Sentences with phrase «exhibition space is given»

Generous exhibition space is given to a piece of grey marley flooring, where a group of four dancers perform collaboratively - generated ballet in the gallery each day.

Not exact matches

A move in June from Wicker Park to the West Loop increased physical exhibition space by almost 400 percent, the bulk of which is given over to the organization's Coalition Gallery program, in which 16 juried artists manage and show in the space.

That's too bad given it's exactly the type of movie that benefits from the space and contemplation afforded by cinematic exhibition.

Significant space and priority is given to the professional category of Illustrators, who can find at Bologna Children's Book Fair support and encouragement to develop their work and opportunities to meet with other operators in the publishing market and other sectors: first of all, the annual Illustrators Exhibition, but also the Illustrators Café — a space for conferences and meetings — and the Illustrators Survival Corner, with a rich programme of workshops, portfolio reviews and meetings with international artists.

Opening: «Pipilotti Rist: Pixel Forest» at New Museum New York is long overdue for a Pipilotti Rist survey, and the New Museum has appropriately given over the majority of its exhibition space to this exhibition, subtitled «Pixel Forest.»

I love having space to invest in the things that are important to my business — working on personal projects, writing articles, networking with others, giving talks and visiting exhibitions.

We are creating a playful place where — as is in our past exhibitions — we give people time to linger, digest and unpick puzzles, giving space to let the installation resonate.»

The ministry is currently working to renovate the building, where more than 50,000 square feet will be given over to public exhibition spaces.

Her current exhibition at Tate Modern is astonishing in the rich visual slips and sleights of hand explored and displayed, and exhilarating and life - affirming in the breath of light, multilayered imagery and spaces given to the audience.

A further insight into Mangold's process and the importance of drawing can be seen in the artist's works on paper, which have been given their own space in the exhibition.

In the exhibition Work in Progress, Umeå School of Architecture gives an insight into how structure, materials, light, motion and activity are used in the creation of architectural space.

255Canal is a private exhibition space, giving emerging artists the opportunity to independently exhibit their work in New York.

While the much - anticipated exhibition schedule for the museum, which opens its doors in fall 2017, hasn't yet been announced, James gave us a teaser, which hints at an exciting future for the space: an exhibition exploring the life and work of Mexican artist Martín Ramírez, whose obsessive, psychedelic drawings from the 1950s haven't yet gotten their due.

In a kind of ironic way, being drawn to good - old fashioned painting on canvas gave her a lot of space, a lot of freedom to explore ideas,» said Scott Rothkopf, the Whitney Museum's chief curator and organizing curator of this exhibition.

Typically when artists are tapped to curate shows, such as Robert Gober with his presentation of Forrest Bess in the last Whitney Biennial, they are given only a moderate amount of space for exhibitions that are viewed as creative curiosities.

Fahamu Pecou, Sheila Pree Bright and Masud Olufani have all been given the opportunity to hold solo exhibitions in the main space of the museum that has advanced their professional careers.

In their juxtaposition, Shore II and Signal illucidate the dynamic relationships created between the sculptures, the viewer and the exhibition space; it is particularly significant in this context given that these works are the first to be shown in the gallery's new location.

The New Museum's exhibition «Carol Rama: Antibodies» and the Met Breuer's exhibition «Marisa Merz: The Sky Is a Great Space» give long - overdue attention to these two distinct artists who might be said to occupy, in the words of critic and curator Lea Vergine, «the other half of the avant - garde.»

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 sSPACE, 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 spacespace.

Given that the Courtauld Institute and Gallery, both part of the premises of London's iconic Somerset House, boast such an impressive and art - historically significant permanent collection, any temporary exhibition hosted within the space must be not only mindful of the location and its heritage, but equally must be seen to be doing, and saying, something different.

Also given prominent spaces are Channa Horowitz, who died last year, with large - scale, intricately constructed ink drawings on mylar that are reminiscent of Hanne Darboven's numeric abstractions, and leporellos — painted accordion - folding books — by Etel Adnan, the Lebanese - American writer and artist who participated in dOCUMENTA 13 and has an exhibition at the Arab Museum of Modern Art (aka Mathaf) in Doha coming up later in March.

Prominently placed in the Garden Room at the beginning of the exhibition is Scatter Piece (1968), whose setting gives the viewer control over how he experiences the objects by moving through the space.

The entire Glyndor Gallery will be given over to this exhibition, presented in honor of the tenth anniversary of the Sunroom Project Space.

Baron also created a special box assemblage incorporating various German documents, including her father's passport, which Nazi authorities had stamped with a large red «J.» Although Baron did not travel to Germany, she gave specific instructions that this construction and her statement be hung in a hall outside of the exhibition space.

Titled To Wit, evoking the Middle English expression that has come to express a certain formality today and is defined as «namely,» or «that is to say,» the exhibition gave new meaning to the term «site specific,» featuring vibrant, gestural works Pettibon created in conversation with his surroundings that operated as a sort of archive, both product and record of his relationship to that space and time.

Antiques and The Arts Weekly, Nov. 18, Historic John Trumbull Paintings Go Up At Wadsworth Atheneum Hartford Business Journal, Nov. 7, Loughman aims to reconnect Wadsworth to community by John Stearns New York Times Style Magazine, Oct. 20, The Renaissance Artifact Collections That Are Back in Style by Gisela Williams Boston Globe, Oct. 17, Face to face with «The Old Man and Death» by Sebastian Smee Hartford Courant, Oct. 13, Sky Dives, Space Travel Subject of Dulce Chacón's «Fallen Angels» At Wadsworth by Susan Dunne Hartford Courant, Oct. 13 Artists Define Their Femininity In Bruce, Wadsworth Exhibits by Susan Dunne CTNow, Oct. 2, Wadsworth Splendor IX Gala by Alex Syphers Hartford Courant, Sep. 19, Photography Exhibits At Atheneum, Real Art Ways, Lyman Allyn by Susan Sunne Hartford Courant, Aug. 21, Wadsworth Atheneum Begins Free Admission For Hartford Residents by Susan Dunne Hartford Courant, June 14, Wadsworth Atheneum Exhibit Confronts Violence Against African - Americans by Susan Dunne WPKN, May 28, Live Culture with Martha Willette Lewis Episode 15 featuring Vanessa German The New York Times, April 15, Gothic to Goth: Exploring the Impact of the Romantic Era in Fashion by Susan Hodara The Wall Street Journal, April 5, «Gothic to Goth: Romantic Era Fashion & Its Legacy» Review by Laura Jacobs Hartford Courant, March 24, Wadsworth's «Gothic to Goth» Celebrates Romantic - Era Fashion by Susan Dunne The New York Times, March 10, Poets Give Voice to Art in «Sound & Sense» at Wadsworth Museum by Susan Hodara Vogue, March 4, A New Exhibition Shows How Fall's Goth-Fest Has Roots in 19th - Century Romanticism, by Laird Borrelli - Persson The New York Times, Jan. 24, Evening Hours Celebrating the Winter Antiques Show by Bill Cunningham The New York Times, Jan. 22, Winter Antiques Show Offers a Collection of Recent and Rare Works by Roberta Smith New York Social Diary, Jan. 22, Part of the Art The Boston Globe, Jan. 21, Porcelain mastery is in delicate details by Sebastian Smee InCollect, Jan. 15, The Winter Antiques Show Loan Exhibition: Legacy for the Future: The Wadsworth Atheneum Museum of Art by Robin Jaffee Frank The Magazine Antiques, Winter 2016, Sound and vision: Poetry and American art by Alyce Perry Englund The Magazine Antiques, Winter 2016, Meeting Ground by Patricia Hickson The Magazine Antiques, Winter 2016, OMG indeed!

This site was the first address for The New Museum, where curator Marcia Tucker, at the invitation of Vera List, a lifetime trustee of The New School, was given space to mount her first exhibitions.

Fellowship recipients are given financial support, a residency in the outdoor studio, access to the space, facilities, materials, and technical assistance to create new works for exhibition in the Park.

Loren Munk's 2015 painting Bushwick Map will be the exhibition's centerpiece, highlighting some of the present day pivotal figures and spaces that have molded the Bushwick art scene into what it is currently to give a starting point for discussion of our neighborhood's future.

Running the length of these galleries is a sloping sort of gangway that gradually brings the visitor into the largest exhibition spaces and, combined with glassed - in ceiling and window walls, rather gives one the feeling of being on a cruise ship — especially on an appropriately dark and stormy night like the one that witnessed the opening of Gray Matters, the maiden voyage of newly appointed Senior Curator Michael Goodson.

American artist Aaron Curry is in demand: CAPC Musée d'Art Contemporain in Bordeaux is giving him his first major solo show at a French institution, which also coincides with an exhibition of his paintings at Michael Werner Gallery in London (until 9 August); he will be included in «The Los Angeles Project» at the Ullens Center for Contemporary Art in Beijing, China, and a show of his works will occupy both spaces of David Kordansky Gallery in Spring 2015.

Since 2010 the Collection has been inviting international artists to the island to undertake residencies as an alternative way of supporting their practice, giving them the time and space to think and create freely, without the immediate pressure of exhibition - making.

Given Coolquitt's fascination with the little design solutions that organically unfold both inside and outside the home, and the connection between art and environment, it is no wonder that Coolquitt seizes on the installation of his solo exhibition as a chance to forge a relationship between his sculptures and the gallery space.

In The Guardian, Serota discusses his plans for the exhibition, saying, «Given Judd's particular vision and his obsession with placing objects in spaces, the challenge I face is to create an exhibition with which he would have felt comfortable.

This practice of artistic channelling was in turn given particular attention as some participating artists, including Baghramian and Olowska, were invited to curate exhibitions of the work of these older artists in a space (the Schinkel Pavilion) that was dedicated exclusively to this purpose.

In gallery news: Thomas Dane Gallery now represents Dana Schutz in the UK, with an exhibtion planned in October 2019 at the London gallery (her first solo show in the UK capital); London's Victoria Miro now represents the estate of Ilse D'Hollander, with a solo show at its Mayfair space planned for November; Rome's Frutta Gallery is opening a new space in Glasgow with a solo exhibition by Santo Tolone; with a much publicized scandal of artists claiming nonpayment, LA gallery CB1 will close — «Given our cash flow and slow sales, in late March we made the difficult decision to close the gallery» founder Clyde Beswick told the LA Times; Copenhagen gallery David Risley has announced it is closing its doors, writing, «We need to remember that without artists there would be no art fairs, no sponsors, no collectors, no consultants, no critics, no magazines, no museums, no transport companies, no gala dinners.

Creating a variety of spaces, the gallery's aim is to have three to five exhibitions on view at any given time, changing several times a year.

Enjoyment certainly seemed key to the play of shadows and colored refractions on the white walls in this recent show, for which the ground - floor exhibition space at Tanya Bonakdar Gallery was entirely given over to Multiple shadow house, 2010.

Call me by my name: Stories from Calais and beyond @ Londonewcastle Project Space Migrants are a massive news story at the moment and this exhibition does a great job of giving them a human face.

The artists don't share the same space, but Frankenthaler is given two galleries, and Turner a large third one, and so these can be treated as free - standing exhibitions.

In our project space we are featuring the exhibition, Given Shapes by New York / North Carolina artist, Joy Drury Cox.

By using archival material with printed fabrics to craft three - dimensional pieces, Opposite and Above are three unique works made directly within the gallery space, giving the exhibition its site - specific and voluminous character.

It is right to add that the conjunction of the gallery which provided the spaces, for this important exhibition in 6 Burlington Gardens (formerly the Museum of Mankind), abutting the rear of the Royal Academy at Burlington House, will in due course be resolved by the special skill of the architect David Chipperfield (also a Royal Academician) who successfully gave new life to the Neues Museum in Berlin.

The exhibition spaces given over to the four contenders for the 2011 Turner prize at Baltic in Gateshead are smaller than at Tate Britain, where the show usually takes place.

According to Chris Appleton, executive director of the nonprofit WonderRoot, which administers the Walthall, KSU gave the artists two options: a scaled - down version of the exhibition in other university spaces — former gallery spaces are small and in the library basement — or taking the exhibition off - campus.

Those on the West coast are in luck, too: David Kordansky Gallery in Los Angeles will be giving over both of its spaces to a gala exhibition of Armleder's work from January 13 through February 25.

Then we realised that being mobile didn't give us a real anchor, that we didn't have a real root, so we set up a space in 2011 and focused on exhibition making, publishing and residencies.

While in residence, the artists are given a studio and living space, as well as access to workshops, exhibition opportunities, and studio visits with international curators.

As expressed in his artist statement for The Museum of Modern Art's Fourteen Americans exhibition, Noguchi firmly believed «it is the sculptor who orders and animates space, gives it meaning.»

Although it is a group exhibition I was keen for there to be some space given to «solo moments» that give the works some room to breathe.