Sentences with phrase «exhibition title reflects»

The exhibition title reflects the hopes and aspirations behind many of the modern art movements of the 20th century — that despite differences in their formulations, styles and forms, they often shared a certain optimism, even impatience, about the future.

Not exact matches

The exhibition's title aims to reflect Borgmann's prescience in acquiring works by a new generation of artists.

The West Kowloon Cultural District Authority reflects on its own development in a collaborative exhibition titled Constructing Culture in Berlin.

The title for the exhibition is taken from American poet Frank O'Hara's poem «Why I Am Not a Painter,» which reflects on the elusiveness of the creative process, often resulting in a finished work that bears no resemblance to its initial inspiration.

Yet each half of Tan's two - part solo exhibition (each titled after the installation it houses) responded to the other, reflecting on the gradual passage of time and the inevitably of loss.

Reflecting on the contrast between these two titles claiming the same source, the exhibition considers the relationship between conceptual intelligibility and a Buddhist emphasis on direct perception — what is lost and what is found in the process of translation.

* The exhibition is accompanied by a fully illustrated catalog with an essay by Mark Rosenthal, titled Reflecting on the Coordinates of Wayne Thiebaud's Art (quote from p. 7).

The exhibition's title, I Who Have Arrived In Heaven, reflects the artist's long - standing interest in cosmic realms and resonates with the autobiographical element that runs through her oeuvre.

As hinted at in the exhibition title, Axell engages with both contemporary stereotypes of femininity as well as centuries old role ascriptions and correctively intervenes in persistent gender relations: reflecting on art history — such as Venus iconography, Leda with the Swan depictions and distinguished portraits like Leonardo da Vinci's Mona Lisa — she subverts historically sedimented, male perceptions of femininity and renegotiates the socially constructed image of women as either «angel in the house» or femme - fatale.

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.

In 2006 Brice had her first solo exhibition of paintings at Goodman Gallery Johannesburg titled Night Vision in which the artist reflected on the uncertainties of childhood.

«Step inside and you are no longer a stranger»: the exhibition's title reflects the conflicting dimensions of my practice.»

The title of the work, as the exhibition itself, can be read as an allegory: When a «face» looks into «water face», referring to the watery - fluids found in another person's eye, one sees not only the other's face, but his own face as is reflected in the other's eye.

In turn, Scully's extensive run of exhibitions worldwide reflects the journey taken by this remarkable artist as he earned his title as one of the world's most accomplished living painters.

For Als, that character is often himself, and in prose passages dotted through the publication that accompanies the exhibition (also titled ALICE NEEL, UPTOWN), he uses Neel's portraits as triggers to reflect upon his own life story.

These paired conceptions are reflected in the exhibitions» title and in Yoshihara's manifesto.

The exhibition title also reflects the current climate of the surreal revival of past forms of prejudice and injustice thought to have been eradicated but resurfacing like a societal necrosis.

Taking its title from Dr. Martin Luther King, Jr.'s final speech before his assassination in 1968, the High Museum of Art's photography exhibition ««A Fire That No Water Could Put Out»: Civil Rights Photography» (Nov. 4, 2017, through May 27, 2018) will reflect on the 50th anniversary of that tumultuous year in American history.

These perspectives are reflected in the exhibition's title that paraphrases theorist and artist Rammellzee (1960 - 2010), who argued that language as a social agreement is not a passive vessel or known quantity but rather possesses the potential to reimagine structures of power.

As reflected in the title of the exhibition, the works» ambition is to transcend boundaries and invite viewers to contemplation.

In his talk, Feng will reflect on the current developments and discourses within the Chinese contemporary art field as well as presents his recent curatorial projects such as the Wuzhen International Contemporary Art Exhibition in 2016 titled Utopias / Heterotopias.

Presented at Woodward Gallery, the exhibition will be ironically titled VALHOLLA and present an abstract series through which successfully manages to reflect on his own fame, self - worth and a personal transition through this period of his life.

The exhibition — titled for a 1936 Paul Klee painting of utopian geometry that reflects the artist's interest in color theory and musical composition — features 40 paintings, sculptures, and works on paper by some 20 artists, including Alexander Calder, Alberto Giacometti, Fernand Léger, Francis Picabia, and Joaquín Torres - García.

The title of the exhibition derives from the story Sitt Marie Rose by Etel Adnan, which reflects on the life and execution of Marie Rose Boulos during the Lebanese Civil War.

Can you talk about the title of the exhibition and how it reflects the works that will be on display?

Taylor's exhibition and work titles are somewhat colloquial in nature and reflect the surroundings of his North London home.

In an article titled «Richard Prince Sucks», Paddy Johnson of artnet news wrote about Prince's exhibition and stated that «the most remarkable feature of the show is that the printouts are reflected perfectly in Gagosian's shiny floor.

The title for the exhibition is borrowed from American poet Frank O'Hara's poem Why I Am Not a Painter, which reflects on the elusiveness of the creative process, often resulting in a finished work that bears no resemblance to its initial inspiration.

The exhibition titled «Inventory» reflects upon the artists constant process of cataloging, collecting, and taking inventory of ephemera that he incorporates into his paintings.

According to gallery director Ralph Rugoff, curator of the exhibition, its title reflects the fact that at various points during the show visitors will be expected to make decisions, «with those choices leading to quite dramatically different experiences».

Murillo's work indirectly addresses social relations and privileges, something which is obliquely reflected in his titles, such as his recent solo exhibition Dinner at the members club?

As the title of this exhibition, this question, to be posed reciprocally, opens the doors to this home and invites the artists to reflect on mutual understanding as a creative activity produced when there's an engagement with unfamiliarity and transformation in exchanges with others and within our own mechanisms of adaptation.

A Heritage Transposed is the title of Berlin free space gallery Box Freiraum's current exhibition, a group show of both Iranian and non-Iranian artists with a common interest in Iran but whose work reflects and comments on the country in different ways.

Because it lacked a history like the fish - and - tackle store, «we looked at what it meant to be in a neighborhood in transition» with an exhibition titled «Reflecting Transformation.»

As part of London project space Banner Repeater's Snow Crash program, run throughout June and July and taking its title from the 1992 science fiction novel by Neal Stephenson of the same name, the exhibition reflects the overwhelming idea of Big Data through a space brimming with information.

This dichotomy is also reflected in her defining two performance concepts and point towards the narrative hinted by the exhibition title.

The exhibition title refers to the multiple perspectives that make up the pronoun «we», reflecting the viewpoints that give this place its unique shape and meaning.

Reflected in its title, this exhibition is inspired by the Italian word displuvio, which describes the geographic line of the mountain range that divides condensation and rain, guiding it in that manner towards larger bodies of water.

For the last ten years, Bob Trotman has titled his exhibitions Business as Usual — a catch phrase that reflects the implacable force of profit - making which lies at the heart of corporate culture and much government policy.

On view at SVA Chelsea Gallery from November 28, 2016, through February 4, 2017, the exhibition's title reflects the dual relationship the featured artists have with each institution.

The exhibition title was selected to reflect the variety of approaches taken at the time, from updated modernism to full - blown abstraction.