Sentences with phrase «few other exhibitions»

A few other exhibitions are quite interesting, like the one curated by Matteo Lucchetti, De Rerum Rurale, that underlines one of Italy's emergencies nowadays, the use and consumption of land.

I've been to a good few other exhibitions but if you want to ease in to trying out art exhibitions then the Summer Exhibition is perfect as it's so varied with all different types of art from numerous artists.

Not exact matches

Example Membership, attend approach decision sector call concentration number deny contact used appeal proper something surround dream public speed resource stop other shape focus somewhat video perhaps human argue league sound that enable plan expenditure collect the burn murder amount appoint grant task girl time similar crime since divide once space reform measure glass exhibition judge hide appear piece cost end drink profit wild lord life few although anybody want stand refer drive lot continue insist read well sea existence map operate act release area holiday belief but thing drink

2015 brought «news» of Justin Timberlake booking a show for Ralph Wilson Stadium, a wildly innovative biodome sheltering Houghton College, a Bills - Argonauts exhibition game and a few other amusing pranks.

You won't want to miss this special presentation as we'll be unveiling our newest All - Stars (along with a few other surprises) in a live exhibition by the SuperBot team!

This game is fun as hell, the exhibition mode is fun (with friends), classic fights are a good way to get someone who wasn't into MMA interested in it (e.g. me) Career mode is fun but the problem is that you don't age is kinda dumb to be honest, you're «CRED» has no real purpose other than to get you new equipment, sponsors, sparring partners and opportunities to increase your «CRED» the controls are confusing to someone who's never played a game like this A.K.A me but I'll give it credit for innovation, you can go to training camps which upgrade you're striking and grappling which gives you new moves, their is a few exploits in the game No. 1 if you manage to get all the sponsors you can use them in create a fighter (which by the way has a decent enough amount of options) you can put all of the sponors that give the most cred and get everything easily and I mean everything No. 2 when you go to a training camp all you have to do is watch two demonstrations by the camp fighter and you have full stamina No. 3 any fighter you can beat within a minute of the first round you can beat a few times and shoot up the ranks, the music is good but you'll soon get sick of it and turn it off cause it repeats itself soo often, they didn't add intro walks, music and cage entries which would've made you feel more like an actual UFC fighter, but overall its a fun game but there's a few missed opportunities and not many fighting styles to choose from but rent it if you are curious about the game.

An exhibition, either solo or shared has been the most profitable experience in galleries but I found that it was too long between drinks just having a few pieces on their walls surrounded by many other works, often made up of pieces that had been created to fit in with that years interior design colour schemes and priced accordingly.

Among quite a few other gallery exhibitions, I mention in particular winter 2000 shows of Marcel Duchamp at Achim Moeller, Sherrie Levine at Paula Cooper, Deborah Mesa - Pelly at Lombard - Freid, and Sam Taylor - Wood at Matthew Marks.

Related reviews look at that last exhibition in full and other 2012 summer sculpture in the parks, as well as Tom Sachs a few years later at the Noguchi Museum.

A few other titles explore artists featured in her collection, among them, «Kerry James Marshall: Mastry,» Gordon Parks's «Segregation Story,» and «Alma Thomas,» the exhibition catalog documenting the artist's recent survey at the Tang Teaching Museum and the Studio Museum in Harlem.

Ringgold is one of the few artists included in the exhibition who aligned herself with the mainstream feminist movement, though she, like other black women, often found it lacking, and identified more pointedly as a black feminist.

In 1965, Louis and Noland, as well as Gene Davis, Howard Mehring, Thomas Downing, and Paul Reed, were featured in an exhibition at the now defunct Washington Gallery of Modern Art, called the «Washington Color Painters,» and since then, this group of artists, along with a few others, has been known as the Washington Color School.

The American Abstract Artists group was established in 1936 as a forum for discussion and debate of abstract art and to provide exhibition opportunities when few other possibilities existed.

This exhibition, drawn from the Manilow collection, used a few choice works to call attention to other aspects of Kiefer's practice.

Anselm Kiefer (b. 1945) is perhaps best known for majestic paintings from the 1980s and early 1990s that evoked Germany's contested history through charred landscapes and mythic symbolism.This exhibition, drawn from the Manilow collection, used a few choice works to call attention to other aspects of Kiefer's practice.

The first few rooms of this exhibition see painting as a glorious conversation between the greats, whose works mingle and play off each other with mutual and electric creativity.

Indeed, his «Night Square» painting of 1951 with white, squiggly lines against a black background, not included in the show, was a two - dimensional stylistic precursor of the late almost 3 - dimensional works A run through the museum's other galleries after viewing the exhibition comes as a shock as few of de Kooning's fellow Abstract Expressionists seem to be in the same league as the paintings here.

The exhibition examines the social, political and formal functions of art at a time when individualisation, capitalism, neoliberalism, and privatisation — which benefit few, whilst disadvantaging and alienating many others — hegemonise our society.

Radical Women, co-curated by Andrea Giunta and Cecilia Fajardo - Hill, is one of many exhibitions to employ redefined understandings of female, feminist, queer, and other gender - nonconforming identities, breaking new ground for Latin America's art histories, which have until now been largely unexplored in US museum institutions, with a few notable exceptions.

Based in Beijing ever since, she has been an instrumental actor in the contemporary Chinese scene through extensive critical writings, interviews and exhibitions to promote and articulate art and artists at the forefront of creative developments here — and when few others were on the ground to witness them.

Compared to other exhibitions over the last few years; Pompei and Herculaneum, Ice Age Art, The Vikings - this exhibition fell short of the usual gold standard that The British Museum does so well.

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.

Since graduating with a Masters of Fine Arts from the New York Academy of Art in 2005, Hamill has participated in a number of group exhibitions in New York City (plus a select few others in Germany and Croatia).

The main space of the exhibition presents reader - looker - responders with an array of handwritten classroom exercises and lesson plans, scrawled on large papers with interconnecting arrows and bubbles — «WRITE ON YOUR WALLS (Right on your walls)» — instructions along with diagrams, protest posters, and a limited selection of pieces by some of the artists referenced or implicated by Stein and Miller: Anni Albers, Jasper Johns, Eduardo Paolozzi, Yves Tanguy, Bridget Riley, and a few others.

In addition, in the last few years Babias has curated various other exhibitions such as «The New Europe» at the Generali Foundation, Vienna, in 2005, «Handlungsformate» at the Neuer Berliner Kunstverein, Berlin, in 2005 and «Check - In Europe» at the European Patent Office in Munich in 2006.

A similar picture emerges in other countries, with no exhibition of a living artist featured in the top 10 places and few in the top 50.

GREEN GROWTH comes to SALTS alongside two other simultaneous exhibitions, including read the room / you've got to with Quinn Latimer, Paul Kneale, and Harry Burke, as well as PICTURE THIS featuring Amanda Ross - Ho and a few other artists.

And if Merz's imagery is at the same time a hortus conclusus and an infinite sky that burns, so the exhibition at Met seems to look with one eye at the chaotic and creative intimacy of her house - atelier in Turin (on view too few photographs bear witness to the relationship between her art and domestic environment, which is by contrast well documented in the catalogue) and with the other to the endless possibilities of recombination allowed by her works (eloquent, in this perspective, are the rooms in which significant groups of drawings converse with recent paintings, installations, and sculptures).

Jewish Museum: «Other Primary Structures» (closes on Sunday) This two - part exhibition responds to the museum's landmark 1966 show, «Primary Structures: Younger American and British Sculptors,» by assembling the work of artists from elsewhere who might have been included, but makes its case with too few (poorly installed) works.

Even though Marí resigned a few days after reversing the cancellation, Paul B. Preciado and Valentín Roma, two of the four curators of the exhibition (the other two are Iris Dressler and Hans D. Christ, co-directors of the Württembergischen Kunstvereins Stuttgart), were fired by him, a gesture that's infuriated many and is being called censorship.

Then came the inevitable backlash, the published lists of those neglected, the complaints about the ones chosen: that there aren't enough young and hip artists, that there is too much painting and not enough Conceptual and political art, that some artists are too well known, others are completely unknown and a few are just friends of the exhibition's curator, Klaus Kertess.

The show, which included Kara Walker, Laurie Simmons, and Rachel Harrison, among others, was as good an exhibition of contemporary art as I've seen in the last few years; one almost didn't even notice the absence of the usual sausage-fest.

Jewish Museum: «Other Primary Structures» (through May 18) This two - part exhibition responds to the museum's landmark 1966 show, «Primary Structures: Younger American and British Sculptors,» by assembling the work of artists from elsewhere who might have been included, but makes its case with too few (poorly installed) works.

It's the second intriguing exhibition at the ICA in the last few months: the other one that I enjoyed being Rosalind Nashashibi's films.

Augmented by major works from important private collections to fill gaps in the MCA Collection and to provide examples of recent works made during the last few years, the exhibition includes work by approximately 75 of the most important artists of the last sixty years including Chuck Close, Andy Warhol, Gerhard Richter, Jasper Johns, Lari Pittman, Rudolf Stingel, Clare Rojas, Laura Owens, Josef Albers, Rene Magritte, Francis Bacon, Brice Marden, Caroll Dunham, Thomas Scheibitz, Jean Dubuffet, Sherrie Levine, Jules Olitski, Kenneth Noland, Sigmar Polke, Rebecca Morris, Roberto Matta, and Yves Tanguy, among others.

As Ink goes to press, three of these exhibitions have closed (Diebenkorn, Eisenman, Victor), but there is still time to experience the others (though one must move at lightning speed to catch a few of them, closing today or over the weekend).

75 of those drawings make up the present exhibition at Brillobox, with a few other works from that same sale.

I apologize for the long silence — I was overwhelmed by exhibitions and other deadlines, but hopefully I have a few new things to share from visits to the Catherine Opie show at the ICA in Boston, and the Grazia Toderi installations at the Hirshhorn, and the superb Lewis Baltz show at the National Gallery of Art, both in Washington, DC.

While set to open 16 September, Örer also shares a few of the most exciting works coming: «There are very important historical presentations in the exhibition such as Liliana Maresca whose sculptures and actions have been done in the wake of the Argentinian dictatorship and ensuing state violence; Volkan Aslan's video installation brings a poetic perspective to a good neighbour; Mark Dion's drawings, which portrays the local urban wildlife in Istanbul; Njideka Akunyili Crosby's elegant drawings; and Monica Bonvicini's homage to Louise Bourgeois will be some of the surprises among many others.

But while other alums of these two landmark exhibitions — Judd, Ellsworth Kelly, Agnes Martin, and Frank Stella, to name just a few — went on to reach stratospheric name recognition, DeLap has not received the same critical consideration.

Over the past few years, as her work has gradually transitioned more and more into the three - dimensional, real space of the white cube with group and solo exhibitions of her video along with other works like a series of flags and «paintings» on aluminum, Cortright has also continued to become more and more infamous within Internet communities of artists and other visually - minded, new media thinkers who are utilizing the unique terrain of the Internet to modify how art can be made, disseminated and even bought and sold.

The Ryan Trecartin and Lauren Cornell - curated 2015 Triennial, called Sound Audience starts at the New Museum in New York this week, with the majority of events and exhibitions elsewhere opening within a few days of each other.

In addition, they invited a few other progressive painters to attend the inaugural exhibition.

In the Triumph of Painting (2005), Saatchi put on wonderful exhibitions of paintings by Peter Doig, Martin Kippenberger and others, then a few months later sent the best of the work to be auctioned for a profit.