Sentences with phrase «featuring artists responses»

A program featuring artists responses to the work still has tickets as of this column's publication date.

Not exact matches

The series, which debuted to popular response last year, will run through April with an exciting schedule of events that provide an educational forum for Sanctuary guests, spa members, art collectors and invited guests to chat with a featured artist and view his or her works.

This show prominently features his large - scale 2005 painting 9.11.01 that was made in response to the September 11th tragedy, as well as the Martin Luther King series that the artist made in the 1960s.

This solo exhibition of paintings that prominently features artist Jack Whitten's large - scale 2005 painting 9.11.01 that was made in response to the September 11th tragedy, as well as the Martin Luther King series that he made in the 1960s.

This group show was organized in response to increasingly visible, lawful violence against black bodies and features works by five of the center's artists - in - residence — Marcus Kiser + Jason Woodberry, Shaun Leonardo, Dread Scott, and Charles Williams.

Already, the exhibition's goal is a challenging one, and developed as a response to the underrepresentation of women's art in a city that now enjoys a strong presence of women artists, it is perhaps of no surprise that the exhibition features over 100 works by more than 50 artists.

Representing the response of Mexican artists to art movements from around the world with a cosmopolitan vision, the exhibition also features the artwork of abstract sculptor German Cueto, Manuel Rodríguez Lozano, Abraham Ángel, Roberto Montenegro and Rufino Tamayo.

I, YOU, WE features artwork from the 1980s and early 1990s and explores collective issues that concerned artists working during this period, including artists» responses to the AIDS crisis.

Alongside the exhibition, we will be publishing a new book, Fear Eats the Soul, featuring responses by artists and writers to the exhibition and its themes.

The studio will also feature the visiting artist project in progress, Dismantled a response to the debates, realities and contradictions surrounding the current educational crisis; they are working with Sa Bachman and Krista Caballero.

WOUO is an acronym for Word Of Unknown Origin and is a publication of artists» texts, featuring Susan Conte, Faye Green, Erika Landström, Ingo Niermann, Samuel Hasler, Aniara Omann, Line Ebert, and Ryaner himse; f. Each artist was sent «a large and random group of lonely words of unpinpointable beginnings (267 wouos and counting)» and asked to contribute writing in response.

On 24th Street, All the Boys (2016) is a powerful response to recent police brutality and the deaths of black men and women; while on 20th Street, viewers find the ghostly video installation Lincoln, Lonnie, and Me (2012), and Scenes & Take (2016), a series of photographs picturing the artist before the sets of TV shows like Scandal and Empire — both shows feature black leads — shedding light on the current state of the entertainment industry.

Richard Tuttle's 1998 Mandevilla series features what the artist describes as a «call and response» interaction among the prints.

In a response to Gustav Courbet's The Artist's Studio, Oursler exhibited Studio: Seven Months of My Aesthetic Education (Plus Some), featuring a multimedia installation, at the Metropolitan Museum of Art in New York.

We received a very strong response to our presentation featuring 23 artists — from Jonas Wood to Ruby Neri, from Rashid Johnson to Jennifer Guidi — almost selling out the booth in the first few hours of the fair.

Julian Schnabel will feature a body of significantly sized, sculptural paintings in the iconic Court of Honor, plus three other distinct bodies of new work in the galleries dedicated to Auguste Rodin's sculptures; the artist's response to the physical space of the Legion of Honor and eternal themes in its collection.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

Dedicated to debut solo museum presentations by emerging and under - recognized artists from around the world, the project space will feature commissions of site - specific or experimental works created in response to the flexible gallery.

Featuring newly commissioned works drawn from the third Glasstress collateral exhibition at the Venice Biennale, this selection explores the responses of contemporary artists working with the Berengo glassmaking studio in Murano.

St. Louis Public Radio covers a selection of new African American art exhibitions on view in the city, including «Hands Up, Don't Shoot,» a direct response to the Michael Brown killing organized by the Alliance of Black Gallery owners and on view at 14 venues; «Other Ways» at Philip Slein Gallery featuring than 60 works from local private collections by artists such as Radcliffe Bailey, Dawoud Bey, Mark Bradford, Ellen Gallagher, Kara Walker and Kehinde Wiley; «Living Like Kings» at the World Chess Hall of Fame explores the intersection of chess and hip hop; and a presentation of Nick Cave «s Sound Suits at the St. Louis Art Museum opening Oct. 31.

This project features two quite unexpected responses to Tagore's legacy and suggests how his work and ideas still resonate for artists today.

NURTUREart is pleased to present Call and Response, a group exhibition curated by Kelly Rae Aldridge and featuring artists Salome Asega, Sophia Brueckner, Ornella Fieres, Sam Lavigne, and Mendi + Keith Obadike.

In her review of the ICA Boston's current exhibition, Art in the Age of the Internet: 1989 to Today, Megan Driscoll (PhD candidate in contemporary and African American art at the University of California Los Angeles) attends to the conflicted responses that the featured artists and exhibition curators alike express toward the ubiquity of computer networks, unpacking exhibition subthemes ranging from «states of surveillance» to «performing the self.»

The exhibition features works across diverse mediums by dozens of artists in response to the political climate in 45's America.

The artist's work has also been exhibited posthumously in solo exhibitions that include a major 1997 installation of the Congregations curated by Klaus Kertess for the Parrish Art Museum in Southampton, New York; ROAD: Alfonso Ossorio's Response to Jackson Pollock's Death at the Pollock - Krasner House and Study Center in East Hampton in 2001 and, the following year, an exhibition of his ballet and costume designs at the Mississippi Museum of Art in Jackson, MS.. Since his death, Ossorio's work has also been featured in numerous group exhibitions worldwide, most notably Parallel Visions: Modern Artists and Outsider Art at the Los Angeles County Museum of Art, which traveled to the Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain and the Kunsthalle Basel in Switzerland (1992); Shaping a Generation: The Art and Artists of Betty Parsons at the Heckscher Museum of Art in Huntington, NY (1999); Postmodern Transgressions: Artists Working Beyond the Frame at the Yale University Art Gallery in New Haven, CT (1999); Surrealism USA at the National Academy Museum in New York, which traveled to the Phoenix Art Museum (2005); Repartir à Zéro, 1945 - 1949 (Starting from Scratch) at the Musée des Beaux - Arts de Lyon in France (2008); Asian / American / Modern Art: Shifting Currents, 1900 - 1970 at the de Young Museum in San Francisco, CA (2008); and Splendor of Dynamic Structure: Celebrating 75 Years of the American Abstract Artists at the Herbert F. Johnson Museum of Art of Cornell University in Ithaca, NY (2011).

This Biennial features many artists who have created work in response to the Whitney's Marcel Breuer building.

«SHADOW CABINET» A Loyal Opposition Response State (Wolfgang Staehle), Defense (Peter Fend), Navy (Marie Lorenz), Interior (Alice Outwater), Labor (Fred Lonidier), Treasury (Stan Cox), Energy (Brian Holmes), Education (Franz Vila), Media (Coleen Fitzgibbon), E.P.A. (Brittany Prater), United Nations (Joan Waltemath), Intel (Jakob S. Boeskov), Justice (Gregory Lehmann) January 20 — March 5, 2017 sette stagioni dello spirito — controracconto Gian Maria Tosatti Curated by Sanna Almajedi Presented as part of the Workspace 2016 exhibition series, featuring the work of LES Studio Program artist - in - residents January 13 — January 17, 2017

«One Year of Resistance,» on view at the Untitled Space in Tribeca through Feb. 4, features works across diverse mediums by dozens of artists in response to the political climate in 45's America.

Featuring artists such as Alexander Calder, Joseph Cornell, Man Ray Kay Sage, and Dorothea Tanning, Surrealism in America showed the pervasive influence of European surrealism in America while demonstrating artists» diverse responses to it.

May 29 — August 1, 2009 Artists» response to place covers wide terrain in this exhibition, which featured work by Martin Parr, Michelle Van Parys, Olaf Breunning and Theresa Pollak

Structure & Material features a comprehensive body of work by each artist and includes recent acquisitions from the Arts Council Collection and installations made in response to Longside Gallery.

«Shrink Wrap,» a group show curated by Liza Phillips featuring artistic responses to packaging materials and our consumer culture opens at the Loft Gallery in Narrowsburg on Friday, July 10, with an artist's reception from 7 — 9 p.m..

From the studio as a site of labor, to one that blurs production, performance, and spectacle, to a concept that defines the artist's own identity, the exhibition features artists who, in response to changing socio - economic influences, represented new modes of working and living that would subsequently spread across society.

Select past exhibitions include Person of the Crowd: The Contemporary Art of Flânerie (2017), a city - wide exhibition featuring works by more than 50 artists in the Roberts Gallery, in street interventions throughout Philadelphia, and on the web; Nari Ward: Sun Splashed (2016), a mid-career survey of the artist's found - object assemblage art; Picasso: The Great War, Experimentation and Change (2016), which examined the artist's stylistic development during the First World War; and Mark Dion, Judy Pfaff, Fred Wilson: The Order of Things (2015), for which the Barnes commissioned three large - scale artist installations in response to the unconventional way Dr. Barnes displayed his collection.

Highlights of Broad MSU exhibitions in 2014 include: Future Returns: Contemporary Art from China — an exhibition featuring the response of over 20 contemporary Chinese artists to the country's rapid development and cultural transformation; Land Grant: The Flatbread Society, a commissioned site - specific work and series of public programs to explore food production, distribution, and farming methods; and the continuation of Broad MSU's Global Focus exhibition series — an initiative showcasing international emerging and mid-career artists.

Accompanying the exhibition organized by the Tang Teaching Museum and Studio Museum in Harlem, «Alma Thomas» features more than 125 vibrant, colorful paintings and works on paper, many published for the first time, a preface by Thelma Golden, scholarly essays, and responses to Thomas's work by four contemporary artists.

The exhibition features four recent sculptures from Nengudi's celebrated R.S.V.P series, which the artist first began in the late 1970s in response to her changing pregnant body.

30/6 - 15/9/2018 DIALOGUES WITH A COLLECTION A group exhibition featuring new and existing works by invited artists in response to works from the Laure Genillard collection.

Featuring 1 - 3 pieces per artist depending on surface area / scale, each of the four artists» work included will visually and contextually cross-inform each other in response to the gallery space.

Heartland features site - specific installations and performances as well as drawing, photography, and video by artists and artist groups who are working in — and in response to — Detroit, Kansas City, and other cities and rural communities across the region.

Other institutions tackle the «I'll never understand this» response to contemporary art by quoting artists in their labels, by featuring a response from a community member, or by asking a viewer for his or her own thoughts about a work.

The group first collaborated in 1985 in response to a MoMA exhibition featuring 165 artists — less than ten percent of whom were women.

«Featuring nationally performing artists Biba Bell, Megan Byrne, Jennifer Harge, Pedro Jiménez, Jessica Ray, and Maya Stovall, as well as St. Louis - based artists Jacqueline Fritz, Maxi Glamour, Fame Mizrahi, and Kat Reynolds, among others, this program will explore spatial relationships to fluidity and movement in response to Medardo Rosso's figurative work on view, as well as the spaces of the Pulitzer's Tadao Ando - designed building and the architecture of St. Louis.»

DIALOGUES WITH A COLLECTION Jun 30 - Sep 15, 2018 Private view Fri Jun 29 6 pm - 8 pm A group exhibition featuring new and existing works by invited artists in response to works from the Laure Genillard collection.

Marie Selby Gardens in Sarasota has enjoyed an overwhelming response this year to its latest exhibition featuring the artist Marc Chagall's nature - inspired artwork and personal effects.

The exhibition (above, an installation view) covers other, more intimate responses, including a series of small self - portraits that mostly feature a goofy, slightly Jules Feifferish face applied to images of other artworks or artists; a few sculptures, among them «Socialist Pizza,» which involves a Ray's Pizza box, two of Picasso's hefty 1930s beach maenads and a hammer and sickle; and a work using a photograph by Hans Haacke.

Jack Whitten MoMA PS1 Long Island City, NY This one - person exhibition by Jack Whitten prominently featured his large - scale 2005 painting 9.11.01 that was made in response to the September 11th tragedy, as well as the Martin Luther King series that the artist made in the 1960s.

Hamerman's schedule for the fall includes a show of five artists titled «The Real World,» featuring unframed imagery seeking to manifest a visceral response in their viewer.

In addition to its contributions by Keith and Elms, the book features newly commissioned essays and responses by leading gures including Charles Gaines, artist; Rita Gonzalez, Curator of Contemporary Art, Los Angeles County Museum of Art; Dave McKenzie, artist; and Steven Nelson, Professor of African and African American Art History, University of California, Los Angeles.

FREE Opening reception Saturday, June 15, 2018, 5 - 7 p.m. American Conversations August 3 - September 12, 2019 This juried exhibition will feature artworks that address America in the year 2019 and all the various visual art responses artists have to the country in which we are creating and of course, living.