Sentences with phrase «group exhibition referencing»

As we look forward to the fall season our enthusiasm for things to come has led to ON DECK, a group exhibition referencing baseball terminology for the next batter in line.

Not exact matches

If the temporal simultaneity and historical comprehensiveness implied in the title «EVERYTHING AT ONCE» are impossible themes for any group show, so the exhibition attempts to examine the multiple ambiguities, contradictions, references and readings contained in individual works.

Dazzling depictions of water lilies in the fifth room of the exhibition recall Monet while a group of still lifes in the final room reference the subtle minimalism of Giorgio Morandi.

It's a «generative» phenomenon — as curator Joshua Friedman references in a brief prospectus for this group exhibition curated for the Kohn Gallery.

Ling Jian: «OBSERVATION / REFERENCE / GESTURE CONTEMPORARY PAINTINGS,» Ringling College of Art and Design, Willis Smith Gallery, Sarasota, FL (Group Exhibition)

1987 1987 Biennial Exhibition, Whitney Museum of American Art, New York (catalogue) Perverted by Language, Hillwood Art Gallery, Long Island University, Greenvale, NY (curated by Robert Nickas, catalogue) Reconstruct / Deconstruct, John Gibson Gallery, New York (curated by Robert Nickas, catalogue) Extreme Order: Cemin, Gober, Halley, Lemieux, Steinbach, Lia Rumma Gallery, Naples (curated by Collins & Milazzo, brochure) Primary Structures, Rhona Hoffman Gallery, Chicago (curated by Robert Nickas) Avant - Garde in the Eighties, Los Angeles County Museum of Art, Los Angeles (catalogue) Paint — Film, Bess Cutler Gallery, New York Post-Abstract Abstraction, The Aldrich Museum of Contemporary Art, Ridgefield, CT (curated by Eugene Schwartz, catalogue) NY Art Now: The Saatchi Collection, Saatchi Gallery, London (catalogue) Generations of Geometry, Whitney Museum of American Art at The Equitable Center, New York Similia / Dissimilia, Columbia University Art Gallery, New York; travelled to Sonnabend Gallery and Leo Castelli Gallery, New York; Städtische Kunsthalle, Düsseldorf, Germany (curated by Rainer Crone, catalogue) The Castle, documenta 8, Kassel, Germany (curated by Group Material) Reinhard Onnasch Galerie, Berlin (catalogue) Anti-Baudrillard, White Columns, New York (curated by Group Material) Recent Tendencies in Black and White, Sidney Janis Gallery, New York (curated by Jerry Saltz, catalogue) Terrae Motus, Grand Palais, Paris (catalogue) The Beauty of Circumstance, Josh Baer Gallery, New York (catalogue) New York Now, The Israel Museum, Jerusalem, Israel (catalogue) 1986 Admired Work, John Weber Gallery, New York Spiritual America, CEPA Galleries, Buffalo, NY (catalogue); travelled to Stavanger Faste Galleri, Stavanger, Norway (curated by Collins & Milazzo) New New York, Cleveland Center for Contemporary Art, OH Signs of Painting, Metro Pictures, New York, and Donald Young Gallery, Chicago Painting and Sculpture Today 1986, Indianapolis Museum of Art, Indianapolis, IN (catalogue) Paravision II, Margo Leavin Gallery, Los Angeles (curated by Collins & Milazzo) Political Geometries: on the Meaning of Alienation, Hunter College Art Gallery, New York (catalogue) Post Pop, Michael Kohn Gallery, Los Angeles Tableaux Abstraits, Villa Arson, Centre National d'Art Contemporain, Nice, France (catalogue) Europa / Amerika, Ludwig Köln Museum, Cologne, Germany (catalogue) End Game: Reference and Simulation in Recent Painting and Sculpture, Institute of Contemporary Art, Boston, MA (curated by David Joselit and Elisabeth Sussman, catalogue) Ashley Bickerton, Peter Halley, Jeff Koons, Meyer Vaisman, Sonnabend Gallery, New York The Hidden Surface, Middendorf Gallery, Washington, DC Geometry Now, Craig Cornelius Gallery, New York Surfboards, Michael Kohn Gallery, Los Angeles Art and Its Double: A New York Perspective (El arte y su doble), Centre Cultural de la Funcacio Caixa de Pensions, Madrid; travelled to Fundación Caja de Pensions, Barcelona (catalogue) Rooted Rhetoric, Castel Dell «Ovo, Naples (catalogue)

Selected group exhibitions include British Art Show 8, UK, 2015 - 2017; Reference Works: Guangzhou, Guanghzhou, China 2014; Relatively Absolute, Wysing Arts Centre, Cambridgeshire 2013; Community Without Propinquity, MK Gallery, Milton Keynes, 2011, and East International, Norwich, 2009.

Selected from the Allan Stone Collection, the exhibition will survey paintings and works on paper by a group of artists that reference the landscape.

The exhibition title Procession refers to how the artist's paintings reference a dual meaning for how groups of people move through space: either in the spirit of play and feasting like in Carnival, or within a darker place occupied by the Ku Klux Klan and their nighttime rallies that punctuate the darkness with hoods and fire.

Inspired by this time of year, the group exhibition MIDWINTER: Embrace The Darkness is curated by Justin Witte and will highlight the work of artists who pull from the notion of darkness, not only in its absence of light, but in its references to that which is invisible, unknowable or ignored.

School groups can get a behind - the - scenes look at the institution, meet the artists, and develop a unique, creative contribution referencing the current exhibitions.

To illustrate this aspect of his art, the exhibition includes a group of original photographs by the artist Thomas Eakins (1844 — 1914) and his circle, which Fischl has referenced, and at times quoted, in his work.

Please visit our 2013 group exhibitions for reference: Wonder Cabinet, Kitty City, Untitled (As of Yet), and Log!c?

Taking note from Marcel Duchamp, who first utilized the found object as readymade, Broodthaers reworked its implementation and used groups of objects and even entire exhibitions as readymades, as in Section des Figures (1972), installed by his «fake» art museum referenced above.

Each of the four mantels in the exhibition takes on a different shape or surface — referencing the design and political ideologies of International Style and Memphis Group along with the high / low aesthetics of Pop and ornamentation — acting as a pedestal, a sculpture of an object, an image of an object, and so on.

Please visit our 2014 group exhibitions for reference: Exquisite Contraption, Nightlight, Homecoming, and Utopia School.

What / Why: A group exhibition featuring work in all media that pictures, or, references a book within the composition, or, is a book of some kind.

With our latest exhibition we have set out to exhibit a group of artists who work within the scope of analog painting referencing the analogical representational elements of work that could be seen as figurative or representational at times.

The exhibition «The Wall» references not only a group wall that will be...

Sean Kelly is delighted to present Edifice, Complex, Visionary, Structure, a group exhibition featuring gallery artists who have addressed architectural themes in their work, either explicitly or indirectly, as reference and inspiration.

The current exhibition is entitled Robot Dreams - a group show referencing art and the robot — includes TV robot man Nam June Paik and LA art star Ed Kienholz [remember his brothel at the National gallery?]

The title of the exhibition references «The Ecstasy of Saint Teresa,» a group of sculptures in a chapel in Rome.

Salon to Biennial documents in two volumes the most important international group art exhibitions from 1863 to today, and is the most comprehensive reference book on the subject.

For this month's exhibition Public View and Photo Stroll, Frame and Reference visited Project Art Works «group show The Room and Everything in it at Dilston Grove, CGP London (14 Nov — 1 Dec 2013) just before it closed.

A nod to Roland Barthes's seminal text Empire of Signs (1970), this group exhibition curated by Guillaume Désanges likewise references D'Arcy Wentworth Thompson's 1917 book On Growth and Form.

A group exhibition of artworks in the printmaking medium that reference history and politics - featuring local and national artists.Event Website

Exhibition: SOLO EXHIBITIONS 2010 A-D Gallery, Athens, Greece, Within the Mind 2006 C. Grimaldis Gallery, Baltimore, MD, Unborderville 2005 A-D Gallery, Athens, Greece, Unborderville 2004 Kouros Gallery, New York, NY, Sacred Shadows 2003 C. Grimaldis Gallery, Baltimore, MD, Sacred Shadows 2001 A-D Gallery, Athens, Greece, Sacred & Poetic References 2000 A-D Gallery, Athens, Greece, Artificial Enemy 1999 Recalcati Arte Contemporanea, Torino, Italy, Tripticon, New Index 1998 Artforum Gallery, Thessaloniki, Greece, Air Chicago 1996 Show Centre of Hdk, Berlin, Germany, The Untruth 1994 Show Centre of Hdk, Berlin, Germany, Poetry of the Moment - Photographic References GROUP EXHIBITIONS 2012 C. Grimaldis Gallery, Baltimore, MD, Behind Walls C. Grimaldis Gallery, Baltimore, MD, Summer «12 2010 C. Grimaldis Gallery, Baltimore, MD, Summer «10 C.Grimaldis Gallery, Baltimore, MD, Wasteland 2009 Xippas Gallery, Athens, Realities & Plausibilities, curator: A. Moschovi Thessaloniki Museum of Photography, Greece, 10 Aspects of Hellenic Photography curators, Jean - Pierre Giusto and V. Loakimidis Thessaloniki Museum of Photography, Athens, Greece, Art Athina 09 2008 Theatre de la Photographie et de l Image, Nice, France, Aspects de la Photographie Hellenique, curators Jean - Pierre Giusto and V. Ioakimidis 2007 Maison Européenne de la Photographie, Paris, France, The Athens Effect, curator: Birgit Hoffmeister 2006 Fondatione Mudima Milano, Milan, Italy, The Athens Effect, curator: Birgit Hoffmeister C.Grimaldis Gallery, Baltimore, MD, Through The Lens II The Beltzios Collection, Trikala Greece, An Outing, curator S.Bahtsetzis 2004 C. Grimaldis Gallery» Baltimore, MD & «A-D Gallery» Athens, Art Athina Sala de Exposiciones, Canal de Isabel II, Madrid, Spain, Self - Aboutness, curator: Marilena Karra White Box, New York, NY, Every Day Hellas, curator: Heather

The works in this group exhibition were selected because of their archaeological undertones, their appropriation of materials, their reference to prior points of artistic practice, and their layers of the handmade.

Selected Exhibitions: ・ 2013 «Batach 2009» Group Exhibition (University of Jaffna, Jaffna, Sri Lanka) ・ 2013 «Artifacts from Jaffna» Group Exhibition conducted by Asia Art Archive (Colombo, Sri Lanka) ・ 2014 «Drawing Exhibition» Group Exhibition (University of Jaffna, Sri Lanka) ・ 2015 «Seven Conversation» Group Exhibition (Saskia Fernando Gallery, Colombo, Sri Lanka) ・ 2015 «Truth to Truth» Group Exhibition (JDA Perera Gallery, Colombo, Sri Lanka) «My Birth», 2015, Drawing on paper, ink [reference image] «Richness», 2015, Nail Drawing on tracing paper [reference image] «Artifacts from Jaffna», 2013, Nail Drawing on paper, carbon paper

(Miami, FL) October 2014 — Primary Projects («PRIMARY»), in association with FAMILY, presents «International Friendship Exhibition,» a group show of 19 artists — including Autumn Casey, Jim Drain, Gavin Perry, Asif Farooq, Magnus Sodamin, Cole Sternberg, Cody Hudson, and Michael Vasquez — titled in reference to Kim Jong - il's gift pavilion of the same name.

With a title which references the infamous Black Dahlia murder in 1940s Hollywood, Last Seen Entering The Biltmore is a group exhibition which considers the idea of artifice and theatricality and particularly draws attention to the idea of the theatrical «backstage» as a threshold where transformation takes place.

The exhibition includes selected works by Gao Ludi, Hong Hao, Hong Shaopei, Huang Rui, Jiang Pengyi, Li Jingxiong, Qin Jun, Shen Fan, Vivien Zhang, Yangjiang Group, and Zhao Yao.The gallery's inaugural exhibition in 2007 Referencing Alexander Calder: A Dialogue in Modern and Contemporary Artconsisted of unique works by modern artists such as Alexander Calder, Pablo Picasso, Joan Miró and Fernand Leger juxtaposed with the works of living artists such as Carmen Herrera, Joel Perlman, Monique Van Genderen and Amilcar de Castro.

Looking beyond the literal connection between the materials utilized in Powders, a Phial, and a Paper Book, a group show at Marlborough, Chelsea, and the exhibition's titular references to The Strange Case of Dr. Jekyll and Mr. Hyde, it is the dated milieu of Robert Louis Stevenson's novel that most clearly resonates with the odd feel of this exhibition.

He has been featured in group exhibitions throughout Europe and the U.S., including Expanding Frontiers: Propos d'Europe 15, curated by Rolf Hoff, Foundation Hippocrène, Paris (2016); The Painter of Modern Life, Curated by Bob Nickas, Anton Kern Gallery, New York (2015); The Stand In (or A Glass of Milk), Curated by Alexandra Gaty, Public Fiction (The Museum of), Los Angeles (2013); Pour une grammaire du hasard, Curated by Corrinne Charpentier, Fri Art - Centre d'art de Fribourg / Kunsthalle Freiburg, Switzerland (2012); and Golden Age: Reference Work, Museum of Contemporary Art, Chicago (2011).

Furthermore, the gallery is invited by Museums, Foundations and public Institutions, both in Italy and abroad, to cooperate in the realization of monographic or group exhibitions of the artists that it represents and it is a point of reference for directors, curators.

In July 1953 he was clearly anxious that such references would lead to his exclusion from one of the group's exhibitions, but was reassured by Kenneth Martin, who wrote, «I doubt whether you'd be excluded», while offering a rather unenthusiastic critique of Frost's work.

The exhibition delves further into the artist's exploration of opacity and transparency with a group of wall pieces that are comprised of hundreds of small convex glass mirrors and polished black onyx cabochons, which specifically makes reference to the Claude glass — an 18th - century painter's tool that contained a lustrous black mirror made of glass or obsidian used to view tonalities in landscape subjects.

The We are all DOOMed group exhibition with Art Whino, pays tribute to the creativity of MF DOOM, with a body of work that draws inspiration from the cultural references that MF DOOM incorporates into his imagery.

In recent years, his aquatic films have been seen in group exhibitions, becoming a point of reference for the art world's mounting obsession with the animal kingdom.

The title is a reference to an exhibition of the same name that was curated by the artist collaborative Group Material at the 1985 Whitney Biennial at the Whitney Museum of American Art, New York.

Also included in the exhibition are gouache on paper paintings that reference Sleigh's A.I.R. Group Portrait from 1977 and a series of graphite drawings that are inspired by texts from Sleigh's archive.

David Manley makes a tongue in cheek reference to that show entitling the new exhibition at Harrington Mill Studios The Discipline of Painting, featuring a «control group» of works: one by Manley from 1973 along with two owned by him, a Sean Scully painting on paper from 1980 and a recent drawing on paper by David Tremlett, alongside paintings by David Ainley, Katrina Blannin, Luke Frost, Lauri Hopkins, Dan Roach, Andy Parkinson, and Trevor Sutton.