Sentences with phrase «exhibitions followed every decade»

Major exhibitions followed every decade after that, including one at the Pompidou Center in Paris in 1981, another at the Guggenheim in 1997 and yet another at the Los Angeles Museum of Contemporary Art that landed at the Metropolitan Museum in 2005.

Not exact matches

This spring, the Philadelphia Museum of Art will present an exhibition exploring the creative responses of American artists following the rapid pace of change that occurred in the US during the early decades of the twentieth century.

The decades that followed saw him show work at numerous exhibitions mounted by New York galleries and American museums.

Featuring works from the 1920s New Negro Movement, the local WPA print workshop in the 1930s, and the decades that followed through America's bicentennial celebration, the exhibition includes about 50 artists, Selma Burke, Barbara Chase - Riboud, Aaron Douglas, Reginald Gammon, Barkley L. Hendricks, Horace Pippen, Raymond Saunders, Henry O. Tanner, Dox Thrash, Laura Wheeler Waring, and Deborah Willis, among them.

In the following decade, Lisa Phillips organized the 1984 sculpture exhibition The Third Dimension: Sculpture of the New York School.

In line with other recent reappraisals of the culture of the British underground scene (most recently an exhibition of drawings by doomed club kid Trojan at the ICA), Bowie Nights at Billy's Club, London, 1978 forms a revealing portrait a half - forgotten milieu that presaged the cultural trends of the following decades.

The exhibition follows IL LEE: New Paintings / 40 Years in New York celebrating Il Lee's career over the past four decades in...

In the decades following the last, unified AfriCOBRA exhibition, Williams traveled the globe working as an artist, a teacher, a Peace Corps volunteer, and an arts administrator for the United States Air Force.

His groundbreaking carving technique — which forms the basis of the Scratching the Surface project and was first presented to the public at the VSP group exhibition in Lisbon in 2007 and at the Cans Festival in London the following year — , has been hailed as one of the most compelling approaches to art created in the streets in the last decade.

The exhibition, Kay WalkingStick: An American Artist, includes more than 65 of WalkingStick's most notable paintings, drawings, sculptures, notebooks, and diptychs, following her artistic career over more than four decades.

Following significant institutional attention to this decade — from the New Museum's 2013 exhibition «NYC 1993» to the group show «Récit d'un temps court» currently on view at Mamco (Geneva)-- this ambitious section will recreate critical moments that first took place in galleries across London, Paris, Cologne and New York.

In an exhibition at Goodman Gallery Cape titled Between Darkness and Light, award - winning photographer Jodi Bieber explores the twilight that she experienced in the decade following the advent of democracy in South Africa.

The exhibition includes significant works from 1993 onwards, the date that marks Ai Weiwei's return to China following more than a decade living in New York.

Over the following decades, Judd wrote a number of essays on Russian artists, including «Kandinsky and his Citadel,» a review of the exhibition, Vasily Kandinsky, 1866 — 1944: A Retrospective Exhibition, at the Solomon R.Guggenheim Museum in 1963; a review of Kazimir Malevich, an exhibition in 1963 also at the Guggenheim Museum; and in 1981, a long essay «Russian Art in Regard to Myself,» on the importance of Russian art of the early twentieth century for Arexhibition, Vasily Kandinsky, 1866 — 1944: A Retrospective Exhibition, at the Solomon R.Guggenheim Museum in 1963; a review of Kazimir Malevich, an exhibition in 1963 also at the Guggenheim Museum; and in 1981, a long essay «Russian Art in Regard to Myself,» on the importance of Russian art of the early twentieth century for ArExhibition, at the Solomon R.Guggenheim Museum in 1963; a review of Kazimir Malevich, an exhibition in 1963 also at the Guggenheim Museum; and in 1981, a long essay «Russian Art in Regard to Myself,» on the importance of Russian art of the early twentieth century for Arexhibition in 1963 also at the Guggenheim Museum; and in 1981, a long essay «Russian Art in Regard to Myself,» on the importance of Russian art of the early twentieth century for Art Journal.

Over the following decade Byars lived and worked in Japan where he presented many performances and exhibitions, including «The Performable Square» in the National Museum of Modern Art, Kyoto, in 1962.

«After decades of spotty acquisitions, undernourished scholarship and token exhibitions, American museums are rewriting the history of 20th - century art to include black artists in a more visible and meaningful way than ever before, playing historical catch - up at full tilt, followed by collectors who are rushing to find the most significant works before they are out of reach,» the New York Times reported last year.

In 2000, following a decade of international exhibitions and awards, the Tate Gallery of Modern Art commissioned Bourgeois for the inaugural installation of the museum's new location at the Turbine Hall of the Bankside Power Station.

This exhibition, following the Kemper Art Museum's 2011 exhibition Island Press: Three Decades of Printmaking, presents a survey of artworks created in the last decade by over a dozen visiting artists, including Radcliffe Bailey, Orly Genger, Trenton Doyle Hancock, Nina Katchadourian, Dario Robleto, James Siena, and Paula Wilson, among others.

Galerie Perrotin presents Claude Rutault's first solo exhibition in America following four decades of prominent and influential practice in France.

This latest show for the gallery, which follows Jeff Koons successful exhibition spans almost three decades, «Who What When Where How and Why» will showcase works from throughout the artist's career, many exhibited together for the first time.

Inaugural exhibitions at the SCAD Museum of Art include the following: Bill Viola, The Crossing With a career spanning more than four decades, Bill Viola is truly a pioneering force in video art.

The Left Front: Radical Art in the «Red Decade,» 1929 — 1940, a major exhibition devoted to American art during the decade following the stock market crash of 1929, opens on January 13, 2015, at the Grey Art Gallery at New York UniveDecade,» 1929 — 1940, a major exhibition devoted to American art during the decade following the stock market crash of 1929, opens on January 13, 2015, at the Grey Art Gallery at New York Univedecade following the stock market crash of 1929, opens on January 13, 2015, at the Grey Art Gallery at New York University.

In 1967 he began to work outside traditional exhibition spaces, with the first instances of that «creative collaboration» he developed over the following decades by bringing together artists from different disciplines and diverse sectors of society.

While the title of the exhibition seems to indicate a survey across the decades, the MCA seems to be following its program once called «Artists in Depth,» a not very thrilling title for a nonetheless interesting series of presentations that showed a number of an artist's works.

The latter would exhibit the artist's own work in a group exhibition entitled «Surréalisme» in 1932 and over the course of the following three decades Cornell would further hone his approach to his signature bric - a-brac assemblages, integrating seemingly contrary, fetishized objects such as marbles, seashells, butterflies, postcards, navigational tools, toys, and sundry paper ephemera - which he sourced from antique and junk shops in New York - into highly sophisticated, strikingly organic tableaux.

The exhibition was «A Decade of Democracy: Witnessing South Africa» funded by Sondela, and it opened in New York at the Brooklyn Museum and traveled to other venues in the United States before coming back to South Africa the following year.

Within a swift, seven - month span since the Mayday opening of its new headquarters on Gansevoort Street — a light - filled, magically flexible space designed by Renzo Piano — the museum has dominated the New York art world's conversation with a rapid - fire succession of major exhibitions, including its sumptuous inaugural show, America is Hard to See, followed by Frank Stella's eye - filling retrospective, and an overview of a promised gift of art from the last four decades from Thea Westreich Wagner and Ethan Wagner.

January's show brings together Gili Tal — following Panoramic Views of the City, her Fall show at Berlin's Sandy Brown Gallery — as well as artists Lena Tutunjian and Felix Lee, who participated in an Arcadia Missa 2013 collaborative group exhibition, purlove, for Tank Magazine's tank.tv decade launch party.

Spanning a decade of artistic production including installation, print, photography and film, the exhibition follows Baudelaire's sustained attempts to find a form that accommodates the catastrophic complexity of contemporary life, interweaving fiction with considerations on fear, the media and the power of words and images.

Incorporating 16 «de - finition / methods», as well as four new pieces, this collection of works by Claude Rutault is the artist's first solo exhibition in America following four decades of prominent and influential practice in France.

Second Nature represents the first survey of Los Angeles sculpture from this period — and a bigger commitment to sculpture for the Hammer, following the museum's significant 2005 exhibition Thing: New Sculpture from Los Angeles, in which several of the artists in Second Nature made an appearance.6 It also marks a sort of «snapshot,» as Valentine describes it, of a decade of exceptional, medium - intensive artistic production in Los Angeles.7

Following a decade of unprecedented historical flows and fluctuations of wealth on a global scale, this exhibition is not a celebration of affluence and consumerism but an examination of the transformative effects of prosperity.

This exhibition is called The Curve Paintings 1961 - 2014 and it follows one kind of line — a curvy one — through Riley's art over more than five decades.

In the following decades, she participated in exhibitions across the U.S. and was particularly active in Chicago galleries and organizations, with solo shows at M. Knoedler & Company in 1931, at Findlay Galleries in 1936, and at the Chicago Galleries Association numerous times in the 1930s and 1940s.

An exhibition focusing on the year 1941, a seminal moment in Alexander Calder's career and the apotheosis of a decade of experimentation following his invention of the mobile in 1931.

This exhibition focuses on several influential and parallel artistic developments in the decades following World War II.

This exhibition traces the twists and turns of that aspiration to represent black America in the following two decades as King's dream gave way to disillusion.

The exhibition will include significant works from 1993 onwards, the date that marks Ai Weiwei's return to China following more than a decade living in New York.

Following his first one - man exhibition at the Nigel Greenwood Gallery in London in 1980, he rapidly established an international reputation exhibiting world - wide in many of the major survey shows of the decade, such as Zeitgeist, Berlin 1982 and Avant - garde in the eighties, Los Angeles 1987.

From her early pop tableaux in silver paint, based on clichéd images of women taken from postwar news magazines and TV programmes, and the voyeuristic performance La spia ottica (1968)-- originally staged at La Tartaruga on the occasion of «Il Teatro delle Mostre» — to her paintings and ceramic works of the following decades, the exhibition highlights Fioroni's longstanding involvement with Italian poetry and literature, starting from her partnership with Goffredo Parise to her collaborations with Guido Ceronetti, Andrea Zanzotto, Eugenio Montale, Giuliano Briganti, Elisabetta Rasy and Sandro Penna.

During the 1970s Bridgwater resumed work, largely in collage, and her earlier work featured in numerous surrealist retrospective exhibitions over the following decades.

During the following decades, Gurr's work continued to be shown at exhibitions of the National Association of Women Painters and Sculptors, the Brooklyn Society of Artists, the New York Society of Women Artists, and the A.C.A. Gallery.

The exhibition included significant works from 1993 onwards, the date that marks Ai Weiwei's return to China following more than a decade living in New York.

Following the retrospective, No. 17 was acquired by an important private Italian collection, where it remained unseen for several decades — re-emerging in 2001, as a central work in a major exhibition mounted by the Fondaton Beyeler.

In the decades that followed, he has remained a key figure in American modernism, with regular exhibitions, including a major retrospective at the Guggenheim in 2003.

The following year, we hosted solo exhibitions of Roy Lichtenstein, Robert Rauschenberg, and Andy Warhol, kicking off a decade during which we solidified our unique blend of exhibitions and programming and transitioned from a Kunsthalle to a collecting museum.

Over the following two decades, as Klee came to occupy a central place in the collection, his art became a prominent feature of numerous group and solo exhibitions and permanent collection installations, attracting increasingly receptive American artists and visitors.