Sentences with phrase «gallery artists reveal»

What do the curatorial selections of fifteen gallery artists reveal about their own contemporary practices?

Not exact matches

As mentioned by gallery owner and curator, Elizabeth Denny, including an artist whose work is cross-generational is important to the exhibition because it reveals diverse generations tackling similar ideas.

I have a history of constructing vivid but sometimes revealed to be false memories of favorite paintings by artists I love: a painting will be a lodestar in my mind, and I will remember not just it, but the wall of the museum or gallery that it hung on, and perhaps at the core of my memory is my memory of myself at the instant of seeing it.

GROUP EXHIBITIONS 2017 Flaming June VII: Flaming Creatures, GAVLAK, Los Angeles, CA The Night of Forevermore, Psychopomp, Laband Art Gallery, Loyola Marymount, Los Angeles, CA 2016 Only Lovers, Le Couer Gallery, Paris, France Hearsay: Artists Reveal Urban Legends, curated by Wendy Sherman, presented

And soon, Fine revealed to the audience gathered to hear the conversation at the National Gallery of Art in Washington, D.C., that two of Miller's paintings by Norman Lewis would be included in a fall 2015 exhibition of the abstract artist's work.

The Guerrilla Girls release a study revealing that of all the artists represented by thirty - three of the top New York City art galleries, only 16 percent are women.

The National Portrait Gallery, London, has revealed the four artists shortlisted for the BP Portrait Award 2018.

We are pleased to announce the Denver Art Museum has once again revealed William Havu Gallery artist Rick Dula «s 18 x 32 foot mural A moment in Time: Here.

Neoteric Fine Art is a summer pop up gallery in Amagansett that aims to reveal young emerging artists working in the Hamptons.

FORGETTABOUT IT, her second exhibition at the Lisson Gallery, is exclusively made up of Pensato's 2017 output, revealing an artist still working intensively and experimenting with subtle shifts in her well - established style.

Highlights include a radio - inspired sound - art work by Graham Fagen, and selected works from Zimbabwe's first independent, contemporary artist - led gallery, that reveal a glimpse of contemporary urban Africa.

In Mungo Thomson's solo exhibition at Kadist Art Foundation, Wall, Window, or Bar Signs, the gallery is filled with neon works that appropriate the form of Bruce Nauman's spiraling neon text piece, The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign) from 1967.

Richter's swiped - over twin towers, Dumas's crucifixions and portraits of Osama bin Laden and Phil Spector (looking like a creepy and ageing Ken Dodd) at Frith Street Gallery, and Sasnal at the Whitechapel: together these artists evidence a kind of mistrust and doubt, as well as a discovery that painting can be both revealing and critical.

Within the gallery, the small scale works placed on the floor and walls reveal the ritual behind imagery and immediately reminds of artist Jeremy Everett who also works with the idea of loss and ruin.

Plus: FBI offers $ 25,000 for Springfield Museum's stolen Warhols Egyptian authorities move to demolish Townhouse Gallery Daniel Libeskind reveals plans for Kurdish museum in Irbil Australia deports Oscar Murillo after artist destroys passport Two men arrested in connection with murder of Oxford art dealer Could there be a second «lost Caravaggio» hidden away in France?

The paintings of Berlin - based artist Clara Brörmann, currently hanging on the walls of Nicelle Beauchene Gallery, reveal an innate sense of clarity, though a direct understanding of each work's process may be lost in the layers.

The True Artist Helps the World by Revealing Mystic Truths (12 - Step), 1999 Ink on Holographic Vinyl 3 x 36 inches / 7.5 x 91.5 CM Exterior view, Margo Leavin Gallery, Los Angeles, USA, 2000

In January, after coronary catheterization reveals heart disease, undergoes ballon angioplasty procedure; during the summer months, collaborates with Townsend and guest artists Eric Avery, Sue Coe, Sam Messer, and Joan Snyder at the New Provincetown Print Project; the resulting portfolio is published to jointly benefit the Fine Arts Work Center and the Provincetown AIDS Support Group; joins U.F.O. Gallery in Provincetown; granddaughter Rebecca is born to son Daniel and his wife Susan Chasen.

Yet a survey of solo exhibitions in American galleries over the past six years has revealed that 73 % were by male artists.

This exhibition seeks to represent the many facets of Chamberlain's broad investigation into materiality as well as engage with the natural context of Inverleith House and the Royal Botanic Garden Edinburgh where his sculptures, presented both inside the gallery and outdoors, resonate with the site's formal yet unwieldy natural elements of trees, flowers and shrubs, revealing the power and innovation of an artist completely beyond style or fashion.

Of those presenting recent work, a two - gallery exhibit of sculptures by the West African artist El Anatsui reveals a more of - the - moment fascination with unusual materials.

Tacita Dean: PORTRAIT is the first exhibition in the Gallery's history to be devoted to the medium of film and reveals the artist's own longstanding and personal interest in portraiture as a genre.

This display reveals the Whitechapel Gallery's rich archive of artist interviews to enable visitors to hear, see and read artists in their own words.

Shot on several of the Museum's floors, the videos reveal the artist as she moves and dances alone through the building, camouflaging herself in the empty gallery spaces during the transition period between exhibitions.

Whether or not that's true, the show has led curator and writer Lynda Morris to tell us about the international network of conceptual artists from 1967 - 1977, revealing new relationships between galleries and museums.

The Whitechapel Gallery, Collezione Maramotti and Max Mara revealed the names of the five artists shortlisted for the sixth Max Mara Art Prize for Women at a special event at the historical headquarters of Max Mara in Reggio Emilia, Italy on 4 October 2015.

Collectively, they also reveal the diversity of the subtle art scene that unfolds in studios, artist homes and the handful of galleries tucked in buildings located from Jamesport to Greenport.

A fascinating new show at New York gallery Hirschl & Adler Modern reveals a decade's worth of works on paper from Pop master Andy Warhol's earliest years as a fine artist — proving his skill as a draughtsman as well as his eye for graphic design.

In the exhibition «Light Revealed», Karin Weber Gallery introduces three artists, all of whom engage with light in their individual, highly distinctive ways — be it as their main subject, or to enhance and enliven their work.

An exhibition at the National Gallery in October will reveal Francisco de Goya's talents as a portrait artist.

By bringing together these two generations of galleries and artists, SLICK aims to reveal all of the vitality of the international contemporary art scene, in an atmosphere that promotes exchanges and new discoveries.

The group exhibition Speak, running concurrently at the Serpentine Sackler Gallery, proposes Latham as an «open toolbox» for younger generations of artists whose diverse practices share affinities with Latham's ideas and world view, revealing how they continue to resonate today.

Weller, Allen S, «Chicago: French Classic and Three Americans», Arts Digest (New York), February, volume 29, no. 10, pp. 14 - 15 Morris, J.A, Two Hundred Years of American Painting, catalogue, Vancouver Art Gallery Williams, Hermann Warner, The 24th Biennial Exhibition of Contemporary American Painting, catalogue, Corcoran Gallery of Art, Washington D.C. Three Young Americans, catalogue, Allen Memorial Art Museum, Oberlin College, Ohio Whiteside, Forbes, «Three Young Americans», Oberlin College Bulletin, volume 12, no. 3, pp.91 - 97 Preston, Stuart, «The Artist in Europe — And in America», New York Times, 8 May, section 6, pp.28 - 29 Devree, Howard, «About Art and Artists: Painting and Sculpture: American Show at Whitney, European at Modern Art», New York Times, 11 May, p. 29 Devree, Howard, «Modern Surveys» Development Since 1920 Seen in Three Shows», New York Times, 15 May, section 2, p. 9 Rosenblum, Robert, «The New Decade», Arts Digest (New York), 15 May, volume 29, no. 16, pp.20 - 33 Devree, Howard, «Response to Today: Museum Surveys Reveal Artists» Reactions», New York Times, 22 May, section 2, p. 11 Coates, Robert M, «The Art Galleries: The Grand Tour», New Yorker, 28 May, volume 31, no. 15, pp.90 - 92 Hess, Thomas B, «Mixed pickings from 10 fat years», Art News (New York), Summer, volume 54, no. 4, pp.36 - 39 & 77 - 78 Ashton, Dore, «Young Painters in Rome», Arts Digest (New York), 1 June, volume 29, no. 17, pp.6 - 7 Baur, John I.H, The New Decade: 35 American Painters and Sculptors, catalogue, Whitney Museum of American Art, New York Laverne, George, «Joseph Glasco», Arts (New York), November, volume 30, no. 2, pp.32 - 36 Hodgins, Eric and Lesley Parker, «The Great International Art Market», Fortune (New York), December, volume 3, no. 6, p. 118

Gallery reveals details of what will be first comprehensive survey of 86 - year - old US artist's work to be held in UK in 40 years

Leighton House — former home of the Victorian artist and friend of the Pre-Raphaelite Brotherhood Frederic Leighton — offers a rare chance to see more than 100 drawings by Millais, Rossetti, Waterhouse and others from the collection of Canadian orthognathic dentist Dennis Lanigan in February, while further north the Walker Art Gallery reveals Liverpool's connection to the movement with an expansive show of more than 120 paintings.

Michael Rosenfeld Gallery presents its third solo exhibition of work by Bob Thompson (American, 1937 - 1966), including discoveries revealed subsequent to the artists» momentous 1998 Whitney Museum of American Art retrospective.

In «Transient,» the artists reveal a shared interest in what a gallery press release calls «the proto - light of the west, that blue, harsh light... reflecting and refracting off surfaces, smog, mist.»

Lights of Soho, London's leading light - art gallery, is delighted to announce «I Love This Motherf *** er», a one - man show by artist Graeme Messer that takes an irreverent, witty and revealing look at that meeting place between our real and idealised selves — the mirror on the wall.

In the artist's fifth solo gallery show, Taylor's new work reveals an evolution in media and technique that demonstrates her restless creativity and originality.

Using images of recent protests from around the world, artists will create an artwork live before gallery visitors» eyes — revealing a traditionally private process in an interactive and performative way.

In this revealing set of conversations — conducted in train stations, hotels, galleries and her own private studio — between Abramovic and curator Hans Ulrich Obrist, with the occasional addition of other interlocutors including Gustav Metzger (the «Old Master of action art»), the artist talks about her work, the strict discipline of her Yugoslav childhood and the process of preparing for her epochal retrospective at the Museum of Modern Art in New York.

Barclay's physical and almost performative response to the gallery's spaces reveals the subtle, transformative power yielded by the artist's hand.

This Saturday, April 12th Hearsay: Artists Reveal Urban Legends opens at CSU Fullerton's Begovitch Gallery.

Commercial galleries, too, have seized the moment: Luxembourg & Dayan organised the intelligently conceived focus on his early work, «Alberto Giacometti: In His Own Words: Sculptures 1925 — 34», that revealed the range and depth of the artist's formal experimentation before the Second World War, while «Alberto Giacometti Yves Klein: In Search of The Absolute», focusing on the post-war period, runs at Gagosian Mayfair until 11 June.

With a complete selection of over 90 works in different media such as painting, industrial design, animation and fashion, the exhibition, curated by MOCA Chief Curator Paul Schimmel, reveals this artist's personal universe: from his early works in the 1990s, in which he explored his own identity, to his large - scale sculptures created after 2000, veritable icons of this artist, and ending with his gallery of manufactured objects, his animation projects, his connection to the world of fashion, and his compelling works of recent years.

Tillmans's own image rarely appears here (while the gallery permits photography, the exhibition leaflet specifies «no selfie - sticks»), but the gregariousness of the curating — which features a rare videowork, a live programme, ephemera from the artist's Berlin - based project space, juvenilia like a foray into garment design and an inexplicable gong sculpture — reveals the artist in a surprising number of dimensions; he even codesigned the catalogue.

At the front of the gallery, a group of 16 silver gelatine prints by artist George Platt Lynes — who became American Ballet Theater's official photographer in 1934 — reveal the exhibition's most explicit interchange between a clandestine visual language of homosexual erotics and the cool formalism of early ballet photography.

The works in the show»... reveals the artist's inventive approach to his quotidian subjects which loom larger than life on paper and become transformative sculptural objects in tar and plaster,» according to the gallery.

With each artist presenting at least one new work to be revealed for the first time, this exhibit offers a fresh look at some of Cumberland Gallery's most revered storytellers.

A small display of some of the gallery's rarely seen drawings and paintings, it attempts to review the breadth and flexibility of pastel works and reveal chalk as an indispensable tool for the period's great artists.