such as a show by Alex Da Corte), the arts and social services foundation established by influential artist Mark Bradford.

The exhibition will feature Aguiñiga's «AMBOS (Art Made Between Opposite Sides)» series alongside seven other projects from her ongoing design and artistic practice in photographic documentation, radio broadcasts, ephemera, data and an installation.

BALTIC's major survey exhibition will explore the breadth of Achaintre's practice, comprising a selection of work from the last decade together with new work made specially for the exhibition.

The comprehensive exhibition will provide a deeper sense of his practice and also a look into his latest stirrings, made especially for the show.

Structured as both a residency and an exhibition, individual artists or artist teams may develop new work or generate provocative programming that investigates new avenues within contemporary art making practices.

She was a curator of the 2nd Tbilisi Triennial (2015) and Founding Senior Editor of The Exhibitionist, a journal on curatorial practice and exhibition making.

PASCALE MARTHINE TAYOU BEAUTIFUL until APR 2, 2018 Born in Cameroon and based in Ghent, Belgium, Pascale Marthine Tayou brings his itinerant practice to Miami Beach for his exhibition, Beautiful, creating an organic and collaboratively formed presentation of work made in the last decade.

Curators use our space to present contemporary thesis exhibitions on visual arts, artists, and art making practices.

A three - part exhibition, the first gallery provides a glimpse of McGinness's studio practice, the second displays a selection of the objects McGinness chose from the museum's collection alongside his sketches and final image, and the last portion features early works the artist made while growing up in Virginia Beach.

A festival and exhibition of social - practice projects throughout the Dallas - Fort Worth area produced by the nonprofit Make Art With Purpose.

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.

The exhibition chronicles the period in Haring's career from his arrival in New York City through the years when he started his studio practice and began making public and political art on the city streets.

Foregrounding a new development in the artist's practice, which moves beyond notions of verisimilitude, the exhibition presents the Rooter series of iron sculptures, all made in the past two years, which apply plant - like branching systems to map a human body in space.

Bildungsroman, the title of the exhibition, makes use of the literary term for a coming - of - age novel, thus reflecting how the constellation of works can be read as a journey in the shaping of Barney's artistic practice.

«Pussies,» Judy Chicago's first solo exhibition in San Francisco since her iconic installation The Dinner Party premiered there in 1979, presented paintings, drawings, and ceramic plates made between 1968 and 2004, many of which exemplified the feminist art practices pioneered by the artist in the 1960s and»70s.

MoMA presents the exhibition as an «Open monograph,» inviting other artists who influenced Rauschenberg's life and career to display their work, documenting the exchange of ideas that the artist held as a central tenet of his art - making practice.

2016 also marked the Hammer's third iteration of our biennial exhibition Made in L.A. Titled Made in L.A. 2016: a, the, though, only, the exhibition continued to highlight the practices of artists working throughout Los Angeles and surrounding areas.

Simon Lewandowski is an artist based in London whose practice encompasses making useful things and useless things, making things that move and things that look as if they are moving.Solo exhibitions include «The Reversing Machine» (with Sam Belinfante), Art Laboratory Berlin, Berlin (2012) «Giochi, Passatempi, Harbingers» Nowhere Gallery, Milan (2011), «HOTEL / MOTEL / MOTET» installation and animated film with poet Richard Price, «Humbermouth» Literary Festival, Hull (2008), «The Imagining Machine: an Investigation», East Street Arts, Leeds (2008), «Crimes of Futility No. 8: The ArtistMachine», City Art Gallery, Leeds (2006).

The BCMA is committed to designing programs, materials, and tours to make all exhibitions accessible to visitors of all abilities in accordance with best practices guidelines for museum accessibility.

English - taught lectures cover both theoretical and practical topics that go from the history of contemporary visual arts and practices of exhibition - making, to Exhibition Mexhibition - making, to Exhibition MExhibition Management.

Curated by Christopher Bedford, Adjunct Professor of the Practice in Fine Arts at Brandeis University, the exhibition is made possible in part through support from the Henry and Lois Foster Fund and the Helen Frankenthaler Foundation.

Her practice includes sound art and design, deejaying, exhibition making, and collaborations within different communities.

The exhibition will explore Pollock's practice via a selection of paintings made between 1947 and 1949; these works will serve to contextualize the radical departure represented by the black paintings, a series of black enamel and oil paintings that Pollock created between 1951 and 1953.

We have mounted important exhibitions of the works of Ant Farm, Joe Brainard, Joan Brown, Theresa Hak Kyung Cha, Robert Colescott, Jay DeFeo, Juan Gris, Eva Hesse, Paul Kos, Robert Mapplethorpe, Barry McGee, Richard Misrach, Bruce Nauman, Peter Paul Rubens, Martin Puryear, Sebastião Salgado, William Wiley, and many others, as well as thematic exhibitions such as Made in U.S.A.: An Americanization in Modern Art, the «50s & «60s; State of Mind: New California Art Circa 1970; In a Different Light: Visual Culture, Sexual Identity, Queer Practice; Human / Nature: Artists Respond to a Changing Planet; and Masterworks of Chinese Painting: In Pursuit of Mists and Clouds.

The artists included in this exhibition have created personas in their visual or performative practices in order to discuss feminism and the making of difference beyond anthropocentric or gender politics.

A three - part exhibition, the first gallery provides a glimpse of McGinness» studio practice, the second displays a selection of the objects McGinness chose from the museum's collection alongside his sketches and final image, and the last portion features early works the artist made while growing up in Virginia Beach.

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 graduate program at the Center for Curatorial Studies at Bard College provides practical training and experience in a museum setting and an intensive course of study in the history of the contemporary visual arts, the institutions and practices of exhibition making, and the theory and criticism of the visual arts in the modern period.

Born in Cameroon and based in Ghent, Belgium, Pascale Marthine Tayou brings his itinerant practice to Miami Beach for his exhibition, Beautiful, creating an organic and collaboratively formed presentation of work made in the last decade.

«Traces and Accumulations» is a group exhibition featuring work by artists who practice rigorous processes of repeated mark making and layering of minimal gestures.

The exhibition, featuring Agnes Calf, Dorota Gawęda & Egle Kulbokaite, Mikko Kuorinki, and Tabita Rezaire among others, takes French anthropologist Claude Lévi - Strauss» «The Savage Mind» text as a starting point, citing the term bricolage as an associative practice experienced by many non-western societies, wherein «solutions are invented following paths made of fortuitous, unstable and contingent discoveries».

Along the way, learn about the curator's unorthodox approach to exhibition - making, based in his own practice of conceptual collage and assemblage.

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.