Sentences with phrase «gallery over the course of the show»

Not exact matches

Over the course of a fortnight two groups of young people will collaborate with Artists Tug Rail and Paul Crook to produce an Internet TV show broadcast live from Whitechapel Gallery's creative studio.

Hayward Gallery & Vinyl Factory announce major off - site show The Hayward Gallery has announced plans for a major off - site exhibition, the only such event it will host over the course of its two - year refurbishment.

David Shapiro, whose show Money Is No Object was on view at the Sue Scott Gallery this spring, has created a group of vellum scrolls on which he has placed the bills and receipts and ticket stubs he's collected over the course of a year.

The Statue's torch is provocatively thrust into the gallery wall, slowly drilling through into the adjacent room over the course of the show.

For his New York exhibition, Althamer has arranged for street musicians to play in front of the New Museum building on the Bowery over the course of the show with the music being broadcast throughout the Third Floor gallery.

Erika Rothenberg has had numerous one - person exhibitions over the course of her career, including shows at the MOMA New York, the New Museum of Contemporary Art New York, Laguna Art Museum, Newport Harbor Art Museum and Rosamund Felsen Gallery in Los Angeles.

1989 was a monumental year for controversial photographer Robert Mapplethorpe: It was the launch of his touring The Perfect Moment exhibition, the year that the Corcoran Gallery famously canceled its Mapplethorpe show over concerns of the homoerotic themes of a small portion of the photographs, and, of course, the year of his untimely death.

After selling out his first solo shows in Brooklyn, Steven was added to the roster at Marlborough Gallery in Chelsea where he was part of multiple group and solo exhibitions over the course of a decade.

Over the course of his career, Bloodgood had one - person shows in New York with Daniel Newburg (in 1990), Sandra Gering (1993 and 1995), Gavin Brown's Enterprise (1995), 303 Gallery (1996), and Newman Popiashvili Gallery (2010 and 2012), as well as in San Francisco, Munich, Washington, D.C., and elsewhere.

Of course quality was the first selection criterion to bring these 36 artists from different countries together, but for curator Janice Whittle there was another important reason to select the artists she liked to present: she wanted to give the floor to artists who have not had many chances over the years to show their work because of the limited infrastructure of the island: Barbados — as most of the Caribbean countries — does not have a museum for modern or contemporary art; a National Gallery has been a subject for discussion for countless years, but it never got of the ground; the Queen's Park Gallery — a governmentally managed institution — was closed for years and commercial galleries came and wenOf course quality was the first selection criterion to bring these 36 artists from different countries together, but for curator Janice Whittle there was another important reason to select the artists she liked to present: she wanted to give the floor to artists who have not had many chances over the years to show their work because of the limited infrastructure of the island: Barbados — as most of the Caribbean countries — does not have a museum for modern or contemporary art; a National Gallery has been a subject for discussion for countless years, but it never got of the ground; the Queen's Park Gallery — a governmentally managed institution — was closed for years and commercial galleries came and wenof the limited infrastructure of the island: Barbados — as most of the Caribbean countries — does not have a museum for modern or contemporary art; a National Gallery has been a subject for discussion for countless years, but it never got of the ground; the Queen's Park Gallery — a governmentally managed institution — was closed for years and commercial galleries came and wenof the island: Barbados — as most of the Caribbean countries — does not have a museum for modern or contemporary art; a National Gallery has been a subject for discussion for countless years, but it never got of the ground; the Queen's Park Gallery — a governmentally managed institution — was closed for years and commercial galleries came and wenof the Caribbean countries — does not have a museum for modern or contemporary art; a National Gallery has been a subject for discussion for countless years, but it never got of the ground; the Queen's Park Gallery — a governmentally managed institution — was closed for years and commercial galleries came and wenof the ground; the Queen's Park Gallery — a governmentally managed institution — was closed for years and commercial galleries came and went.

The Vito Schnabel Gallery's first exhibition will feature new paintings and sculptures by Swiss - born artist Urs Fischer, including a life - size wax portrait of Mr. Bischofberger and his wife Yoyo, which will burn and melt over the course of the show.

Post-Op: «The Responsive Eye» Fifty Years After inaugurates a series of shows planned by the David Richard Gallery critically analyzing and reconsidering The Responsive Eye, which debuted at MoMA in February of 1965 and traveled to several American venues over the course of a year.

This year, David Richard Gallery of Santa Fe is marking the anniversary of the epoch - making MoMA show with not one but four exhibitions over the course of the year, not only revisiting the original work but analyzing and contextualizing Op Art as a historical phenomena.

The five galleries are sharing the costs of the collective enterprise and will take turns staging two - month shows at the space over the course of a year.

This second edition of the show, which follows the format established by the gallery's successful first «Cacotopia» exhibition, will unfold over the course of five weeks with each artist presenting his or her work at the gallery in a solo show of one week's duration.

Over the course of five months, the gallery will change its contents on a daily basis, starting with a sound piece from Australian artist Tim Bruniges — a show with nothing on the walls.

The Hole Gallery hosted a live performance piece by Tara Subkoff starring Selma Blair and Caroline Vreeland, «Synaptic Fatigue / Dear in the Headlights» saw 15 actresses and performers including a moving vocal performance by opera singer Rebecca Ringle who sang four songs over the course of the hour - long show.

EDITION had an artist in residence Moral Turgeman conducting her Blind Portrait experiment over the course of the week, guests and visitors alike sat for Turgeman who wants to exhibit each sketch with a gallery show once she hits 10,000 portraits and Swedish photographer Daniella Midenge also hosted a signing for her first book Sex + Cigarettes which saw every book being sold.