Sentences with phrase «exhibition opportunities when»

During the 1930s and early 1940s, AAA provided exhibition opportunities when few existed.

The American Abstract Artists group was established in 1936 as a forum for discussion and debate of abstract art and to provide exhibition opportunities when few other possibilities existed.

Not exact matches

It was November of 2013 when Mark DeLuca sat in the Berkeley High gym «'' roughly an hour before his first exhibition game as the Yellowjackets boys basketball coach «'' and spoke about the opportunity he'd been given.

This game is fun as hell, the exhibition mode is fun (with friends), classic fights are a good way to get someone who wasn't into MMA interested in it (e.g. me) Career mode is fun but the problem is that you don't age is kinda dumb to be honest, you're «CRED» has no real purpose other than to get you new equipment, sponsors, sparring partners and opportunities to increase your «CRED» the controls are confusing to someone who's never played a game like this A.K.A me but I'll give it credit for innovation, you can go to training camps which upgrade you're striking and grappling which gives you new moves, their is a few exploits in the game No. 1 if you manage to get all the sponsors you can use them in create a fighter (which by the way has a decent enough amount of options) you can put all of the sponors that give the most cred and get everything easily and I mean everything No. 2 when you go to a training camp all you have to do is watch two demonstrations by the camp fighter and you have full stamina No. 3 any fighter you can beat within a minute of the first round you can beat a few times and shoot up the ranks, the music is good but you'll soon get sick of it and turn it off cause it repeats itself soo often, they didn't add intro walks, music and cage entries which would've made you feel more like an actual UFC fighter, but overall its a fun game but there's a few missed opportunities and not many fighting styles to choose from but rent it if you are curious about the game.

Though many showed in exhibitions along with men, this was a time when societal opportunities for women were limited.

«The exhibition John Graham: Maverick Modernist at the Parrish Art Museum in Water Mill, Long Island, is a unique opportunity to explore the work of an artist who has hovered on the margins of the Modernist narrative for more than a half - century, when he isn't forgotten altogether... Maverick Modernist takes a deep dive into Graham's background as an artist, a career he began in earnest when, at the age of 35, he enrolled in the class of the Ashcan School painter John Sloan at the Art Students League in New York City.»

The opportunity to present an exhibition in the dynamic Minnesota Street Project space aligns with the gallery's mission as it looks towards its next phase, when it will continue its tradition of exhibiting major works of historic significance international in scope alongside prominent local Bay Area artists, while also providing a platform for promoting and nurturing young artists with engaging new exhibitions and programming.

For the RA, then, this exhibition is an opportunity to re-evaluate one of the truly world - changing movements of the past century, and to make painting feel vital again at a time when many art students never touch a paintbrush.

Both galleries had already been working together on various projects, and were in the midst of planning a summer exhibition together when the opportunity to take their collaboration overseas came about.

Until the early 1970s, when a maturing art scene offered many alternate display opportunities, the RCA's greatest contribution to developing Canadian art was through its annual open juried exhibitions.

The exhibition presents a unique opportunity to witness the importance of bronze in the ancient world, when it became the preferred medium for portrait sculpture.

«This exhibition offers an opportunity to view the pictures from the vantage point of the twenty - first century in a time when women's rights and the social mores that determine their behavior are being questioned, debated, and even protested in the political arena,» Lombino explains.

So when a member of our curatorial advisory board Jessamyn Fiore approached us with the NASTY WOMEN Exhibition idea, we were thrilled to not only use our space to amplify the cause but also to build upon the momentous response and enthusiasm for the exhibition with STAY NASTY — four days of music, comedy, performances, workshops, and an information fair, which offers New York City's musicians, artists, activists, and community health organizations a platform and opportunity to get involved alongside the hundreds of NASTY WOMEN artisExhibition idea, we were thrilled to not only use our space to amplify the cause but also to build upon the momentous response and enthusiasm for the exhibition with STAY NASTY — four days of music, comedy, performances, workshops, and an information fair, which offers New York City's musicians, artists, activists, and community health organizations a platform and opportunity to get involved alongside the hundreds of NASTY WOMEN artisexhibition with STAY NASTY — four days of music, comedy, performances, workshops, and an information fair, which offers New York City's musicians, artists, activists, and community health organizations a platform and opportunity to get involved alongside the hundreds of NASTY WOMEN artists.»

When an upcoming exhibition fell through unexpectedly, we decided to take this opportunity to think about the relationship between exhibition spaces, curators, and artists, and to consider what exactly it is that we do, as on of many nonprofit spaces in New York that facilitates exhibition - making.

But since we haven't had a substantial exhibition of her work in the UK since 1969, when she was shown at the Whitechapel Gallery, engagement of any sort isn't something we've had much of an opportunity to commit to (and the Tate owns no paintings by her, though it does have 38 prints, none of which, as far as I can see, are on display; it owns twice as many, including paintings, by Robert Motherwell, the husband she divorced in 1971).

The exhibition title is a call for further research, practice and the promotion of cross cultural, networking and greater experiential opportunities for contemporary tapestry at a time of global uncertainty, when the focus on the here and now and its legacy is more pertinent than ever.

When the exhibition opens this Saturday 28 January 2017, visitors will have the opportunity to take the lift - as either their entrance or their exit from the exhibition - and be totally immersed in the colours, materials and scents inside.

Presented by Tate St Ives and University College Falmouth, there is an opportunity to hear the Turner Prize - winning artist Simon Starling at 6 pm on Wednesday in the Lecture Theatre, Woodlane Campus, UCF, when he introduces the ideas behind and discusses works from his new exhibition Simon Starling: Recent History which opens at Tate St Ives on February 5.

What we can speak to, and what we hope this exhibition highlights, is the mosaic of issues and opportunities that arise for artists when they become parents, and the intimate, poignant, and illuminating work which results.

Situated on Margate seafront, on the same site where Turner stayed when visiting the town, Turner Contemporary presents a rolling programme of temporary exhibitions, events and learning opportunities which make intriguing links between historic and contemporary art.

It was 5:30 pm on a Wednesday afternoon when I received the fateful, and equally grateful, opportunity to link up with New York based artist John Gordon Gauld to chat about his latest exhibition - «Interstellar Overdrive «now on view at Salomon Contemporary through May 10th in NYC's notable Chelsea Gallery district.

When we invited him to join us for an exhibition in Shanghai a year later, he decided to take the opportunity to work in Shanghai for two months prior to the exhibition.

When I am guest curating an exhibition for another venue, it gives me an opportunity to investigate other topics that inspire me.

This exhibition provides us with a welcome opportunity to reassess the Museum's exceptionally rich holdings of modern American art and how we may display them to full advantage in the future when the Museum completes its expansion under its Master Plan.

When I was invited by YAY gallery in Baku to take the solo exhibition TalkCloud, by Mahmoud Bakhshi, to Azerbaijan, I thought it was an interesting opportunity to show the work in a context where it would have a multitude of historical references, and see how a project that touches upon the issues which have resonance in the country's history would interact with local audiences.

When invited by curator Valerie Smith to partake in the international sculpture show in Arnhem, Holland, Kelley seized the opportunity to put on display The Uncanny, a show of figurative sculpture he described as an «exhibition within an exhibition.»

Residencies of 2 - 6 weeks include flexible live / work studio space, a month long exhibition in our gallery (when appropriate), opportunities for artistic community engagement and programming, and modest travel / living stipends.

When the public exhibition period has ended we will have an opportunity to respond to any issues that are raised.