Sentences with phrase «few public art works»

Not exact matches

I've stewarded a few decent art exhibitions (I also had work on display)-- interacting with the art - buying public is invaluable if I'm going to push my own business forward in the future — and I also participated in an art fair recently.

While Johnson's works are grounded in a dialogue with modern and contemporary art history, specifically abstraction and appropriation, they also give voice to an Afro - futurist narrative in which the artist commingles references to experimental musician Sun Ra, jazz great Miles Davis, and rap group Public Enemy, to name just a few, with various symbols including that of Sigma Pi Phi (also known as the Boulé), the first African American Greek - letter organization, and writings by civil rights activist W. E. B. Du Bois, among others.

Her work is in the public art collections of the Peter Norton Family Collection, Dallas Museum of Art, and the City of Seattle Portable Art Collection, to name a fart collections of the Peter Norton Family Collection, Dallas Museum of Art, and the City of Seattle Portable Art Collection, to name a fArt, and the City of Seattle Portable Art Collection, to name a fArt Collection, to name a few.

Managing partner Klaus Ortlieb designated the south facing wall of the Cooper Square Hotel as a venue for public art, working with Art Production Fund to present new murals by contemporary artist every few montart, working with Art Production Fund to present new murals by contemporary artist every few montArt Production Fund to present new murals by contemporary artist every few months.

Every few years since the 1990s, Creed has used that knack for the essential to create a public work of art so lucid and human that it is irresistible.

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.

«Unapologetic material use or application of paint and material has been a constant theme in my work for the past few years,» Brewer quotes, as he incorporated wooden panels evoking his anthology of public works and a painting process mirroring his collage - based art.

Devree, Howard, «Picked by Critics: Selected American Paintings Since 1900 — Watercolor Annual — Abstraction», New York Times, 24 February, section 2, p. 9 Art Digest (New York), 1 March, volume 26, p. 19 McBride, Henry, «By Henry McBride: Glasco changes, too», Art News (New York), April, volume 51, no. 2, p. 47 Fitzsimmons, J, «Whitney Annual: many talents, few commitments», Art Digest (New York), April, volume 26, pp.6 - 7 McBride, Henry, «No exit at the Whitney: New American watercolors, drawings and sculpture make a controversial cross-section», Art News (New York), April, volume 51, no. 2, pp. 36 - 37 & 64 Hess, Thomas B, «The Modern Museum's fifteen: Where U.S. extremes meet», Art News (New York), April, volume 51, no. 2, pp.16 - 19 & 65 - 66 Devree, Howard, «Modern Museum has Varied Show: «Fifteen Americans» Paintings and Sculpture, Will Open to the Public Tomorrow», New York Times, 9 April, p. 25 Devree, Howard, «Diverse Americans: Fifteen in Museum of Modern Art Show — New Work by Nordfeldt and Laurent», New York Times, 13 April, section 2, p. 9 More, Hermon, Annual Exhibition of Contemporary American Sculpture, Watercolors, Drawings, catalogue, Whitney Museum of American Art, New York Miller, Dorthy C, 15 Americans, catalogue, Museum of Modern Art, New York

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.

Work from Southampton City Art Gallery's own extensive collection of Camden Town and early London Group work will be exhibited in conjunction with the Group's work, augmented by a few pieces from other public and private collectiWork from Southampton City Art Gallery's own extensive collection of Camden Town and early London Group work will be exhibited in conjunction with the Group's work, augmented by a few pieces from other public and private collectiwork will be exhibited in conjunction with the Group's work, augmented by a few pieces from other public and private collectiwork, augmented by a few pieces from other public and private collections.

For the past few years, solo exhibitions present new art that is mostly unavailable for purchase so fans can see the work before it disappears from public view, said Richard J. Demato of RJD Gallery in Bridgehampton, NY, the gallery which exclusively represents the artist.

His work is represented in public and private collections worldwide such as: The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; the San Francisco Museum of Modern Art, San Francisco; The Solomon R. Guggenheim Museum, New York; The Museum of Modern Art, New York; the Musée National d'Art Moderne Centre Georges Pompidou, Paris, France; the Stedelijk Van Abbemuseum, Eindhoven, The Netherlands; the Tate Modern, London and the Hara Museum of Contemporary Art, Tokyo, Japan, to name a few.

It was on this path, a few years into her 26 - year stint working for Newsday as a writer and art critic and her other job of writing television essays for Public Television's «The MacNeil / Lehrer Report» that she met the artist Louise Bourgeois and then found her way into the world of documentary filmmaking.

In spite of the public interest exhibited toward the «Ninth Street» Show, there were few galleries that were willing to accept the work of the New York School artists who were unknown to the new art criticism.

Montana's work is in the public collections of the International Folk Art Museum and the Joan Mitchell Foundation and private collections of the late John Scott, Diego Cortez, Ron Bechet, and Mapo Kinnord - Payton, to name a few.

Roberta Smith described the experience of viewing Four New Clear Women in her review of Rosenquist's exhibition for The Village Voice: «Walking into Castelli's Green Street and seeing for the first 17 - by - 46 foot Four New Clear Women is like encountering the Columbia or Hoover Dam of paintings — for the first few seconds all you see is size, as well as an art so all - American, familiar, and public that it doesn't quite seem to be the work of only one person, but rather the expression of some more diffuse national self.

His work is included in the collections of numerous public institutions including the Brooklyn Museum, Museum of Contemporary Art, Chicago, Museum of Contemporary Art, Los Angeles, Museum van Hedendaagse Kunst Antwerpen, Jordan Schnitzer Museum of Art — University of Oregon, Rhode Island School of Design Museum, Hammer Museum, Museum of Fine Arts, Houston, and the Tokyo Metropolitan Museum of Photography, to name a few.

Her work is held in the public collections of many international museums including Tate Britain, The Museum of Contemporary Art, Chicago and the Kadist Art Foundation, Paris to name a few.

Wilson's work is included in many prestigious public and private collections including the Columbus Museum of Art, Columbus, Crocker Art Museum, Sacramento, Smithsonian Institution, Washington, D.C., Long Beach Museum of Art, Long Beach, and the San Jose Museum of Art, San Jose, CA, to name a few.

Reinoso's work have also been showcased in public collections around the world which include, Museu de Arte Moderna de São Paulo; Mamba, Buenos Aires; Macro, Rosario; Société des Amis du MNAM; Fonds National d'Art Contemporain, Paris, and Musée des Arts Décoratifs, Paris in addition to solo shows at the Museo de Arte Latoamericano (Malba), Buenos Aires, and Museu de Arte Moderna da Bahia (MAM), Brazil and group shows in: Centre Pompidou, Paris, Museo Reina Sofia, Madrid, Museum of Art and Design (Mad), New York, to name a few.

One of Ireland's best still life painters, his work is admired by many other contemporary Irish artists as well as private and corporate collectors, and is represented in several important art collections such as: the Office of Public Works (including Leinster House), The National Library, AIB, Jefferson Smurfit Group, National Irish Bank, the Irish Management Institute, Smithwicks, Tara Mines, the collection of former President Mary Robinson, the Concept Gallery Pittsburg USA, and the Royal Hibernian Academy, to name but a few.

Morrison's work is included in numerous public and private collections including The Whitney Museum of American Art, New York; The Smithsonian American Art Museum, The National Gallery of Art and The Corcoran Gallery of Art, Washington DC; The Nelson - Atkins Museum of Art, Kansas City, MO and The Portland Art Museum, OR to name a few.

Her work is included in over 50 prominent public collections including Metropolitan Museum of Art, New York; MoMA, New York; Brooklyn Museum, New York; Philadelphia Museum of Art; Smithsonian Institute of Art, Washington; Baltimore Museum of Art; High Museum of Art, Atlanta; Newark Museum and St. Louis Art Museum, to name a few.

Her work is included in major public and private collections, such as Zabludowicz Collection, Reykjavik Art Museum, SØR Rusche Sammlung, Mudam Luxembourg — Musee d'Art Moderne Grand - Duc Jean, Lubeznik Center for the arts, HEART Herning Museum Of Contemporary Art and Olbricht Collection — just to mention a few.

Arts organisations such as IMMA have also seen cuts of close to 50 % in their government funding resulting in fewer acquisitions for public collections, fewer commissions of new work and reduced artist fees.

Dedicated to exploring the veracity of photographic and video documents in the public realm, the role of memory and narrative within discourses of conflict, and the construction of histories of art in the Arab world, Raad's work is informed by his upbringing in Lebanon during the civil war (1975 — 91), and by the socioeconomic and military policies that have shaped the Middle East in the past few decades.

Richard Deacon's work can be found in a large number of public collections worldwide including the Tate Galley, London, the Museum of Modern Art, New York, the Centre Georges Pompidou, Paris, the Stedelijk Museum, Amsterdam, the Museum of Contemporary Art, Tokyo, and the Art Gallery of New South Wales, Sydney, to name but a few.

Thanks to important solo shows in public museums and at important venues such as the 2007 Venice Biennale curated by Robert Storr, which featured her work «Maypole: Take No Prisoners,» and solo exhibitions in Spain, over the past few years Spero has conquered the European art scene.

Every now and then you come across a statement by a public official that is so ridiculous, so perfect in its unabashed wrongness, you have to read it a few times to fully appreciate it as a work of demagogic art.