Sentences with phrase «exhibition titled surface»

Number three in the series is currently hanging in Victoria Miro's Wharf Road gallery, as part of a deep dive into the women artists in contemporary abstract painting who art history has ignored — in the form of an exhibition titled Surface Work.

Number three in the series is currently hanging in Victoria Miro's Mayfair gallery, as part of a deep dive into the women artists in contemporary abstract painting who art history has ignored — in the form of an exhibition titled Surface Work.

Not exact matches

For all the materiality of their surfaces — Reginato works in enamel — the paintings are, as the exhibition's title underscores, fictions.

Rounding out the exhibition are paintings by Sally Ko, in which she creates melting, deconstructed, plastic - like surfaces, which contrary to the title of the exhibition, almost resemble acid drips.

The title, Murmur of Surfaces, refers both to the material and compositional emphasis of much of the work in this exhibition.

The title of the exhibition describes the prominent image within each artist's work: Cortese — fur covered lifesize ceramic sculptures of dogs that resemble German Shepherds; Aparicio — a painting that is made from rubber, paint and tree residue that resembles the surface of a flattened tree; and Brackens — weavings that incorporate the image of a catfish.

The gentle monotony of the two brighter canvases is interrupted with the exhibition title written in bright white on each of the surfaces, and a single plaster ball that is glued in the lower left corners.

San Diego — «Phenomenal: California Light, Space, Surface» at the Museum of Contemporary Art San Diego is to date the most critically appreciated component of a vast Getty - funded, Los Angeles - centered, ongoing program of exhibitions and events titled «Pacific Standard Time» that surveys art in Southern California between 1945 and 1980.

Circle Culture Gallery Berlin Welcomed Clemens Behr to exhibit in a two person exhibition titled «Surface to Surface» this month.

Surface and the larger issues surrounding topology have been central concerns in her recent paintings, drawings, photographs and artist books... «The title of the exhibition refers to a theory that there may be a small percentage of people — for genetic reasons, only women — who have a fourth type of colour receptor on their retinas.

It was presented with the title Judy / Surface Substance in the exhibition Geometry of Now, organized by the VAC Foundation, Moscow, in 2017.

For her solo exhibition at the Zabludowicz Collection, titled The Root, Ackroyd has produced a sculptural installation that responds directly to the architecture of the gallery space, covering and inverting its surfaces in a manner that suggests a turning inside out.

The exhibition title, Surface Work, comes from American artist Joan Mitchell who stated: «Abstract is not a style, I simply want to make a surface work.Surface Work, comes from American artist Joan Mitchell who stated: «Abstract is not a style, I simply want to make a surface work.surface work.»

For the first in Blain Southern's new series of exhibitions, collectively titled Lodger, its curator Tom Morton has invited the young, London - based artist Alex Dordoy to develop a new body of work exploring a central characteristic of twenty - first century visual culture: the restlessness of the image, and the instability of the surfaces on which it manifests.

Therefore, he titled this solo exhibition «Under the Surface», utilizing his method and philosophy of finding a relationship between chance and intention.

«Surface Truths: Abstract Painting in the Sixties» is the title of an exhibition that has just opened there.

However, the title of the exhibition isn't just «surface», it is «Re-surface», the prefix indicating repetition.

[22] As part of a series of exhibitions funded by the J. Paul Getty Foundation during the 2011 Pacific Standard Time initiative, the Museum of Contemporary Art San Diego held the most significant survey exhibition of perceptual art titled «Phenomenal: California Light, Space, Surface,» organized by the Museum's then curator Robin Clark.

Prominently on one wall, beside the exhibition title, a paragraph states: «Sometimes called Finish Fetish or Light and Space, this movement is characterized by works with slick surfaces and atmospheric colors influences by surf culture, custom cars, and the legendary climate of Southern California.»

Dirimart Dolapdere, Dirimart's second gallery space, was inaugurated on May26, 2016 with the group exhibition titled «Surface and Beyond» featuring works by many important artists such as Franz Ackermann, Haluk Akakçe, Sarah Morris, and Shirin Neshat.

The exhibition's title, Veiled, is taken from McCloud's most recent series, in which he has obscured the vibrant, detailed surfaces of his paintings with sheets of aluminum foil.

Meanwhile, the Paris exhibition, titled Surface Tension, focuses on two other bodies of work Sugimoto has been working on.

In S.S.O.R (Symbolic Surface of Revolution), a recent exhibition at Kunsthalle Basel, Lara exhibited the looped digital video installation 2012 (2012), whose title presents information both as a string of text and a date format; at once a redundant formulation of a signifier (the title) and signified (the date).

For an exhibition leadingly titled «Who Cares» at On Stellar Rays in New York last year, neo-Color Field experiments shared the space with a sheer textile, its surface scrawled with so many references to current events that it became a word salad.

The title of the exhibition is borrowed from a poem by Mei - Mei Berssenbrugge, a poet who refers to her works as «collages,» inasmuch as they're composed by culling a collection of texts, images and physical objects to form a map, which she eventually smooths out grammatically to create a «linguistic surface.»

According to curator Emily Stamey, quoted in the exhibition catalog, the title of the installation, Surfacing, evokes various meanings.

Taking its title from composer - philosopher John Cage's Lecture on Something and Lecture on Nothing, concerned with the artist's quest for beauty in the everyday, this exhibition draws together vintage works from the seminal series American Surfaces (1972 - 3) and Uncommon Places (1973 - 9), alongside the more recent Abu Dhabi (2009), Israel (2010) and the never before exhibited series Ukraine (2012).

Comprising painting and sculpture, the exhibition is titled Porosity, which describes an aspect of Nesbit's painting process, as well as, it could be said, the imaginative speculation undertaken to surmise what may structure the sculptures beneath their painted surface.

On view in this exhibition will be a major wooden sculpture called «Arch» (2007), whose title alludes to architecture, but its surface, painted in strokes simulating wood grain, call painting to mind.

Roman Fine Art is pleased to announce our upcoming solo exhibition of photographs by Michele Dragonetti, titled Under the Surface.

The title of the exhibition, «Don't Axe Me,» evokes American born artist, Ellen Gallagher's radical approach to image, text, and surface — drawing equally from modernism, mass culture, and social history.

«Coffee, seasonal fruit, spaghetti and rope» — this seemingly random list of items, which constituted the title of Dallas - based artist Stephen Lapthisophon's first solo exhibition in Houston, flagged just some of the matter suggested by the heavily worked surfaces of the twelve recent abstract compositions on paper and canvas included in the show.

I have to admit that part of my original take on Michael Cook's recent exhibition Venetian was wrong in this sense: I thought the title of Cook's show referred to Venice, Italy, and that city's Venetian waters with their refractory, illusive surfaces.

The narrative «told» visually — each painting a variation on a single shared palette — is also «painted» in words with a narrative titled «One Sun So Hot» (2014), a series of six passages that surface at regular intervals throughout the exhibition.

Doing justice to its title, the exhibition manifests tactility, rupture and composure, encapsulating both Adkins» interest in manual production and utilization of surfaces for poetic language.

The title of the exhibition, «Don't Axe Me,» evokes her radical approach to image, text, and surface — drawing equally from modernism, mass culture, and social history.

A surface critique might argue for some more bolder, declarative evolutionary changes from one exhibition to the next, but as pointed out in the title, these works aren't for a viewer's cynical, novelty - seeking lizard brain.

When an exhibition titled Tempus Fugit surfaces, it would seem wise to gird the loins for another pageant of pretension that aspires to the hermetic yet achieves only self - parody.