Sentences with phrase «few galleries and museums»

Not exact matches

Museums, art galleries and stage plays are just a few ways I like to feed my creative side.

I believe that we have much in common and that we could be a great match... My name is susan There are so many things that I really enjoy Here are just a few intellectual conversation, traveling, dining our, sports, music, dancing, movies, theater, museums, art galleries, as well as cooking.

His work is represented in The National Gallery of Art, Washington, The Metropolitan Museum, The British Museum, The Victoria & Albert Museum, The Pierpont Morgan Library, The Vatican Library, and The Israel Museum, to name a few.

The Inn on the Alameda, at the corner of Paseo de Peralta and East Alameda Street in downtown Santa Fe, is conveniently located only a few blocks from the museums nearby the Plaza (a National Historic Landmark) and a stone's throw from the legendary galleries, shops and restaurants on Canyon Road.

What was once a few city blocks of food - processing warehouses, is now an area that has been revitalized as a go to place for all things hip; eateries such as The Lark, microbreweries, tasting rooms, art galleries, museums and some renovated hotels are found in the Funk Zone.

Takes within a few minutes ride from the centre of Ubud including the art and traditional market, monkey forest, local shops, galleries, museums and Balinese dance performance.

Just a few steps away from the Village Museum (Stellenbosch) and 80 m away from Ornament (Gallery for Contemporary Artifacts).

The Brisbane Convention and Exhibition Centre is adjacent to the hotel, and the Queensland Museum and Gallery of Modern Art is just a few blocks away.

Other tourist attractions in Tanjung Benoa can be reached in 5 minutes while shopping center, restaurants, art gallery and museum locate only a few minutes drive.

In addition to all the shops, galleries, museums and entertainment you are also only a few blocks from an indoor pool and gym at the Ft Marcy complex.

2015 Painting 2.0: Expression in the Information Age, Museum Brandhorst, Munich (November 14, 2015 — April 30, 2016) Marks Made: Prints by American Women Artists from the 1960s to the Present, Museum of Fine Arts, St. Petersburg, Florida (October 17, 2015 — January 24, 2016) A Few Days, Lennon, Weinberg, Inc., New York (October 7 — December 19) The Ceramic Presence in Modern Art: Selections from the Linda Leonard Schlenger Collection and the Yale University Art Gallery, Yale University Art Gallery, New Haven, Connecticut (September 4, 2015 — January 3, 2016) America is Hard to See, Whitney Museum of American Art, New York (May 1 — September 27) What is a Line?

Her work as an artist has been featured internationally at many art galleries, museums and festivals, including The Metropolitan Museum of Art, Getty Images Gallery, Museum of Contemporary Art San Diego, French Embassy Cultural Center, Art Basel Miami, Cannes Film Festival and the International Festival Photo Mode to name a few.

Her work has been featured internationally at many art galleries, museums and festivals, including The Metropolitan Museum of Art, Getty Images Gallery, French Embassy Cultural Center, Art Basel Miami, Cannes Film Festival and the International Festival Photo Mode to name a few.

Now he is represented by the Friedrich Petzel Gallery in Chelsea, and has well - known collectors avidly buying his art, examples of which are already in the permanent collections of the Museum of Modern Art in New York, the San Francisco Museum of Modern Art and the Museum of Contemporary Art in Los Angeles, to name a few.

We have acted as consultants for the Hong Kong Arts Development Council, National Portrait Gallery, British Museum, Arts Council England, Hong Kong Museum of Art, V&A, National Glass Centre and Tatton Biennial to name but a few.

Her own work in mixed mediums, including her photographs, has been widely collected and exhibited at Midtown Payson Gallery and the Metropolitan Museum of Art, to name a few.

I'm sure this is in no small part down to so many incredible exhibitions of painters at museums and galleries at the moment: Tschabalala Self at Parasol Unit, Djordje Ozbolt at Hauser & Wirth Somerset, Robert Rauschenberg at Tate Modern, the David Hockney exhibition at Tate Britain, and the group exhibition of painters «House Work» at Victoria Miro to name a few.

I had mentioned in my response to Randy Tibbits's screed regarding too few Houston or Texas artists at the Museum of Fine Arts, Houston that I thought the museum's American art galleries had bigger issues to address, «starting with too few works by artists of color and / or works addressing race, a lack of work by Native Americans, relatively little work reflecting urban social issues and labor unrest, etc..&Museum of Fine Arts, Houston that I thought the museum's American art galleries had bigger issues to address, «starting with too few works by artists of color and / or works addressing race, a lack of work by Native Americans, relatively little work reflecting urban social issues and labor unrest, etc..&museum's American art galleries had bigger issues to address, «starting with too few works by artists of color and / or works addressing race, a lack of work by Native Americans, relatively little work reflecting urban social issues and labor unrest, etc..»

She has had the privilege to see her work selected in juried competitions by eminent curators such as Peter Blum / Peter Blum Gallery, James Cuno / Art Institute Chicago, Lynne Warren / Curator, Museum of Contemporary Art of Chicago, and Maxwell Anderson / Whitney Museum, to mention a few.

His works have been included in group shows juried by Mills Moran of OHWOW Gallery (LA), Timothy Potts, Director of the Getty Museum (LA), and Charlie Manzo of the Gagosian Gallery (NY) to name a few.

With the exceptions of essays by Rosalind Krauss (in Francesca Woodman: Photographic Work, edited by Ann Gabhart, Rosalind Krauss and Abigail Solomon - Godeau, published by Hunter College Art Gallery, New York and Wellesley College Museum, Wellesley, 1986) and Benjamin Buchloh (in Francesca Woodman: Photographs 1975 - 1980, edited by Benjamin Buchloh and Betsy Berne, published by Marian Goodman Gallery, New York, 2004), few critics have contextualised Woodman's work within the feminist genre of the 1970s.

Affected by feminist ideas that were widely represented during the late 1960's, when the only few women taught in college art departments and rarely exhibit in museums and galleries, Janet Fish pierced through the male's world where people even believed in different aesthetic approach depending on the sex.

When planning a trip to an art mecca like New York City, one tries to fit as many gallery and museum exhibition visits into a few short days.

Her work has been exhibited internationally at many art galleries, museums and festivals, including The Metropolitan Museum of Art, Getty Images Gallery, San Diego Museum of Contemporary Art, French Embassy Cultural Center, Art Basel Miami, Cannes Film Festival and the International Festival Photo Mode to name a few.

Emblematic of the latter, John Alexander recently spent a few days at Rice University working alongside Patrick Masterson, master printer at Burning Bones Press; Rice Professor Karin Broker; and Patrick Palmer, director of the Museum of Fine Arts, Houston's Glassell School of Art, to create a series of monotypes that go on view in May at McClain Gallery.

A few observers noted how the exhibitions she organized — among them, Eccentric Abstraction at the Fischbach Gallery in 1966 and 557,087 at the Seattle Art Museum three years later — bolstered Lippard's own «creative originality» at the expense of the «explanatory historicism» exemplified by the artists she championed.

The gallery has also fostered ties with other prominent galleries, as well as major public institutions including MoMA, The Whitney Museum of American Art, San Francisco MoMA, The Walker Art Center, MoCA Los Angeles, Fogg Art Museum, Cooper - Hewitt National Design Museum and internationally The Serralves Museum, Porto, Portugal, as well as the Devi Art Foundation, New Delhi, to name a few.

Some of his solo exhibitions was held at Galleria Civica d'Arte Moderna e Contemporanea, Turin, Italy; Centre Pompidou, Paris, France; Tate Modern London, England; Whitney Museum of American Art; The Albertina, Vienna, Austria; The Morgan Library and Museum, New York City; Mitchell - Innes & Nash Gallery, Chelsea, New York City; Museo Triennale, Milan, Italy; Santa Fe Museum of Fine Arts Santa Fe, New Mexico; MAM (Museu de Arte Moderna), Rio de Janeiro, Brazil; Museum of Contemporary Art, Palma de Mallorca, Spain; and Louisiana Museum of Modern Art, Humlebaek, Denmark, to name a few.

All this predictable painting now fills art fairs, galleries, art schools, auction catalogues, and more than a few museums.

It is unexpected, then, that there are no fewer than four separate museum and gallery exhibitions devoted to Dove currently on view in Manhattan.

Curiously some of the commercial galleries that represent the apotheosis of the contemporary art industry and market, such as, here in NY, Gagosian and Zwirner, have been able to mount museum quality shows the past few years, including for example excellent Picasso and Frankenthaler exhibitions at Gagosian and the recent exhibition of Ad Reinhardt's work at Zwirner, in spaces that either are as beautiful as any museum or that are just functional in a good way, with few frills, just good walls and space.

Her work is included in the permanent collections of the Centre Georges Pompidou, Paris, France; the Tate Modern, London, United Kingdom; the Asia Society, New York; the Prada Foundation, Milan, Italy; the Los Angeles County Museum of Art, Los Angeles; the Albright - Knox Gallery, Buffalo, New York; the PinchukArtCenter, Kyiv, Ukraine and the Guggenheim Museum, New York to name a few.

SAF — Sharjah Art Foundation SAM — Seattle Art Museum SAM — Singapore Art Museum SCUM — Society For Cutting Up Men (a feminist group invented in 1967 by Valerie Solanas, who shot Andy Warhol in 1968 in a failed assassination attempt) SFKM — Sogn og Fjordane Museum of Fine Arts (Førde) SKMU — Sørlandet's Museum of Art (Kristiansand) SMAK — Stedelijk Museum voor Actuele Kunst (Ghent) SoHo — South of Houston, home to the artistic avant - garde in 1970s New York (and to a few remaining galleries today) SWAG — Silver, wine, art, and gold (a term coined by Investment Week's Joe Roseman for investment categories with a history of outperforming the stock market)

Her works have been shown extensively throughout the UK and can be found in the public collections of Tate Britain, Birmingham City Art Gallery and Victoria & Albert Museum to name a few.

«Made of glazed and fired clay, Rosen's primary medium, and not more than a few feet high... the sculptures seem to have neither fixed contours nor stable shape; even their scale appears to shift as you look... not so much covered with as compounded of hundreds of writhing, snakelike elements, they are variously volcanic, beastly, catastrophic and unnervingly funny, suggesting things going terribly wrong, but not yet irreversibly...» Nancy Princenthal Rosen's work has been in many solo shows in museums, commercial galleries and non-profit spaces.

Most artists made sales, several sold out their art, many got into museum and gallery shows, a few got gallery representation and in general, most told us that they felt like the entire endeavor was worth the cost and the effort.

A few weeks after winning the Art Fund Prize for Museum of the Year 2013 we caught up with the project leader responsible for the gallery's remarkable transformation to find out how they plan on spending the money and where it all went right.

His work has been the subject of many international exhibitions, at the most prestigious museums and galleries, including Tate Liverpool in 2000, The Louvre in Paris in 2011, just to name few.

Shinique Smith has had over 20 solo exhibitions and her artwork has been exhibited and collected by numerous institutions including: The Museum of Fine Arts, Boston, Brooklyn Museum of Art, the Denver Art Museum, the Eli and Edythe Broad Art Museum (Michigan), The Frist Center for the Visual Arts (Nashville), Los Angeles County Museum of Art, MOCA North Miami, the New Museum, The Smithsonian National Portrait Gallery and the Whitney Museum of Art, to name a few.

All of the gallery artists are in important private and institutional collections including The New York Museum of Modern Art and the MET, the Decortava, Nelson - Atkins and San Francisco Museum of Modern Art to name just a few.

Within the past few months there have been significant gallery and museum exhibitions devoted to artists linked with what is probably the most influential movement in twentieth - century American art.

Over the next few years his work was exhibited widely, and included in the eighth Sao Paolo Biennial in 1965 and in the Jewish Museum's Primary Structures show of 1966, as well as exhibited at Leo Castelli's gallery on East 77th Street.

There are scores of other recent examples of secret art — shows of paintings by Wade Guyton and Stephen Prina that appear suddenly, announced to only a select group, each year for a single day at Friedrich Petzel Gallery (most recently in March); a two - person show last summer at the Untitled gallery with a rear wall that, when pushed, swiveled and, like a James Bond - style hidden - door bookcase, opened onto a prodigious group show; the recent obsession over Kraftwerk's über - secret studio in Germany in advance of the group's MoMA retrospective; the hidden rooms and trap doors in Swedish artist Klara Lidén's shows (there's one in her current New Museum retrospective); and a drawing by David Hammons at MoMA that was covered with a cloth and unveiled only a few minutes a week by appointment at selectGallery (most recently in March); a two - person show last summer at the Untitled gallery with a rear wall that, when pushed, swiveled and, like a James Bond - style hidden - door bookcase, opened onto a prodigious group show; the recent obsession over Kraftwerk's über - secret studio in Germany in advance of the group's MoMA retrospective; the hidden rooms and trap doors in Swedish artist Klara Lidén's shows (there's one in her current New Museum retrospective); and a drawing by David Hammons at MoMA that was covered with a cloth and unveiled only a few minutes a week by appointment at selectgallery with a rear wall that, when pushed, swiveled and, like a James Bond - style hidden - door bookcase, opened onto a prodigious group show; the recent obsession over Kraftwerk's über - secret studio in Germany in advance of the group's MoMA retrospective; the hidden rooms and trap doors in Swedish artist Klara Lidén's shows (there's one in her current New Museum retrospective); and a drawing by David Hammons at MoMA that was covered with a cloth and unveiled only a few minutes a week by appointment at select times.

In this essay Judd surveys a number of New York's most significant museums («The exceedingly impressive Frick Collection is small enough to be seen in a few hours»; «It is The Museum of Modern Art which has shown the power and quality of American Art»), as well as an assessment of notable galleries, singling out Green Gallery, an uptown gallery that showed work by downtown aGallery, an uptown gallery that showed work by downtown agallery that showed work by downtown artists.

[7] A few examples include, California: Berkeley Art Museum, Crocker Art Museum, De Young Art Museum, New York: The Alternative Museum, Brooklyn Museum of Art, das Neue Gallery and Everson Museum of Art.

Covering major exhibitions which have taken place at institutions such as the National Gallery, Van Gogh Museum, Royal Academy and Tate, to name a few.

A few years ago, photographer Nan Goldin was granted an extraordinary opportunity that, for someone who is obsessed with looking, must have seemed like a wish granted by a genie: for eight months she was allowed to wander unimpeded through the Louvre's galleries and storerooms with her camera every Tuesday (when the museum is closed to the public).

A few of the key artists whose works are well represented internationally in museums, galleries and at auction include the artist's collective Los Carpinteros, Alexandre Arrechea, Yoan Capote, Kcho, Carlos Garaicoa, Roberto Fabelo and Manuel Mendive.

The Amon Carter Museum of American Art typically strikes a nice balance by including a few works by Texans as part of the national story it tells of 19th — and early 20th - century painting and sculpture in its main collection galleries — Julian Onderdonk hangs with fellow American Impressionists; Jerry Bywaters and Everett Spruce serve as Texan exemplars of Depression - era regionalism — and mounting annual exhibitions of about a half - dozen works in a small gallery set aside for Texas art.

A few of the repositories which include his works are the Bibliothèque Nationale, Cornell University, Detroit Museum of Art, Metropolitan Museum of Art, National Gallery of Art, New York Public Library, and the Worcester Art Museum.