Sentences with phrase «further exhibitions including»

Olivier Malingue was inaugurated with a solo show by established Korean Dansaekhwa artist Cho Yong - Ik, with further exhibitions including the first UK solo exhibition of Japanese contemporary artist Makoto Ofune and From Picabia to Picasso: A selection of works by modern masters, which featured works by Calder, Dubuffet, Kandinsky, Léger, Picabia and Picasso.

Further exhibitions include an overview of his watercolours in the Tate Gallery, Liverpool (1991), a solo exhibition at the Musée National d'Art Moderne - Centre Georges Pompidou, Paris (1993), a travelling exhibition in the Fundación «La Caixa» in Madrid and in the Astrup Fearnley Museet for Moderne Kunst in Oslo (1995 - 96), and a retrospective exhibition at the Hayward Gallery in London (2001).

Further exhibitions include the Samsung Museum of Art, MMCA Seoul & Gwacheon, Arko Art Center Seoul and Fukuoka Museum of Art.

Further exhibitions include Regarding Africa: Contemporary Art and Afro - Futurism, Tel Aviv Museum of Contemporary African Art, Israel (2016 — 17) and In all Cases: A Collection Selection, Nevada Museum of Art in Reno, Nevada (2013).

Not exact matches

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».

Recent exhibitions include Dusty Groove, Corbett vs. Dempsey, Chicago; Josiah McElheny: Towards a Light Club, Wexner Center for the Arts, Columbus, OH; Two Clubs at The Arts Club of Chicago, In Collaboration with John Vinci; The Past Was A Mirage I'd Left Far Behind, Whitechapel Gallery, London; Some Pictures of the Infinite, Institute for Contemporary Art, Boston; and The Light Club of Vizcaya: A Women's Picture, Vizcaya Museum & Gardens, Miami.

Mira has held numerous solo exhibitions, including most recently Mira Gojak, Murray White Room, Melbourne 2009; Cave, Block Projects, Melbourne 2008 and Too Near, Too Far, Monash University Project Room, Melbourne Art Fair 2006.

Further notable solo exhibitions include; «Vis à Vis, Bacon and Picasso», Kunstmuseum, Lucerne, Switzerland (2007) and «Francis Bacon, The Violence of the Real», K20 Kunstsammlung, Nordrhein - Westfalen, Dusseldorf, Germany (2006).

Recent and current solo exhibitions include: Straight Down to Below: Lawrence Weiner (part of Artist Rooms on Tour at Tate Modern and National Galleries of Scotland), Woodhorn Museum, Northumberland, Scotland, 25 October — 19 April 2015; All In Due Course, South London Gallery, London, England, 26 September — 23 November 2014; The Grace of A Gesture (curated by Thomas Kellein), Written Art Foundation in conjunction with the 55th Venice Biennale, Palazzo Bembo, Venice, Italy, 29 May — 4 November 2013; As Far As The Eye Can See, Whitney Museum of American Art, New York City, USA, 15 November — 10 February 2008.

Arcangel's exhibition in Bergamo, This is all so crazy, everybody seems so famous, includes a further 20 pool noodle works, as well as a new carpet piece, early modified computer games and four of his recent Lake works (reflective, meditative flatscreen videos), all of which will be presented in the historic Sala de Giuristi, the oldest municipal building in Italy.

Featuring a wide variety of approaches to abstraction in landscapes, including Cubist fragmentation, gridded compositions, and pure geometric abstraction, the artists in this exhibition explore landscapes both near and far.

Further detail, including the title, themes and key concerns informing the exhibition, will be announced in July this year.

All public events, including scheduled exhibition openings, have been postponed until further notice, although the institution's library, restaurant, bookshop and gift shop will remain open as usual.

Saville is represented by seventeen paintings and a number of drawings that span her career thus far, including several monumental paintings, such as Fulcrum and Ruben's Flap (1999), first exhibited in her landmark 1999 solo exhibition at Gagosian's former Wooster Street gallery in New York.

Further highlights include: Dara Friedman (b. 1968) at Supportico Lopez, whose exhibition at Art Basel in Miami Beach will coincide with the artist's retrospective at the Pérez Art Museum Miami (PAMM); Alexandre Estrela (b. 1971) at Travesía Cuatro, Barry McGee (b. 1966) at Ratio 3, Torey Thornton (b. 1990) at Essex Street, Carolina Caycedo (b. 1978) at Instituto de visión; Sascha Braunig (b. 1983) and Sara Cwynar (b. 1985) at Foxy Production, Alex Hubbard (b. 1975) and Emily Sundblad (b. 1977) at House of Gaga and Ishmael Randall Weeks (b. 1976) and Andrea Galvani (b. 1973) at Revolver Galería.

The exhibition is further punctuated by documentary material including ephemera from famous actions, behind - the - scenes photos and secret anecdotes that reveal the Guerrilla Girls» process and the events that drive their incisive institutional interventions.

Further highlights of the exhibition include Mêle moments (1976), Les données de I «instant (1977), and Site aux disjonctions (1977) on loan from the Fondation Dubuffet and private collections.

Addendum begins to do just that by including, ad hoc, additional images, objects, gestures and performance that provide a more complete representation of many of the artists that made up the,,, exhibition, while simultaneously further problematizing the original survey.

Her work has been presented in numerous in solo and group exhibitions including Inside the White Cube at the White Cube, London; Lake at the Yerba Buena Center for the Arts, San Francisco; The Locker Plant at the Chinati Foundation, Marfa; and Still, Flat, and Far at the Institute of Contemporary Art, Philadelphia.

Solo exhibitions include: of a final account in formation, MK Gallery, Milton Keynes (2014), and as far as a place, espacio f, Madrid (2013).

In the exhibition and catalogue (far more of them are included in the catalogue), these images are identified as the work of this artist.

Further involvements include organizing outreach programs such as the International Print Symposium in Boston and co-curating a major exhibition and print exchange for the First Africus Biennial in Johannesburg, South Africa.

His work featured in a further 18 exhibitions at MoMA from 1969, including two more solo shows: Bill Brandt 1905 - 1983 (1983 - 84), which marked the photographer's death, and Bill Brandt: Shadow and Light (2013), curated by Sarah Hermanson Meister.

The acquisition further deepens our commitment to African American artists and we're thrilled to include the painting in our upcoming exhibition, Soul of a Nation: Art in the Age of Black Power, which will also include the work by Virginia Jaramillo that we added to our collection last year through the support of the fund.»

I am excited to have had the opportunity to include the works of Miami artists in an exhibition about the far reaching consequences of color, form, concept, and execution.

From 2003 until 2011 he was a curator at the Antwerp Museum of Contemporary Art (MuHKA), where he organized large - scale group exhibitions as well as monographic shows, including Emotion Pictures (2005); Intertidal, a survey show of contemporary art from Vancouver (2005); The Order of Things (2008); Auguste Orts: Correspondence (2010); Liam Gillick and Lawrence Weiner — A Syntax of Dependency (2011); A Rua: The Spirit of Rio de Janeiro (2011); Chantal Akerman: Too Close, Too Far (2012) and the collaborative projects Academy: Learning from Art (2006), The Projection Project (2007), All That Is Solid Melts Into Air (2009), and Kerry James Marshall: Paintings and Other Stuff (2013).

Group exhibitions include «Sappers and Shrapnel», Art Gallery of South Australia, Adelaide, 2016; «So far», Ten Cubed, Melbourne; «Percy Grainger: In the Company of Strangers», The Gallery at Bayside Arts & Cultural Centre, Melbourne, 2015; «Five Perspectives», The Young, Wellington; In Free Circulation, Mothers Tankstation, Dublin, 2014; «Melbourne Now», National Gallery of Victoria, Melbourne; «Future Primitive», Heide Museum, Melbourne; «Theatre of the World», La Maison Rouge, Paris; Murray White Room at Art Basel, Hong Kong, 2013; «The Theatre of the World», Museum of Old and New Art (MONA), Hobart, 2012; «Monanism», MONA, Hobart; «The Five Obstructions», Margaret Lawrence Gallery, Melbourne, 2011; «Primavera», Museum of Contemporary Art, Sydney; and «Freehand: Recent Australian Drawing», Heide Museum, Melbourne, 2010.

Recent solo exhibitions include Far Out at American Contemporary, Midnight Snacks at Institute 193 in Lexington, Kentucky and Guess You Had To Be There at MOCA in Atlanta, Georgia.

Recent exhibitions this past year include A Promise Is A Cloud, Public Art Fund, New York; Structure & Absence, White Cube, London; The Anxiety of Photography, Aspen Art Museum, Aspen, Colorado; To What Earth Does This Sweet Cold Belong, The Power Plant, Toronto, Ontario; and in 2010, Still, Flat and Far, Institute of Contemporary Art, Philadelphia.

Upcoming, current and past solo exhibitions include «Limits of a known territory», a solo exhibition at NC Arte, Bogota, Colombia (April - June 2015), «Persistent Illusions», a solo show at the Daelim Museum, Seoul, Korea (10 April 2014 — 12 Oct 2014), «The far Side of Reason», OMR, Mexico City, Mexico (April — June 2013).

Also included in the exhibition is The Fall of Troy (1977), from his series based on Homer's Odyssey, a work that offers further evidence of Bearden's extensive range of interests as well as his life - long dialogue with the canon of European art.

This narrative is further explored through the paintings and photographs included in the exhibition, such as the silver bromide prints from Grasso's Specola Vaticana series.

Capture Photo Festival Photography is presented at over 70 esteemed galleries and community spaces throughout Vancouver as part of the Festival's Selected and Open Exhibition Programs, and further includes public installations, tours, films, artist talks, and the inaugural Vancouver Photo Book Fair.

The exhibition's Community Committee includes Harriet Kelley, Guillermo Nicolas, Freda Facey, and Veronique LeMelle; additional partners across San Antonio help further inform the exhibition and promote reflection, dialogue, and creativity within the larger community.

Further notable solo exhibitions include Wayne Gonzales, Stephen Friedman Gallery, London, England (2010); «Wayne Gonzales: Free and Clear: Online Project Room», Dinter Fine Art, New York, USA (2008) and «Judge - Vincent Katz and Wayne Gonzales», Paula Cooper Gallery, New York, USA (2008).

According to the Guardian, the gallery held a «Neoreaction» conference last summer with speakers apparently including noted «white supremacist» Brett Stevens and anti-immigration activist Peter Brimelow, alongside an exhibition entitled «Amerika» which explored far - right and Nazi imagery.

For further information, including an interview with Guillermo Kuitca, installation shots and a video, please visit the exhibition website.

Notable solo exhibitions include Iran do Espirito Santo, Pinacoteca do Estado, São Paulo, Brazil (2007); toured to MAXXI (Museo Nazionale delle Arti del XXI Secolo) and a further self - titled show at the Irish Museum of Modern Art, Dublin, Ireland (2006).

In 2017, his work has so far been included in exhibitions at The Finley, awhrhwar, and Various Small Fires in Los Angeles.

Further in to the weekend, Hignell Gallery are hosting a garden party to celebrate their exhibition of works by Ben Russell, which include cactus - inspired sculptures.

But this exhibition takes this one step further by including real plants in the gallery alongside the sculptures.

Spanning exhibitions, publications, films, new media, and site - specific installations, funded projects include «Incense Sweaters & Ice,» an immersive installation by Los Angeles - based artist Martine Syms; «Bond: Race and the Modern City,» which is described as the first book - length study of the architect J. Max Bond Jr. (at right, on far left); «Sacred Stoops: Typological Studies of Black Congregational Spaces,» an investigation of the porch and its role in the African American community; and research exploring «emerging paradigms» in architectural education across sub-Saharan Africa.

The exhibition will include a study room with film, books and further information on the two artists, silkscreens and the meeting in 1962.

Further contributors include theMuseum of American Art Berlin, Martin Beck, Brian O'Doherty, Lawrence Weiner, and Jasmina Cibic — all working with (in) archives, or drawing upon curatorial material and exhibition histories.

But since we haven't had a substantial exhibition of her work in the UK since 1969, when she was shown at the Whitechapel Gallery, engagement of any sort isn't something we've had much of an opportunity to commit to (and the Tate owns no paintings by her, though it does have 38 prints, none of which, as far as I can see, are on display; it owns twice as many, including paintings, by Robert Motherwell, the husband she divorced in 1971).

Included in this exhibition are 6 artists, chosen to further investigate their point of view through more narrowly focused exhibitions taking place in the winter — so be on the lookout!

In her ongoing World Time series (2008 --RRB-, from which this exhibition takes its name, Pousttchi photographs clocks on public buildings in different cities of the world»» so far the series includes clocks in Shanghai, Istanbul, London, New York, Basel, and Warsaw»» that exist in different time zones.

Some of the works included in the exhibition explicitly engage with Eliot and his writing, such as Philip Guston's grim deathbed painting East Coker: T.S.E. (1979); David Jones's painted inscription Nam Sibyllam (1958), made as a gift for Eliot, which combines the text from Petronius that is The Waste Land's epigraph with the opening lines of the poem and other phrases connected to the Grail myth; Graham Sutherland's two Illustrations for T. S. Eliot (1973); and Vibeke Tandberg's The Waste Land (2007), which consists of 36 collages in which the artist has cut out each of the words of the poem, and re-organised them alphabetically and in groups, at once fragmenting Eliot's poem of «broken images» even further and bringing its underlying verbal structure to light.

He has had extensive international solo exhibitions and projects including A Certain Slant of Light, The Morgan Library & Museum, New York, NY, The Skies can't keep their secret, Turner Contemporary, Margate, UK (2014); Painting Air, Rhode Island School of Design Museum of Art, Providence, RI (2012); Lunar, The Art Institute of Chicago, Chicago, Rome, Museum of Contemporary Art San Diego, La Jolla, CA, Between the light - and me, Emily Dickinson Museum, Amherst, MA (2011); My Business, With the Cloud, Corcoran Gallery of Art, Washington, D.C., Evening Star, Pallant House, Chichester, UK, Between The Moon and The Sea, Frac des Pays de la Loire, Carquefou, France (2010); As if the sea should part and show a further sea, Queensland Gallery of Modern Art, Brisbane, Australia (2009).

In addition to the «Best Emerging Artist awards», a further seven awards were given including Lifetime Achievement Award for Asian Contemporary Art, Best Gallery Supporting Emerging Asian Contemporary Art, Best Writing on Asian Contemporary Art, Best Institution and Best Exhibition of Asian Contemporary Art.