Sentences with phrase «exhibition of minimalist»

From Black, White and Grey, the first museum exhibition of Minimalist art; to publishing limited edition silkscreen portfolios of work by major contemporary artists in the 1960s; to advocating for Earth art that manipulates the natural landscape; Wagstaff was a trailblazer and an influential tastemaker in contemporary art.

A key exhibition of Minimalist art was the «Primary Structures» exhibition at New York's Jewish Museum in 1966, which featured the artist Robert Morris.

Ricco / Maresca is pleased to announce René Pierre Allain: Steel Bars, an exhibition of minimalist paintings on steel.

Primary Structures, which takes its name from the 1966 seminal exhibition of Minimalist sculpture, is a theatrical tableau of classical columns which plays with and rejects Minimalist principles, including the Minimalists» rejection of pedestals.

Truitt's one - person show at André Emmerich Gallery in 1963 was one of the first exhibitions of minimal - type sculpture; her work was included in «Black, White, and Grey» (1964) and «Primary Structures» (1966), the defining exhibitions of the minimalist tendency.

The exhibition's title is taken from one of the inaugural exhibitions of the Minimalist movement: Primary Structures at the Jewish Museum in 1966.

Initial labels for Minimalism — none of which became popular — were «ABC Art» and «Primary Structures» (the latter was the title of one of the first organized exhibitions of Minimalist works).

Exhibitions of his minimalist sculpture are held in several of the best contemporary galleries around the world.

Exhibitions of his minimalist sculpture have been staged in several of the best contemporary galleries in America, and his works are in many of the best art museums around the world.

Not exact matches

Notable early exhibitions include a 1977 show of minimalist works by Carl Andre, Dan Flavin, Donald Judd, and Sol Lewitt; seven of Bruce Nauman's seminal early shows; eleven Richard Long exhibitions; and the installation of one of Mario Merz's celebrated glass and neon igloos in 1979 — part of the gallery's ongoing dedication to Arte Povera artists, including Alighiero Boetti.

The exhibition features works by prominent Minimalist artists as well as pieces by those who, while not necessarily considered adherents, were either an integral part of the birth of Minimalism or profoundly influenced by its aesthetic priorities.

An influx of recent gallery shows capture this ongoing investigation, like the current exhibition «Mary Obering: Selected Works 1983 - 1987» at Marisa Newman Projects in New York, where Obering illustrates natural wonders, like particle collisions, within her minimalist framework.

The West 20th Street gallery is focused on artists» estates, staging museum - quality exhibitions of work by American minimalists like Dan Flavin and Fred Sandback and twentieth - century masters such as Josef Albers and Giorgio Morandi.

In 2010, the exhibition Lines in Space: Paule Vézelay & Linda Karshan featured Linda Karshan's recent minimalist drawings as a complement to the purity of Paule Vézelay's constructions (the «Lines in Space» series) and her related drawings spanning the 1930s to 1970.

Notable early exhibitions include a 1977 show of minimalist works by Carl Andre, Dan Flavin, Donald Judd, and Sol Lewitt; seven of BBruce Nauman's seminal early shows; eleven Richard Long exhibitions; and the installation of one of Mario Merz's celebrated glass and neon igloos in 1979 — part of the gallery's ongoing dedication to Arte Povera artists, including Alighiero Boetti.

Almost 50 years later, it is three - dimensional objects that are cited in exhibitions and texts as the clearest exemplars of Minimalist aesthetics.

Engaging works of various minimalist artists and choreographers who emerged in the 60s and 70s are on display at the Moderna Muset exhibition.

That was when it opened the refurbished Building 7 with a 25 - year exhibition of 105 in - situ wall drawings by Sol LeWitt, an influential Minimalist - Conceptualist who doesn't figure as prominently in the Dia power grid as others.

Las Vegas Weekly, The Barrick's «Plural» Teams Local and International Artists for an Engaging Show, April 26, 2018 East Hampton Star, 23 Successes in «A Radical Voice», Jennifer Landes, March 20, 2018 Elle Décor, «Hitting Her Groove», Kate Betts, September 2014 Hamptons ArtHub, Best Exhibitions of 2013», December 2013 Hamptons ArtHub, «Almond Zigmund: Interruptions Repeated», Gabrielle Selz, September 2013 WhiteHot Magazine, «Almond Zigmund: Interruptions Repeated», Janet Goleas, September 2013 Huffington Post, «Almond Zigmund: Interruptions Repeated», Gabrielle Selz, August 2013 Elle Décor, «Arbiter of Style», Cynthia Frank, May 2013 NY H&G, «Mondo Condo» May 2013 Long Island Pulse, «Artist VIP», Nada, August 2011 Southampton Press, «Shifting Perceptions in Parrish Installation», Pat Rogers, November 8, 2007 East Hampton Star, «An Artist «Remembers the Future»», Jennifer Landes, November 1, 2007 East Hampton Star, «Industrial Strength Beauty, Jessica Frost, July 19, 2007 Las Vegas Sun, «Coloring Her World», Kristen Peterson, February 24, 2006 Southampton Press, «Tracing the Genealogy of Ideas», Eric Ernst, December 15, 2005 Columbus Dispatch,» Texture Enlivens Minimalist Exhibit», Kaizaad Kotwal Sunday, July 17, 2005 Southampton Press,» Avram Gallery Offers Quiet Space for Show», Eric Ernst, Nov. 25, 2004 Los Angeles Times, «Sweet Nostalgia Projected Onto Metal», Holly Meyers, Feb 1, 2002 Flash Art, «Aperto», David Pagel, March - April 2002 Art in America, «Report From Sante Fe — Sin City Sampler», Sarah S. King, July 2002 Kunst; «Verdachtig ist, wer sich nicht bewegt», Jurg M. Meier, 2002 Samatag, «Orte des Durchgangs sichtbar gemacht», Susanne Neubauer, Jan 26, 2002 The Art Newspaper, «Las Vegans», Sarah Douglass, No 121, January 2002, p. 9 The Southampton Press, «Artists in Spotlight at Parrish», October 25, 2001, Miami Herald, «Altoids Artworks Small, But Strong», Elias Turner, Sept 10, 2001 Florida Today, «Altoids offers an exhibit of curiously fresh art», Pam Harbaugh, 2001 Exhibit: a, «The Big American Issue», June 2001, p. 28 illustration Las Vegas Weekly, August 5, 1999 «Artists Bios», p. 20, illustration Las Vegas Weekly, February 3, 1999 «Great Art BiDesign», p22 New York Contemporary Art Report, Jan / Feb 2000, p. 52, illustration

This utilisation of the tangible, physical features of the gallery space is echoed in Vermeersch's third solo exhibition at the Carl Freedman Gallery, a varied presentation of minimalist work that delicately balances unity and fragmentation in order to posit a rumination on time's various guises.

Central to the exhibition are found images that «serve as bedrock for Pendleton's artistic practice and connect his form of abstraction with the history of the America Civil Rights Movement, the pre-war Avant - Garde, La Nouvelle Vague in film, and Minimalist and Conceptualist art practices of the 1960s.»

«Creating art that is honed from a conceptualism that pays homage to minimalist practices of the 1970s and reinvents identity - based explorations of the 1980s, Simmons came of age aesthetically in the 1990s and his work represents the fluid hybridity of that time,» wrote Thelma Golden in the exhibition catalogue Gary Simmons (2002).

This winter P.S. 1 presents an exhibition of outstanding Minimalist and Post-Minimalist works on paper, providing historical and artistic context to the Ronald Bladen: Selected Works exhibition which also opens February 7.

Highlights include director Bryan Robertson's dialogue with US artist Robert Rauschenberg on the occasion of his 1964 Whitechapel Gallery exhibition and audio recordings of talks given by German artist Rosemarie Trockel and American minimalist Carl Andre.

The 16th edition of this exhibition will feature 40 new works, ranging from the dynamic floor - to - ceiling installation piece by Abhidnya Ghuge (consisting of 5,441 paper plates), the technicolor hyperrealist paintings by Ira Upin, and the minimalist conceptual neon works by Raine Vasquez.

Austin Desmond Fine Art is pleased to present an exhibition of works by 24 artists whose practice lies within the spheres of concrete, minimalist and constructivist art.

Also organized by Messina in collaboration with Farrell is Uta Barth's to draw with light, an ambitious solo exhibition featuring three related sequences of atmospheric, minimalist images that have never before been shown together in the United States.

McShine's 1966 exhibition, Primary Structures: Younger American and British Sculptors, at the Jewish Museum was the first museum survey of Minimalist art.

As its title indicates, the exhibition provided an update on the «Primary Structures» show at the Jewish Museum in 1966, which ushered in the pared - down geometries of Minimalist sculpture.

For the 2017 edition, ADAA members will present a wide range of solo exhibitions highlighting artists from around the world, including presentations that offer new insights on established and influential artists, such as Abstract Expressionist Norman Lewis, whose paintings will be presented by Michael Rosenfeld Gallery; leading Minimalist Josef Albers, whose paintings and drawings on paper will be presented by David Zwirner; and Post-Impressionist Édouard Vuillard, whose paintings and works on paper will be presented by Jill Newhouse Gallery.

FRED SANDBACK: LIGHT, SPACE, FACTS The beloved maestro of minimalist yarn installations — more popular now than when he died in 2003 — is given 9,000 square feet of exhibition space.

Exhibitions at both branches of the Dwan Gallery showed notable Abstract Expressionist, Conceptualist, Nouveaux Realiste, Minimalist, and Land Art artists.

The viewers journey through this exhibition could be described as a somewhat precarious encounter, met at first glance with a manufactured, collection of Minimalist assemblages, products of the juxtaposition of manufactured and found works, the works could be seen as a stripped back, clean homage to Arte Povera — that is until one has a very definite reaction to the work.

Moving from the early Abstract Expressionist paintings of Dusti Bongé and Marie Hull to the contemporary works of Bonnie Maygarden and and Shawne Major, this exhibition includes work that ranges from the early minimalist compositions of Ida Kohlmeyer to the fresh abstract spaces of Ashley Teamer; from the stained surfaces of Dorothy Hood and Anastasia Pelias to the biomorphic abstractions of MaPo Kinnord and Shawn Hall.

2012 To be a Lady: Forty - five Women in the Arts, 1285 Avenue of the Americas Art Gallery, New York, NY MinMax: Minimalist Themes in a Maximalist Collection, Allan Stone Gallery, New York, NY Affinity Atlas, The Ruth and Elmer Wellin Museum of Art, Hamilton College, Clinton, NY INsite / INchelsea: The Inaugural Exhibition, Michael Rosenfeld Gallery LLC, New York, NY 2016 The Onward of Art American Abstract Artists 80th Anniversary Exhibition, 1285 Avenue of the Americas Art Gallery, New York, NY

The seven drawings created for his exhibition at the Hammer Museum clearly demonstrate the artist's fluency in various dialects of the common abstract language, resonating with Constructivist and Minimalist tones and with a few refrains in less analytical abstract traditions.

This exhibition recreates the unique environment of the minimalist artist, a key figure in the Philadelphia art community for nearly 50 years.

The title of the exhibition takes its inspiration from minimalist composer Steve Reich's Clapping Music, 1972, an audio work in the Hessel Collection.

The exhibition of Dennis Leri's work at Ashawagh Hall in Springs begs the question yet again of what constitutes true minimalist art...

During 2014, the Jewish Museum in New York staged «Other Primary Structures», a two - part update of their 1966 exhibition «Primary Structures: Younger American and British Sculptors», which established what would become the canon of minimalist sculpture.

While a growing number of artists were making Minimalist work through the»60s, it wasn't until the 1966 «Primary Structures» exhibition at the Jewish Museum in New York that this style was identified as a more widespread American phenomenon.

From India, scholar Shanay Jhaveri sits down with recent Royal Academy of Arts, London, graduate Prem Sahib on the eve of his first solo exhibition in Mumbai to discuss the sense of intimacy and community evoked in his spare, minimalist installations and wall pieces, often inspired by nightclubs and changing rooms.

Goor's self - titled exhibition at Mana displays several decades of her organic bronze jugs, unique jewelry, furniture and light fixtures that range stylistically from elegant minimalist to massive industrial, with a few Surrealist fantasies.

In keeping with the duality of day and night, the exhibition sprawls across two floors of the museum, with exclusively black works such as the twelve - part mask series MOONRISE (2004), the minimalist X sculpture Lessness (2003) or one of Rondinone's psychologically haunting, ambient sound installations being shown on the basement level.

Despite O'Doherty's debunking of this context, the white cube mode of exhibiting continues to underpin much exhibition - making in the West, from commercial galleries that are designed to look like modern art museums (think of David Zwirner's minimalist 30,000 square foot space on 20th Street in New York) to websites such as Contemporary Art Daily that tend to privilege the flattened picture surfaces of post-minimalist paintings, which look good filtered through the even light of a laptop screen.

Despite O'Doherty's debunking of this context, the white cube mode of exhibiting continues to underpin much exhibition - making in the West, from commercial galleries that are designed to look like modern art museums (think of David Zwirner's minimalist 30,000 square foot space on 20th Street in New York) to

Also at Sperone Westwater is the first American exhibition of Zero Group artist Nanda Vigo, whose Cronotopi (1963 — 69), are minimalist structures of glazed surfaces that play with light and form.

Philippe Vergne's 2017 exhibition of Carl Andre, a minimalist artist suspected to have abused and killed his wife, fellow

A radiant Guggenheim exhibition grounds the proto - Minimalist abstract paintings of Josef Albers in the geometric grandeur of Mesoamerican monuments.

This exhibition showcases both a wide selection of mediums and movements, including Finish Fetish, where artists such as Ron Davis and Craig Kauffman produced immaculately polished works; and Light and Space, which produced minimalist, experiential pieces by the likes of Larry Bell.