Sentences with phrase «few small galleries»

Not exact matches

Sparks» En Plein Air art gallery is one of the few small businesses in the Southern California town technically still open.

He made a few small sales and eventually installed a demonstration floor in a San Francisco gallery.

The idea behind having a small but regular journal is to offer a gallery space for writers to inhabit — by publishing just a few pieces at a time we can ensure that the writer and the writing receives the attention it deserves.

Just a few miles north of Nuevo Vallarta, Bucerías is a small coastal town with good restaurants, art galleries, charming Sunday market, and a lovely beach.

But I thought there might still be a few small but fun sized waves to be found here along Bali's West Coast so I got Ketut to take a run up to Canggu and snap a new photo gallery for us.

There's also a few frames from the baliwaves.com Impossibles WEB CAM (hit the link) towards the end of today's gallery showing small waves hitting the reef.

It brought together a diverse band of scrappy galleries, actually allowed a few to sell some art — putting money in the pockets of artists and dealers instead of fair backers — and engendered camaraderie, no small feat in this hypercompetitive field.

Humble Iterations is a group show of small - scale works featuring our gallery artists and a few guests.

While they may be smaller in scale and slightly off balance in terms of their colouring, Bleu rouge (1951), Forme bleue sur fond rouge (1950) and the few other examples shown in the secondary gallery slip seamlessly into place as if the 15 years or so that separates them from the pack means nothing.

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.

There, there were a few memorable highlights, such as mirror paintings by Michelangelo Pistoletto from the 1970s and 80s, shown by the Repetto Gallery; striking portraits and still - lifes by Wayne Thiebaud, shown by Allan Stone Projects; small paintings by Gerhard Richter and Alexej von Jawlensky in the Galerie Ludorff's booth; and Yayoi Kusama's glittering collages, reminiscent of precious stones, shown by Omer Tiroche Gallery.

But just a few blocks and a world away — in the East Village — a smaller but no less important community of galleries was emerging as well, a kind of conceptual and anti-commercial satellite orbiting the art world's mainstream.

Considered in terms of the social history of American art, however, he's an important figure, because, as the art historian David Driskell writes in the exhibition catalog, he was «among a small number of African - American painters in the nation working abstractly at the time, and he was among the few artists of color who were represented by a mainstream gallery in New York.»

This show consists of gallery artists and a few guest artists who, while using a variety of sizes in their practice, also create small versions of their signature styles.

At the Whitney, it was met with silence in the gallery setting, maybe a few small laughs.

Critics have often noted that his collages rank among his highest achievements, and few of the works at the Parrish or the late paintings at Ameringer McEnery Yohe in Chelsea compare with collages or the small collection of assemblages that appeared at New York University's Grey Art Gallery under the exhibition title «Concrete Improvisations.»

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.

There are only a few days left to see The Art of the Collector, a small but thought - provoking exhibition at Halcyon Gallery, New Bond Street.

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.

Its closing might affect a few of the artists, but Deitch was too small a niche, and there are too many galleries.

These galleries have become fixtures at large and small fairs across the world — EXPO Chicago, Frieze, and FIAC to name a few — so Toronto should find ways to get them out to their fair as well.

Stretching across the organisation's main premises on Golden Square and its smaller townhouse off Soho Square, the untitled show feels set up to be a triumphant return to the gallery world after a few years focused on large - scale installations for the British Library, St Pancras station and New York's Metropolitan Museum of Art.

If fairs are part of the new necessary evil for small galleries to stay afloat, this one offers a good concentrated roundup of artists and exhibitors: nonprofit institutions, alternative spaces along with a few commercial galleries that might be barely paying their bills.

Guggenheim Museum: «Under the Same Sun: Art From Latin America Today» (through Oct. 1) Installed on two levels in odd - size annex galleries, the second exhibition in the Guggenheim's three - part UBS MAP Global Art Initiative is frustratingly small but still substantial, beginning with a few conceptual pieces from the 1970s and coming up to the present.

And a few booths away Tilton Gallery, also new to the fair this year, also brings a strong female showing with a new series by Simone Leigh, «The Anatomy of Architecture» — ceramic busts inspired by traditional African houses, adorned with small porcelain rosettes.

In the last few years, small and midsize art galleries have been finding themselves crushed at home by soaring rents and unable to pay astronomical fees demanded by art fairs to sell their work where collectors shop.

Featuring three paintings by Arshile Gorky, a few John Graham works, and a really amazing early Willem de Kooning (second from right in the photo), this small exhibition is the type of quality show you'd expect from an Upper East Side gallery.

The gallery will also display a few dozen of Molesky's small scale wilderness paintings, depicting owls and an ermine.

As for what to see at the Art Basel art fair, we've already made a few gallery suggestions in our preview, so here, we'll focus on smaller sectors with new galleries, curatorial projects, and art historical projects.

These are just a few of the works in this intimate group show, in a small gallery in Soho.

A few days ago, we stopped by New Image Art Gallery in Los Angeles to attend the opening of our buddy Yarrow Slaps «Get This Power», his first major solo exhibition.After an exclusive sneak peek in his San Francisco studio, we were excited to discover his most recent body of work which includes large and small

For his second solo show at Miguel Abreu Gallery, Moulène presented eighteen new, midsize pieces in the venue's main gallery, in addition to two earlier works on view in a smaller space a few streets south, both of which had been recently exhibited at the artist's 2016 retrospective at the Centre Pompidou inGallery, Moulène presented eighteen new, midsize pieces in the venue's main gallery, in addition to two earlier works on view in a smaller space a few streets south, both of which had been recently exhibited at the artist's 2016 retrospective at the Centre Pompidou ingallery, in addition to two earlier works on view in a smaller space a few streets south, both of which had been recently exhibited at the artist's 2016 retrospective at the Centre Pompidou in Paris.

Originally, this was a small project space, relying upon a network of public institutions to generate selections for its program, but after a few years it evolved into a gallery in the hands of its two founders, the Australian curator and musician Dominic Eichler and the Austrian artist Michel Ziegler; eventually, it transitioned from its humble beginnings to the city's most affluent neighborhood, Charlottenburg — a counterintuitive move, but one the directors insist won't change its commitment to cutting - edge exhibitions, performances, screenings, talks, and social evenings.

A few booths over, another New York gallery, Canada, decided to embrace the eclectic booth principle, allowing Marc Hundley to arrange small paintings, prints, sculptures, and books by his fellow gallery artists within a pseudo-domestic interior modeled after his own studio apartment, replete with a bed, couch, and shabby carpets.

«I lived in Milwaukee for ten years so I am used to this sort of strange, smaller - city vibe,» said the painter Tyson Reeder, who, after doing a solo show at the Office Baroque gallery last spring, continued to live in the city for a few months during a sabbatical from his teaching job at the Art Institute of Chicago.

, Philadelphia College of Textiles and Science, Philadelphia, PA 1991 Small Works, 80 Washington Square East Galleries, New York University, NY, NY 1985 Jeffrey Fuller Fine Arts, Philadelphia, PA. 1984 Kuban Gallery, Cleveland, OH Group Show, Jeffrey Fuller Fine Art, Philadelphia, PA A Few Fears, Tyler School of Art, Elkins Park, PA 1983 Strange Stories, Massachusetts Institute of Technology, Cambridge, MA (two person show with Judith Linhares) Rosemont College, Rosemont, PA (two person show with Rochelle Toner) 1982 Selections 17, The Drawing Center, New York, NY By The Sea, Barbara Toll Fine Arts, New York, NY Narrative Settings II, Josef Gallery, New York, NY Incidents and Events, The Seagram Building, New York, NY 1980 Eccentric Representation, Barbara Toll Fine Arts, New York, NY 1979 Eric Makler Gallery, Philadelphia, PA (two person show with Tom Judd) Philadelphia Artists Today, Touchstone Gallery, New York, NY Group Show, Eric Makler Gallery, Philadelphia, PA Group Show, Barbara Fendrick Gallery, Washington, DC 1977 Beauty of the Beast, Michael Kohler Art Center, Sheboygan, WI Group Show, Hundred Acres Gallery, New York, NY Appalachian National Drawing Competition, Appalachian State University, Boone, NC (Juried) 1976 Summer Scene, Deson - Zaks Gallery, Chicago, IL

On the wall above the toilet I decided to create a small gallery wall using a mix of framed prints I already owned plus a few new ones.

Stick to a few bigger pieces rather than a gallery of small frames to minimize visual busyness.