Sentences with phrase «from end of exhibition»

Not exact matches

However, the publication in the journal Extremes by no means marks the end of the search for Gumbel's life journey for Scherer and his assistant Fernández: Together with Prof. Annette Vogt from the Max Planck Institute for the History of Science and Dr. Isabella Wiegand at TUM they are planning an exhibition in Munich, Gumbel's city of birth, in November of the coming year.

The Dior exhibition consisted of never - ending rooms full of fashion, presentations and videos and also demonstrations of making a Dior bag from scratch!

Photographs from the end of year exhibition Photographs of an A * (full marks) portfolio of work.

«Some of these key factors include the unwavering commitment of the Abu Dhabi government to a well - thought - out plan, a strong and vibrant economy as well as the substantial strides made in the development of the tourism infrastructure including expansion of airport capacity, exhibition and meetings space, the completion of iconic hotel developments and an overall increase in hotel / hotel apartment room capacity which went from 12,800 rooms at the beginning of the year to 17,500 at the year - end.

The apartments are located at the entertainment end of Melbourne CBD making it only a stroll away from Crown Casino, the Melbourne Exhibition & Convention Centres, Southbank's bars and restaurants and the Eureka Sky Deck.

Located at the top end of Exhibition Street, this Melbourne hotel is moments away from the Lygon Street restaurant precinct, the Royal Exhibition Building & Carlton Gardens and Her Majesty's Theatre.

It doesn't end there, the exhibition also walks through the world of consoles from the first console to ever be released, «The Brown Box» (1968) to hand held consoles such as the original Nintendo Gameboy (1989).

Opening: Eva O'Leary «Happy Valley» at Meyohas This exhibition features new photographs from Eva O'Leary, a young artist who uses the tricks and tactics of high - end commercial photography to explore a range of subjects and narratives.

Publishing on the Web is good for an artist's creative vision, as it allows him or her to «hear instant feedback from readers, meet and collaborate with other artists, disseminate their work and see their creative visions through to the end,» says Sarra Scherb, curator of «Morning Serial: Webcomics Come to the Table,» a current exhibition at Seattle's Henry Art Gallery (www.henryart.org).

Interviews were held starting Sunday, October 20th and then every Saturday from afternoon until the end of the exhibition.

Permanent exhibitions include «So Ends This Long Journey», «Early Suffolk Farm Life and The Rise of Crafts», «Early Suffolk Transport», «From Near and Far: Ceramics in Suffolk County Households, 1750 - 1870» and «Arms & Armament».

It also comes after Manchester Art Gallery last week opened their major solo exhibition of work by Ryan Gander, Make every show like it's your last (3 July — 14 Sept 2014), and ahead of Gander being presented with an Honorary Degree of Doctor of Arts from Manchester Metropolitan University at a ceremony towards the end of July.

The exhibition is drawn from The Wolfsonian - FIU's Library's collection and includes advertisements, product labels and books covers made possible with the advent of new printing techniques born at the end of the 19th Century.

An exhibition of Marden's works on paper from 1964 - 2001 opened at the Calcografia Nazionale in Rome at the end of last year is currently on view at the Achivio di Stato in the Royal Palace, Turin, and travels to the Landesmuseum, Münster this summer.

The exhibition features nine paintings of cinematic endings, dated from the venerable, anti-establishment era of 70's film, and credited to L Butler Pictures.

From a trip down the memory lane of Turner Prize winner Mark Leckey to two Edwardians locked in a never - ending kiss, we guide you through the best of this week's art events and exhibitions.

Most happily for the repeat visitor, in order to stay as loose as that moment works from the collection will be switched and rotated intermittently to the end of the exhibition's 12 - month run.

Other recent solo exhibitions include Fred Wilson, Objects and Installations 1979 — 2000, a retrospective organized by the Center for Art, Design and Visual Culture at the University of Maryland, which traveled to seven venues nationally from 2001 — 04, including Saratoga Springs, Berkeley, Houston, Andover, Los Angeles, Chicago and ending its run at the Studio Museum in Harlem; Life's Link at the Savannah College of Art and Design Museum of Art in 2012; Fred Wilson: Works 2004 — 2011 at the Cleveland Museum of Art in 2013; and Fred Wilson: Local Color, Studio Museum in Harlem in 2013.

The exhibition traces the course of modern art in the works of these artists — from the bold, investigative realism of Winslow Homer and Thomas Eakins at the end of the nineteenth century, to the reductive views and psychological insights of Edward Hopper and Morris Graves at mid-twentieth century.

The photograph Sendeschluss / End of Broadcast I (2014) by Wolfgang Tillmans was included in the group exhibition Unfinished Conversations: New Work from the Collection at The Museum of Modern Art in New York.

The Foundation is pleased to be presenting sketchbooks dating from Mitchell's student years through the end of her life this summer and fall in exhibitions at the Kunsthaus Bregenz, Austria and the Museum Ludwig, Germany.

Formed from an 18th - century house and two new, purpose - built exhibition spaces, it offers an intriguing mix of intimate domestic rooms, stripped down but full of period detail, alongside contemporary galleries — a union of old and new that echoes the dynamic of its location on the border between the East End and the City of London.

«Sculpture on the Move 1946 - 2016», the inaugural exhibition at the newly enlarged Kunstmuseum Basel, focuses on sculpture from the end of World War Two to the present.

Lyrical Abstraction was the title of a circulating exhibition which commenced at the Aldrich Contemporary Art Museum, Ridgefield, Connecticut from April 5 through June 7, 1970, [18] and ended at the Whitney Museum of American Art, New York, May 25 through July 6, 1971.

With his choice of the exhibition title, Kiefer dedicates the installation to the French writer Louis - Ferdinand Céline's book «Voyage au bout de la nuit» («Journey to the End of the Night») from 1932, which describes the demise of European humanism in the trenches of World War I. Famous for its gallows humour and world - weary misanthropy, the book is a darkly humorous and grotesque description of the meaninglessness and evil of war.

«I was looking at Cézanne along Matisse's lines and along comes this painting», explained Bridget Riley of Lagoon 2, a large, airy canvas from 1997 that hangs near the end of her exhibition at the De La Warr Pavilion.

Throughout the crowdfunding campaign and leading up to the exhibition's opening, visitors following the DMA's social media platforms and subscribers to the Museum's email can follow the process of developing the exhibition from beginning to end, with exclusive insights from DMA staff, spanning nearly every department at the DMA.

Meanwhile, there are exhibition openings, live music and more events to choose from this weekend on the Eastern End of Long Island.

Recent projects such as Crash Pad for the 8th Berlin Biennial, Every End is a Beginning at the National Museum of Contemporary Art in Athens and Fin de Siècle at Swiss Institute will be used to highlight aspects from Angelidakis's exhibition practice where the artist becomes curator, the exhibition becomes a medium and the exhibition device an exhibited object.

I was so energized creatively from being at these exhibitions that I ended up painting into the early hours of the morning.

To the end of my days I will curse myself for missing this epochal exhibition at the Haus der Kunst in Munich, which offered a true global history of art from 1945 to 1965.

The photographs and video works in this exhibition display the ups and downs of life, freezing the frame somewhere between the beginning and end of an action, from the precise click of the shutter.

Like other encounters with «masterpieces» at the Guggenheim, a 1996 survey of abstract painting and «The Tradition of the New» from 1994, this exhibition pretty much ends twenty years ago, with Art Povera.

The exhibition also includes a five - part document from 1979 that is part of an open - ended set of written works titled Communications Devices.

1988 Cultural Geometry, Deste Foundation for Contemporary Art, Athens (curated by Jeffrey Deitch, catalogue) Collection Sonnabend: 25 Years of Selection and Activity, Museo Nacional Centro de Arte Reina Sofía, Madrid; traveled to CAPC Musée d'art contemporain, Bordeaux, France; Art Cologne, Cologne, Germany; Hamburger Bahnhof Museum für Gegenwart, Berlin; Galleria Nazionale d'Arte Moderna, Rome; Museo d'Arte Moderna e Contemporanea, Trento, Italy; Musée Rath, Geneva; Sezon Museum of Art, Tokyo; Miyagi Museum of Art, Sendai, Japan; Fukuyama Museum of Art, Hiroshima, Japan; National Museum of Art, Kyoto, Japan (catalogue) Galerie Lelong, New York A Drawing Show, Cable Gallery, New York Hover Culture, Metro Pictures, New York Art at the End of the Social, The Rooseum, Malmö, Sweden (curated by Collins & Milazzo, catalogue) Australian Biennale, Art Gallery of New South Wales, Sydney, Australia; travelled to National Gallery of Victoria, Melbourne, Australia (catalogue) La Couleur Seule: L'Experience du monochrome, Musée Saint Pierre, Lyon, France (catalogue) Hybrid Neutral, Modes of Abstraction and the Social, I.C.I. Exhibition: University Art Gallery, The University of North Texas, Denton, TX; travelled to J.B. Speed Art Museum, Louisville, KY; Alberta College of Art, Alberta, Canada; The Contemporary Arts Center, Cincinnati, OH; Richard F. Brush Art Gallery, Gainesville, FL; Santa Fe Community College Art Gallery, Gainesville, FL (curated by Collins & Milazzo, catalogue) Works Concepts Processes Situations Information, Galerie Hans Mayer, Düsseldorf, Germany (curated by Robert Nickas) American Art of the Late 80s: The Binational, Museum of Fine Arts and Institute of Contemporary Art, Boston, MA; travelled to Städtische Kunsthalle, Düsseldorf, Germany; Kunsthalle, Bremen, Germany; Württembergischer Kunstverein, Stuttgart, Germany (catalogue) Carnegie International, Carnegie Museum of Art, Pittsburgh, PA (catalogue) New Works, Daniel Weinberg Gallery, Los Angeles A Debate on Abstraction: Systems and Abstraction, The Bertha and Karl Leubsdorf Art Gallery, Hunter College, New York (catalogue) Viewpoints: Postwar Painting and Sculpture from the Guggenheim Museum Collection and Major Loans, Solomon R. Guggenheim Museum, New York Three Decades: The Oliver Hoffman Collection, The Museum of Contemporary Art, Chicago (catalogue)

A Selection of American Art: Minimalism and After, Galerie Ronny Van de Velde, Antwerp, Belgium (catalogue) The Kitchen Art Benefit, Curt Marcus & Leo Castelli Galleries, New York Re-Framing Cartoons, Loughelton Gallery, New York Grids, Vrej Baghoonian Gallery, New York Modern Detour / Umweg Moderne: R.M. Fischer, Peter Halley, Laurie Simmons, Wiener Secession, Vienna (catalogue) The Last Decade: American Artists of the 80s, Tony Shafrazi Gallery, New York (curated by Collins & Milazzo, catalogue) Weitersehen 1980 — 1990, Krefelder Kunstmuseen, Museum Haus Lange and Museum Haus Esters, Krefeld, Germany (catalogue) Mel Bochner, Peter Halley, Robert Rauschenberg, Sonnabend Gallery, New York Classical Modernism: Six Generations, Sidney Janis Gallery, New York Peter Halley, Annette Lemieux, Meyer Vaisman, Galerie Antoine Candau, Paris Peter Halley, Jeff Koons, Meyer Vaisman, Galerie Carola Moesh, Berlin 1989 Nonrepresentation: The Show of the Essay, Anne Plumb Gallery, New York (catalogue); travelled to Security Pacific Corporation, Los Angeles (curated by Jeremy Gilbert - Rolfe, catalogue) Horn of Plenty, Stedelijk Museum, Amsterdam (catalogue) Buena Vista, John Gibson Gallery, New York (curated by Collins & Milazzo, catalogue) Abstraction in Question, John and Mable Ringling Museum of Art, Sarasota, FL (catalogue); travelled to Center for the Fine Arts, Miami Paula Cooper Gallery, New York A Climate of Site, Galerie Barbara Farber, Amsterdam (curated by Robert Nickas, catalogue) Science — Technology — Abstraction: Art at the End of the Decade, University Art Galleries, Wright State University, Dayton, OH (catalogue) Prospect 89, Frankfurter Kunstverein, Schirn Kunsthalle, Frankfurt am Main (catalogue) Re-Presenting the 80s, Simon Watson Gallery, New York (catalogue) Ten + Ten: Contemporary Soviet and American Painters, Fort Worth Museum of Art, Fort Worth, TX; travelled to San Francisco Museum of Modern Art, San Francisco, CA; Albright - Knox Art Gallery, Buffalo, NY; Milwaukee Art Museum, Milwaukee, WI; Corcoran Gallery of Art, Washington, DC; Artists» Union Hall of the Tretyakov, Krymskaia Embankment, Moscow, USSR; State Picture Gallery of Georgia, Tbilisi, Georgian Soviet Socialist Republic; Central Exhibition Hall, Leningrad, USSR (catalogue) The Silent Baroque, Villa Arenberg, Galerie Thaddaeus Ropac, Salzburg, Austria (catalogue) New Editions, Pace Prints, New York Psychological Abstraction, Deste Foundation for Contemporary Art, Athens (catalogue) Exposition Inaugurale, Fondation Daniel Templon, Musée Temporaire, Fréjus, France (catalogue) Wittgenstein: The Play of the Unsayable, Wiener Secession, Vienna, Austria; travelled to Palais des Beaux - Arts, Brussels (catalogue) Abstraction — Geometry — Painting, Albright - Knox Art Gallery, Buffalo, NY; travelled to Center for the Fine Arts, Miami, FL; Milwaukee Art Museum, Milwaukee, WI; Yale University Art Gallery, New Haven, CT (catalogue) New Work by Gallery Artists: John Baldessari, Bernd and Hilla Becher, Ashley Bickerton, Mel Bochner, Carroll Dunham, Fischli + Weiss, Gilbert & George, Peter Halley, Barry Le Va, Haim Steinbach, Meyer Vaisman, Terry Winters, Robert Yarber, Sonnabend Gallery, New York Gober, Halley, Kessler, Wool: Four Artists from New York, Kunstverein, Munich (catalogue) Projects and Portfolios: The 25th National Print Exhibition, Brooklyn Museum, Brooklyn, NY (catalogue) Recent Acquisitions, Carl Solway Gallery, Cincinnati, OH Buena Vista, John Gibson Gallery, New York

The painter Basil Beattie RA, who I met at the gallery on the show's opening day, reminded me that Bert — like Basil himself — was converted to the abstract creed by the exhibition of Abstract Expressionism that visited London's Tate from America in two touring shows at the end of the 1950s.

Seductive and enigmatic Ida Barbarigo presents a selection of works from two series made over two decades, between 1980 and the end of the 1990s, at Palazzo Fortuny, in an exhibition curated by Daniela Ferretti.

The exhibition will be installed in a chronological sweep, beginning with works from 1926 and ending with one of her final paintings executed in 1984, the year of her death.

Won by the terrific Helen Marten, who split the winnings with her fellow contenders, the Hepworth sculpture prize exhibition (ends 19 February) ranges from Phyllida Barlow's rough - and - tumble slanted stage, with its cavernous undercroft, to David Medalla's delicate foam fountains, from Steven Claydon's mobile phone masts disguised as trees and rafts of fabricated tribal artifacts, to Marten's complex syntax games with objects and images.

Having curated more than fifty exhibitions, he has been the primary or sole author of numerous exhibition catalogues, including Artists at Continent's End: The Monterey Peninsula Art Colony, 1875 - 1907; Edgar Payne: The Scenic Journey (Pomegranate); A Touch of Blue: Landscapes by Gregory Kondos; Armin Hansen: The Artful Voyage (Pomegranate); David Ligare: California Classicist; and E. Charlton Fortune: The Colorful Spirit (forthcoming from Pomegranate).

«The other exhibition spaces always take my works down in the end,» says the artist while climbing from floor to floor up to the roof of the museum, turning switches on and off, and thereby setting her kinetic sculptures into motion.

2009 Cave Painting, organized by Bob Nickas, Gresham's Ghost, New York, USA Infinitesimal Eternity, Yale University School of Art, New York, USA Transitions: Painting at the (other) end of art, Collezione Maramotti, Reggio Emilia, Italy, sponsored by Max Mara Blue, James Graham & Sons, New York, USA Every Revolution is a Roll of the Dice, curated by Bob Nickas, Paula Cooper Gallery, New York, USA Commentary, Paula Cooper Gallery, New York, USA 2008 Reflections, Rhona Hoffman Gallery, Chicago, USA Say Goodbye to... curated by Donna Harkavy and Marion Wilson, The Clifford Gallery at Colgate University, Hamilton, New York, USA White Room; Recent Acquisitions, gifts and works from various exhibitions 1985 - 2008 / from the collection of Bob Nickas, White Columns, New York, USA Empires and Environments, curated by Dominique Nahas and Margaret Evangeline, The Rose Art Museum, Brandeis University, Waltham, USA Ithaca Collects, Herbert Johnson Museum of Art, Ithaca, New York, USA Gray, Dinter Fine Art, New York, USA YOU SAID HE SAID SHE SAID, Seiler + Mosseri - Marlio Galerie, Zürich, Switzerland

The works in this exhibition range from the colourful and glittering portraits of fashionable aristocrats, to religious altarpieces and finally to more sober and insightful paintings created towards the end of his life.

As an introduction to the project «L'Europe des Artistes» which will end up as a large exhibition where artists from all over Europe will be presented the Astrup Fearnley Museum initiated what will be a series of presentations, discussions and related events with a presentation of the contemporary art scene in France.

Reproductions of these artworks will be shown on billboard sites across the UK for six weeks from 21 July to 31 August, and will feature in the national exhibition film shown at over 1,000 Vue cinema screens in the UK until the end of August.

For the exhibition Open Plan, McQueen is creating a newly expanded version of his work End Credits, which presents documents from the FBI file kept on the legendary African - American performer Paul Robeson.

«The Apocalypse Show» is a huge group exhibition of artists from all across Texas and features their unique takes on the end of the world scenario.

In the images above, you'll see photos of Jill Nathanson's painting class, Josef Zutelgte's portrait drawing session, and photos from the reception and exhibition at the end -LSB-...]

Ponder that brainteaser during a visit to one of these spectacular seaside exhibitions, spanning from Dorset's Jurassic Coast to the enchanted landscape of Land's End.