Sentences with phrase «focused exhibition considers»

This tightly focused exhibition considers the significant ways in which Bridget Riley has been influenced by the work of Georges Seurat, revealing how her innovative style of painting is rooted in the art of the past.

Not exact matches

Maybe I'm a little stuck with Lord Kitchener and his moustachioed fellows of a bygone age, but I felt the Twitter focus at the end of the exhibition to be a bit bathetic, considering there are surely far subtler, more traditionally «propagandist» methods of messaging we are all susceptible to online — so subtle perhaps that's why they were missed...

The central part of the exhibition focuses on Rockall, a small islet in the North Atlantic that some consider the most remote rock in any of the oceans of the world.

This exhibition focuses on the analysis of a set of works from the Berardo Collection in which the artists have made free and creative use of line, form and colour, elements which are intrinsically linked to our lives, to all that we see, touch and feel and can be considered the main building blocks of abstract art since the beginning of the 20th century.

Curatorial Approach: Golden's exhibitions tend to focus on emerging African American artists, considering their work within nuanced conceptual and theoretical groupings.

If this sounds goofy, consider Peter Schjeldahl's article on de Kooning's late paintings, currently the focus of an exhibition at the Museum of Modern Art, in the January 1997 issue of Artforum.

Considering the making and shaping of Modernism in St Ives, and marking the breakthroughs, revivals and continuities of artistic ideas which emerged throughout the twentieth century, the exhibition focuses on some of the international meeting points which feed into the story of St Ives and British Art.

The action of things is a group exhibition focusing on work that investigates things and more specifically, stones and stars — aspects of matter that are so present that they can be considered global.

Focusing on works in the University Gallery's permanent collection, this exhibition invites viewers to consider the intimate relationship between the object to be looked at and those doing the looking.

The action of things is a group exhibition focusing on work that investigates things and more specifically, stones and stars — aspects of matter that are so omnipresent that they can be considered global.

With this new exhibition space, the gallery serves as a forum for the presentation of a focused program considering the work of lesser - known pre and post war Japanese photographers as well as a site for the exhibition of masterworks by historical and contemporary photographic masters from Japan and abroad.

The exhibition focuses on the ways artists consider the theme of «the condition of place.»

As the analysis of contemporary criticism given elsewhere in this In Focus demonstrates, critics who saw the exhibition in which Meryon was first shown — held in late 1961 at the Sidney Janis Gallery, New York — were expecting at that point a «change» in artistic orientation and considered Kline's return to his black and white palette to be the product of a failure to develop his artwork.1

This exhibition of newly commissioned and loaned work by contemporary artists, whose use of the image of the boxer provided an opportunity to consider the role of the male body as a focus for debates about race, eroticism, class and masculinity.

Side stepping whether to consider this tale a joke, a bravura performance or pure trickery, the exhibition instead focuses on the moment before the books reappear — an instant that is both mutable and static.

The fact that the attention to this is focused, above all, on exhibitions that are considered important is evident, although there are exceptions in this issue of Stedelijk Studies, which in particular concern exhibitions that are in the shadow of others considered to belong to the canon (Visual Aspects of Science, Stedelijk Museum), or exhibitions which are even considered to be less interesting (documenta 6).

The first solo exhibition devoted to Filliou (1926 - 87) in the UK considers the French artist's work outside of his close ties to Fluxus in order to focus specifically on his sculptural output and his concern with objects.

The majority of the almost 90 exhibited works presented in the exhibition can be considered «Pop - related works,» whereby the exhibition focuses on the 1960s and thus on a relatively short but intense period in Kiki Kogelnik's oeuvre.

Rachofsky, who co-owns an 18,000 - square - foot exhibition space called The Warehouse in Dallas, focuses on what he considers overlooked pockets of postwar European and Asian art movements.

21 March - 23 June 2013 Galleries 1, 2 and 3 The first solo exhibition devoted to Filliou (1926 - 87) in the UK considers the French artist's work outside of his close ties to Fluxus in order to focus specifically on his sculptural output and his concern with objects.

Bouthillier details the focus of the exhibition in her curatorial statement: «Dark Stars considers time as a subject in contemporary art, exploring how objects and images bring the past into the present.

HONOLULU, HAWAI`I — This September, the Honolulu Museum of Art presents the first exhibition to consider mid-twentieth-century abstraction through its Asian - American practitioners, with a special focus on artists active in Hawai`i.

The new exhibition at Tate Liverpool will focus on Bacon's use of «space - frames» — considered one of Britain's greatest modern painters — who set his subjects inside a «ghost - like» frame.

«Acts of Recognition» focuses on fall exhibitions by Lisa Brice, Peter Doig, Celeste Dupuy - Spencer, Mark Thomas Gibson, Emily Mae Smith, and Casteel, and considers «critical questions about which bodies we depict, for whom and to what end.»

Rather than illustrating a circumscribed theme, group exhibition «Journal» offers a looser configuration of individual projects to consider the artist's role in bringing focus to the changing world around us.

As we explored which artists the Academy's exhibition should focus on, Sandler referred to those he considered the «three pioneers» — Jackson Pollock, Clyfford Still and Willem de Kooning.

The goal of the exhibition is to present, in a focused way, a distinctive painter who should be considered a leading artist of his time beyond Canada.

The artists in the exhibition are fluent in the language and forms of abstract expressionism, minimalism, and primitivism, and they incorporate sincerity, irony, focus, humor, skepticism, diligence and detachment into their work without considering those elements to be contradictory.