Sentences with phrase «for institutional exhibitions»

In the following years, kurimanzutto has evolved as a forum for institutional exhibitions and international representation, while maintaining its profoundly collaborative approach with artists.

Not exact matches

Zeng has been the subject of numerous institutional surveys, most notably a 2016 exhibition at the Ullens Center for Contemporary Art in Beijing.

A chronological recounting of the artist's short career came next, followed by the story of how he began making the type of work he is best known for, and finally some information about upcoming institutional exhibitions overseas.

«LATOYA RUBY FRAZIER: Performing Social Landscapes» @ Carré d'Art - Musée d'Art Contemporain Nimes, France Photographer LaToya Ruby Frazier «s first solo institutional exhibition in France presents selections from several of her documentary projects, including the video «Frazier Take on Levi's» and photographs from «Pier 54,» and the foundation of her work, images that examine the decline of the population and steel industry of her hometown of Braddock, Pa. («Campaign for Braddock Hospital» and «The Notion of Family»).

For this exhibition, Beasley's «manipulations of language and objects of sport and utility strive to subvert diametric systems of institutional control and reclaim an altered narrative.»

Art Sonje's institutional desire to keep alive, but not historicize its past is mirrored outside, where Jun Yang has renovated a hanok (a traditional Korean house) into a café and bookshop, freeing up their respective spaces on the art center's ground floor for the exhibitions.

Building on Artists Space's history as an institution whose program has increasingly emphasized community participation and political organization (see last year's Decolonize This Place, which turned the gallery into a weekly activist meeting hub), Coop Fund foregoes traditional media like painting or sculpture in favor of video, art - science hybrids, updated junk sculpture, and institutional critique, making an implicit statement about these media that, for their associations with high - modernist seriousness, are appropriate to a politically engaged exhibition.

Exhibitions, Lectures, Presentations & Gallery Tours Beginning with dedicated frame exhibitions in Santa Monica and Laguna Art Museum in 1996, principals of Gill & Lagodich have lectured on the subject of period frame history, fabrication, and restoration; presented walk - through gallery talks in their own gallery and many museums, led museum docent and professional educator training sessions, and conducted hands - on period frame clinics for selected museum, institutional, and private groups, as well as national arts and appraisal cExhibitions, Lectures, Presentations & Gallery Tours Beginning with dedicated frame exhibitions in Santa Monica and Laguna Art Museum in 1996, principals of Gill & Lagodich have lectured on the subject of period frame history, fabrication, and restoration; presented walk - through gallery talks in their own gallery and many museums, led museum docent and professional educator training sessions, and conducted hands - on period frame clinics for selected museum, institutional, and private groups, as well as national arts and appraisal cexhibitions in Santa Monica and Laguna Art Museum in 1996, principals of Gill & Lagodich have lectured on the subject of period frame history, fabrication, and restoration; presented walk - through gallery talks in their own gallery and many museums, led museum docent and professional educator training sessions, and conducted hands - on period frame clinics for selected museum, institutional, and private groups, as well as national arts and appraisal conferences.

Archives: The CCS Bard Archives contain the institutional archives for the Center for Curatorial Studies and the Hessel Museum of Art, including full documentation of exhibition and programming history.

Recent institutional exhibitions and in situ paintings include Atoms Outside Eggs, Serralves, Porto, Portugal (2007); Hello Little Butterfly I Love You What's Your Name, ARKEN Museum for Moderne Kunst, Copenhagen (2009); One Floor Up More Highly, MASS MoCA, North Adams, MA (2010); Third Man Begins Digging Through Her Pockets, Museum of Contemporary Art Cleveland, OH (2012); Two younger women come in and pull out a table, De Pont Museum of Contemporary Art, Tilburg, The Netherlands (2013); WUNDERBLOCK, Nasher Sculpture Center, Dallas, TX (2013); Inside the Speaker, Museum Kunstpalast, Düsseldorf (2014); psychylustro, Philadelphia Mural Arts Program (2014); yes no why later, Garage Museum of Contemporary Art, Moscow (2015); Seven Hours, Eight Rooms, Three Trees, Museum Wiesbaden, Germany (2015); Untitled Trumpet, 56th Biennale di Venezia (2015); Museum Frieder Burda, Baden - Baden, Germany (2016); Rockaway!

Wallinger has held solo exhibitions at institutional venues including Dundee Contemporary Arts, Dundee, Scotland (2017); The Fruitmarket Gallery, Edinburgh, Scotland (2017); Serlachius Museum / Art Museum Gösta, Mänttä, Finland (2016); BALTIC Centre for Contemporary Art, Gateshead, England (2012); Museum de Pont, Tilburg, Netherlands (2011); Kunstnernes Hus, Oslo, Norway (2010); Aargauer Kunsthaus, Aarau, Switzerland (2008); Museo de Arte Carillo Gill, Mexico City, Mexico (2005); Neu Nationalgalerie, Berlin, Germany (2004); Vienna Secession, Vienna, Austria (2000); Tate Liverpool, Liverpool, England (2000); Palais Des Beaux Arts, Brussels, Belgium (1999); Museum for Gegenwartskunst, Basel, Switzerland (1999); the Serpentine Galleries, London, England (1995).

Adding to SAMA's institutional bragging rights, the Lams» passion for the field was sparked by the museum's 2000 exhibition Spirit Country, which featured the collection of the Melbourne - based families Gantner and Myer.

For Sam Lewitt's first institutional solo exhibition in New York, «Less Light Warm Words,» the artist employs a similar tactic.

The conversation between writer Alfredo Cramerotti and Paris - based artist Marinella Senatore took place while working together towards an exhibition scheduled for Summer — Fall 2016 at MOSTYN, her first institutional solo show in the UK.

Expanding upon the success of Swiss Institute's ONE FOR ALL series, which offered emerging artists a first institutional exhibition in the US, Swiss In situ presents new systems of research and production to New York audiences.

(Image via MoMA's website for its 2013 exhibition ««This Is the Way Your Leverage Lies»: The Seth Siegelaub Papers as Institutional Critique»)

For Sam Lewitt's first institutional solo exhibition in New York, entitled Less Light Warm Words, the artist has removed all of the fluorescent lights from the ceiling rig in Swiss Institute's main gallery and redirected the total available electricity into custom - designed flexible copper heating circuits.

Mike Kelley Foundation Grants Ten Los Angeles nonprofits received grants from the Mike Kelley Foundation for the Arts, including the Underground Museum (to support videos and performances by Rodney McMillian, $ 45,000), Craft & Folk Art Museum (to present the first institutional solo show of Oakland - based artist Indira Allegra, $ 25,000), and the Museum of Latin American Art (to fund an exhibition documenting the history of printmaking in the Americas, $ 40,000).

For her first solo institutional exhibition, «Tenderheaded,» on view at The Renaissance Society in Chicago through November 5, Packer further explores emotional and physical vulnerability through new portraits as well as a developing series of painted funerary bouquets.

His work has been featured in numerous exhibitions in the U.S. and internationally, and is held in major institutional collections including the Solomon R. Guggenheim Museum, the Museum of Modern Art, the Whitney Museum of American Art, Albright - Knox Art Gallery, Crystal Bridges Museum of American Art, the Centre Georges Pompidou, San Francisco Museum of Modern Art, and the Astrup Fearnley Museet for Moderne Kunst, Oslo.

Dealers and collectors look at an artist's CV for information that could help predict the trajectory of their career; CVs include education, solo exhibitions, group exhibitions, artist residencies, awards, prizes, grants, fellowships, and inclusion in public / institutional collections.

In 2014, Tate acquired the diptych «Predecessors» (2013), and of the works in the exhibition, all are under # 100,000 and for sale only to institutional collections.

Solo institutional exhibitions include «Portraits by Y.Z. Kami,» Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY (2003); the 52nd Biennale di Venezia (2007); «Perspectives: Y.Z. Kami,» Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC (2008); «Y.Z. Kami: Endless Prayers,» Parasol Unit Foundation for Contemporary Art, London (2008); «Y.Z. Kami: Beyond Silence,» National Museum of Contemporary Art, Athens (2009 — 10); and «Y.Z. Kami: Endless Prayers,» Los Angeles County Museum of Art (LACMA), CA (2016 — 17).

With Anne Ellegood, Hammer senior curator, she was an institutional curator for the spring 2015 exhibition

In 2011 he had his first institutional solo show at the Nassauischer Kunstverein (NKV), Germany and was recently selected for the Studio Voltaire Open exhibition curated by Cory Archangel and Hanne Mugaas.

With Anne Ellegood, Hammer senior curator, she was an institutional curator for the spring 2015 exhibition Charles Gaines: Gridwork 1974 — 1989 at the Hammer (organized by the Studio Museum in Harlem, New York) and recently assisted Hammer chief curator Connie Butler with the exhibition and publication Mark Bradford: Scorched Earth.

This exhibition highlights Maine's artistic legacies in the making, featuring established artists with strong Maine ties as well as the first major institutional appearance for several young, emerging artists — showcasing the next wave of Maine artists and affording them the opportunity to make initial introductions to national art audiences.

The Archives at the Center for Curatorial Studies at Bard College serve as the institutional repository for the Center, and the Hessel Museum of Art and as a collecting repository which actively acquires, preserves, and provides access to a wide range of primary materials documenting the history of the contemporary visual arts and the institutions and practices of exhibition - making since the 1960s.

The first step, which took place at the Cini Foundation for the 56th Venice Biennale, was the first major European institutional exhibition to fully explore Liu Xiaodong's unique practice, as one of China's most influential painters of the last two decades.

To accompany the primary exhibition materials that will be digitally accessible for the first time, we have developed related content to provide further art historical and institutional context for this historic exhibition.

In More Heat than Light and Less Light Warm Words (2015 - 16), installed in solo exhibitions at the CCA Wattis Institute for Contemporary Arts, San Francisco and Kunsthalle Basel, Basel, Switzerland, and the Swiss Institute, New York, respectively, Lewitt engineered specially manufactured heating circuits used for the regulation of internal temperatures in environmentally sensitive media systems and redirected all available energy that flowed through the institutional lighting grids in the exhibition spaces.

Awarded the 5th annual Middlebrook Prize for Young Canadian Curators, Yasmin Nurming - Por's exhibition My curiosities are not your curios examines the idea of collections and their institutional and colonial histories through the work of contemporary artists for whom the act of collecting is both a creative and critical practice.

Duddell's bills itself as «a social and cultural destination for people who have an active appreciation for the arts» (a strategically coded phrase for collectors) and hosts what it calls exhibitions, often involving high - profile artists or institutional curators.

For her first institutional solo exhibition in London, Katharina Grosse presents a new work, This Drove my Mother up the Wall, painted in situ at the South London Gallery (SLG).

The Kupferstichkabinett of the Kunstmuseum Basel is very pleased to provide the venue for the artist's first extensive institutional exhibition.

Clark will focus on a number of exhibitions and projects he has organized over the past 12 years with a particular emphasis on the role and responsibility of the institutional curator / director, the relative virtues of context, opportunism and demand, and the need for a different kind of speed.

«Her «Italian Paintings, 1961 - 69» exhibition in New York in 2016 provoked deep institutional soul - searching as to how such an important body of work by an American artist had remained unrecognized for so long.

An acclaimed conceptual artist, Wilson is known for his «institutional interventions,» specifically the ways in which he creates new exhibition contexts for the display of art and artifacts found in museum collections through his re-adaptation of wall labels, sound and lighting, as well as his non-traditional pairings of objects.

Fujiwara recently had a major contribution to the Nouveau festival at the Centre Pompidou, Paris and significant institutional exhibitions at Tate St. Ives; The Hayward Gallery, London; The Julia Stoschek Collection, Düsseldorf; the Carpenter Center for the Visual Arts, Harvard University, Cambridge; and Kunstverein Braunschweig.

If this influential show (for many years a biannual event) has an institutional counterpart, it's the Whitney Biennial, although in look and conception the 1995 versions of these two exhibitions could not have been more dissimilar.

Akashi's exhibition at SculptureCenter marks her first solo institutional presentation and includes new works commissioned for the lower level galleries incorporating large and mid-scale glass forms.

Expanding upon the success of Swiss Institute's ONE FOR ALL series, which offered emerging artists a first institutional exhibition in the US, Swiss In situ will present new systems of research and production to New York audiences.

He has held numerous solo institutional exhibitions around the world, including Florida Living at the SCAD Museum of Art, Savannah (2017), TIME, Hernan Bas: a queer and curious cabinet at the Bass Museum of Art, Miami (2013), The Other Side at the Kunstverein Hannover (2012), Hernan Bas: works from the Rubell Family Collection, Miami (2007) and Brooklyn Museum of Art (2009), and has been included in a number of important group exhibitions, including A Sum of its Parts, at Polk Museum of Art (2016), Tracing Shadows, at PLATEAU, Samsung Museum of Art (2015), Aquatopia, The Imaginary of the Ocean Deep, at Nottingham Contemporary and Tate St. Ives (2013), Nightfall, MODEM Centre for Contemporary Art, Hungary, travelling to Galerie Rudolfinum, Prague (2012), Nothing in the World But Youth, Turner Contemporary, Margate (2011), Busan Biennale, Korea (2008), Like Color in Pictures, Aspen Art Museum (2007), Ideal Worlds - New Romanticism in Contemporary Art, Schirn Kunsthalle, Frankfurt (2005), Whitney Biennial (2004), and The Museum of Contemporary Art, North Miami (2002).

Known for her bombastic, immersive paintings, German artist Katharina Grosse has created a site - specific work for her first institutional solo exhibition in London.

For her first institutional solo exhibition in London, Katharina Grosse creates a new work, This Drove my Mother up the Wall, painted in situ at the South London Gallery.

The first institutional solo exhibition in 20 years, Julia Wachtel features the works for which she became known as well as recent paintings.

The duo known for its humorous tweaking of institutional critique has two concurrent exhibitions during Frieze Week.

Citing Adrian Piper's controversial withdrawal from Radical Presence, Vikram questions whether the format of the «ethnicity exhibition'truly serves those whose work is being shown, whether it limits the artist to their biographies, or if «racially marked shows are marked as such for the benefit of white audiences and institutional power players.»

Institutional exhibitions include «The Agony and the Ecstasy,» Museo Archeologico Nazionale di Napoli (2004); «A Selection of Works by Damien Hirst from Various Collections,» Museum of Fine Arts, Boston (2005); «Damien Hirst,» Astrup Fearnley Museet fur Moderne Kunst, Oslo (2005); «For the Love of God,» Rijksmuseum, Amsterdam (2008, traveled to the Palazzo Vecchio, Florence in 2010); «No Love Lost,» The Wallace Collection, London (2009); «Requiem,» PinchukArtCenter, Kiev (2009); «Cornucopia,» Oceanographic Museum of Monaco (2010); «Damien Hirst,» Tate Modern, London (2012); «Relics,» Qatar Museums Authority, Al Riwaq, Qatar (2013); «Signification (Hope, Immortality and Death in Paris, Now and Then),» Deyrolle, Paris (2014); «Damien Hirst,» Astrup Fearnley Museum of Modern Art, Oslo (2015); «Damien Hirst: New Religion,» The Museum of Contemporary Art of Republika of Srpska, Banja Luka, Bosnia & Herzegovina (2016, traveled to Museum of Contemporary Art Vojvodina, Novi Sad, Serbia); «Damien Hirst: The Last Supper,» National Gallery of Art, Washington, DC (2016); and «Treasures from the Wreck of the Unbelievable,» Palazzo Grassi and Punta della Dogana, François Pinault Foundation, Venice (2017).

By creating a new forum for exhibitions, and in taking on multiple roles beyond «artist,» they have located one recourse from the power structures of the institutional and commercial art world.