Sentences with phrase «historical work in the exhibition»

For press information and images, please contact Jessica Eckert, [email protected] Crystalline Architecture Curated by Josiah McElheny June 30 - August 20, 2010 Page two (supplementary information) Notes on the earliest historical works in the exhibition An original copy of a limited - edition book by the architect Bruno Taut, Alpine Architektur in 5 Teilen und 30 Zeichnungen des Architekten Bruno Taut (1919), depicts a modernist architectural environment situated in the mountains.

Where are the additional four hundred historical works in the exhibition coming from?

I believe this is the only historical work in the exhibition.

Not exact matches

The exhibition explores the history of American modernist ballet and new representations of the body through a combination of contemporary works by Mauss and historical works from the 1930s and 1940s in ballet design, the visual arts, theater, and fashion.

Greene Naftali's program has reintroduced seminal figures, such as Guy de Cointet, Tony Conrad, and John Knight; and opened a ground - floor space with an inaugural exhibition featuring new and historical work by Dan Graham in September 2014.

Her work has been featured in group exhibitions at the Williamsburg Art and Historical Center, Brooklyn, New York (2000, 2001); amanfang, Helmhaus, Zürich, Switzerland; and Neue Galerie Kassel, Germany (1997).

The historical importance of McCall's work has been recognized in such exhibitions as «Into the Light: the Projected Image in American Art 1964 - 77,» Whitney Museum of American Art (2001 - 2); «The Expanded Screen: Actions and Installations of the Sixties and Seventies,» Museum Moderner Kunst, Vienna (2003 - 4); «The Expanded Eye,» Kunsthaus Zurich (2006); «Beyond Cinema: the Art of Projection,» Hamburger Bahnhof, Berlin (2006 - 7); «The Cinema Effect: Illusion, Reality and the Projected Image,» and Hirshhorn Museum, Washington DC (2008); and «Dreamlands», Whitney Museum of American Art (2017).

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.

Produced in collaboration with The Vinyl Factory, the exhibition features a range of historical and recent works by a number of gallery artists in a variety of media.

His work has been exhibited in key historical exhibitions such as John Szarkowski's Mirrors and Windows: American Photography since 1960 at The Museum of Modern Art (1978), The Whitney Biennial at the Whitney Museum of American Art (1981) and most recently, Under the Big Black Sun: California Art 1974 - 1981 at the Museum of Contemporary Art, Los Angeles (2010).

Ms. Lévy will have three exhibition floors, enabling her to simultaneously display the new and historical work of a single artist — like Pat Steir in 2017.

Beginning with significant historical works from artists such as Richard Long, who was one of the first artists to make walking his art form, to Ana Mendieta, who carved and shaped her own figure into the earth and documented these private sculptural performances, to Michelangelo Pistoletto's performance, Walking Sculpture, in which he and a group of people walked a large newspaper ball down the streets of Turin, the exhibition will include works from all decades since the 60s and commission artists to create new work for 2017.

Of particular focus is Giacometti's studio practice, which is examined through rarely seen plaster sculptures that highlight the artist's working process, in addition to historical photographs documenting his relationship with the Solomon R. Guggenheim Museum — which hosted the artist's first US museum exhibition, in 1955 — and with New York City.

Conceived as a series of interrelated and rotating stand - alone exhibitions, this presentation will highlight major singular works from the collection, such as a newly acquired monumental cut - paper silhouette tableau by Kara Walker, as well as the Barbara Lee Collection of Art by Women, groupings of work by artists held in depth such as Louise Bourgeois and Nan Goldin, and thematic and art - historical groupings.

Robert Berman Gallery is showcasing select works featured in two important historical books, Hispanic Art In the United States: Thirty Contemporary Painters and Sculptors (1987), also an exhibition, and Le Demon Des Anges: 16 Artists Chicano Autour de Los Angeles (1989in two important historical books, Hispanic Art In the United States: Thirty Contemporary Painters and Sculptors (1987), also an exhibition, and Le Demon Des Anges: 16 Artists Chicano Autour de Los Angeles (1989In the United States: Thirty Contemporary Painters and Sculptors (1987), also an exhibition, and Le Demon Des Anges: 16 Artists Chicano Autour de Los Angeles (1989).

A fully illustrated catalogue features texts by Byers, Claire Bishop, Lynne Cooke, and Ingrid Schaffner, as well as a historical compendium of influential 20th - century artworks and exhibitions that provide important precedent to the works in the exhibition.

The exhibition presents approximately 140 works by thirty - two artists active during this historical period, exploring the rising strength of the black community in Los Angeles as well as the increasing political, social, and economic power of African Americans across the nation.

Situating itself within current art historical and political debates, the exhibition considers work by self - taught, spiritually inspired and incarcerated artists, alongside other projects based in performance, socially engaged practice and the archive, as well as painting, drawing, sculpture and assemblage, that make insistent reference to place.

Selected Group Exhibitions 2017 Ted Stamm / Gerrit Rietveld, OV Project, Brussels, Belgium 2017 Painting on the Edge: A Historical Survey, Stephen Friedman Gallery, London 2012 Times Square Show Revisited, Hunter College Art Galleries, New York, NY 2010 Black & White, Galleri Weinberger, Copenghagen, Denmark 1987 Recent Acquisitions, Guggenheim Museum, Brooklyn, NY 1987 Recent Acquisitions, Brooklyn Museum, New York, NY 1985 Art Heritage at Hofstra, Emily Lowe Gallery, Hofstra University, Hempstead, NY 1985 Constructures: New Perimetries in Abstract Painting, Nohra Haime Gallery, New York, NY 1984 Fourth Annual Anniversary Show, John Davis Gallery, Akron, OH 1984 Fifteen Abstract New York Painters, Susan Montezinos Gallery, Philadeiphia, PA 1984 Small Works, Muhlenberg College, Allentown, PA 1984 Mail Art, Franklin Furnace, New York, NY 1984 Artists Call, Judson Memorial Church, New York, NY 1984 Process Black, LIU South Hampton, New York, NY 1984 A Decade of Art, Artists Space 105 Hudson, New York, NY 1984 Offset: A Survey of Artists Books, New England Foundation for the Arts, Wakefield, RI 1983 David Reed, Sean Scully, Ted Stamm; Zenith Gallery, Pittsburgh, PA 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; 1708 East Main Street, Richmond, VA 1983 Abstraction Two Views: Davis and Stamm, The Contemporary Arts Center, Cincinnati, OH 1983 Second Anniversary Exhibition, Harm Bouckaert Gallery, New York, NY 1983 Hundreds of Drawings, Artists Space, New York, NY 1983 A More Store, Jack Tilton Gallery, New York, NY 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; Condeso / Lawler Gallery, New York, NY 1983 Artists for Nuclear Disarmament, Colburn Gallery, Burlington, VT 1982 A Look Back: A Look Forward, Aldrich Museum, Ridgefield, CT 1982 Pair Group, Art Galaxy, New York, NY; travelled to Jersey City Art Museum, Jersey City, NJ 1982 Destroyed Prints, Pratt Manhattan Center, New York, NY 1982 Annual Holiday Invitational, A.I.A. Gallery, New York, NY 1982 Group Exhibition, Roy Boyd Gallery Chicago, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL 1982 Pair Group II, Jersey City Museum, Jersey City, NJ 1982 Black and White, Freeport Mc Mo Ran, New York, NY 1982 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post, Greenvale, NY 1981 Drawings, Roy Boyd Gallery, Chicago, IL 1981 Abstract Painting: New York, Hofstra University, Hempstead, NY 1981 Arabia Felix, Art Galaxy, New York, NY 1981 Words and Images: Contemporary Artist's Books, Southern Alleghenies Museum of Art, Loreto, PA 1981 Love: Hate: Fear and Suicide, University of Brussels, Brussels, Belgium 1981 New Directions, Commodities Corp..

In the past decade, interest in her work has grown exponentially, with a series of landmark exhibitions and art historical studies firmly cementing her position on the international stagIn the past decade, interest in her work has grown exponentially, with a series of landmark exhibitions and art historical studies firmly cementing her position on the international stagin her work has grown exponentially, with a series of landmark exhibitions and art historical studies firmly cementing her position on the international stage.

Charles Mayton's first solo exhibition in Italy presents a series of new works conceived expressly for the American Academy in Rome interrogating the techniques and vocabulary of painting, as well as its historical muses and conventions.

With over thirty years of experience in the arts, Baker has worked on more than 300 exhibitions with over 800 artists including both emerging artists and world - renowned figures such as Richard Serra, Cy Twombly, Mark di Suvero, Chris Burden and Damien Hirst and historical exhibitions of work by Henry Moore, Alexander Calder, Joan Miró, and Andy Warhol.

In 1978, he held an anthological exhibition curated by Jean - Christophe Ammann at the Kunsthalle Basel that featured historical works alongside more recent ones.

Borrowing its title from the eponymous work by Carrie Mae Weems (American, b. 1953), the exhibition presents the history of the medium in three parts, emphasizing the strengths of Menschel's collection and mirroring his equal interest in historical, modern, and contemporary photography.

The dynamics of repetition and reverberation — rhetorical and compositional tropes in Sala's works — underpin the ideas explored in the exhibition and enrich the historical dialogues embedded throughout the artist's oeuvre.

Her work is currently featured in a host of group shows and exhibitions on photography, including art - historical shows such as Real Worlds: Brassai, Arbus, Goldin at the MOCA in Los Angeles.

While Frankfort's work seems to eschew some of this historical weight in favor of a nuanced linguistic playfulness suggestive of the paintings of various other artists, including Ed Ruscha, Mel Bochner, Suzanne McClelland, and Kay Rosen, it nevertheless both engages with the physicality of paint and retains a certain conceptual directness evocative of Louise Fishman's groundbreaking «Angry Paintings» from 1973 (recently included in the exhibition «WACK!

Committed to experimenting at the intersection of disciplines, publications and design, the gallery Exit Art remained steadfast in its mission to provide new possibilities and opportunities for artists, curators and viewers through its expansive historical shows, exhibitions of emerging and under - recognized artists, experimental theater and performance works, as well as national and international film and video programs.

Accompanying the exhibition, is a new publication, a supplemental book that presents scholarly texts by curator and art historian, Iris Müller - Westermann, Senior Curator of International Art at Moderna Museet, Stockholm and by New York based scholar, critic and curator, Alex Bacon; in addition it includes a visual essay that traces the specific historical inspirations and touchstones for this group of works, in hopes to speak to both the past and future.

Esperanza León, Director / Curator of SOLAR, is very pleased to announce the upcoming exhibition of works by sculptor Dennis Leri at Ashawagh Hall in the Springs historical district of East Hampton.

Curated by Andrea Lissoni in the «Shed» space, the exhibition offers a selection of Condorelli's most significant works, which reveal her ability to work with the relationships between art and architecture, space and socio - historical contexts.

The same could be said about Martin Kippenberger and Pablo Picasso, two hugely influential artists whose works were the subject of recent historical exhibitions in New York.

This exhibition highlights 63 artists working in a wide variety of media and also features the BSA's historical time - line posters.

Ranging from early experimentations of the early 19th century in France to our contemporary era, this exhibition juxtaposes pioneering historical legacies with divergent contemporary trajectories, as a means of building a contextual foundation for the experience and re-experience of such work.

On April 9, NEH announced $ 18.6 million in grants for a traveling exhibition and public programming exploring the role of blacks in American cinema from 1900 - 1970, a New York Historical Society touring exhibition on Black Citizenship in the Age of Jim Crow, development of undergraduate curriculum at the University of Dayton related to the life and work of Paul Laurence Dunbar, and research for a book on self - taught Louisiana painter Clementine Hunter (1887 - 1988).

Uniting different perspectives of seeing and subverting spatial conditions of representational forms in the 20th century this exhibition does not only present rarely seen work but also narrates different layers of art historical approaches leading to the long lasting meaning of representational object and space in art.

Motley died in 1981, and ten years later, his work was celebrated in the traveling exhibition The Art of Archibald J. Motley, Jr. organized by the Chicago Historical Society and accompanied by a catalogue.

Recent exhibitions that have featured VanDerBeek's work include Stan VanDerBeek: The Culture Intercom, MIT List Visual Arts Center, Cambridge, MA and Contemporary Arts Museum Houston (2011); The Historical Box, Hauser & Wirth, Zurich (2011 - 12) / London (2012); Ghosts in The Machine, The New Museum of Contemporary Art, New York (2012); Xerography, Firstsite, Essex, UK (2013); The Venice Biennale (2013); Go!

The exhibition presents contemporary work in dialogue with historical objects from the collections of the Seattle Art Museum and the Brooklyn Museum within an immersive and lively installation of video, digital, sound, and installation art, as well as photography and sculpture.

In addition to the exhibition's focus on the artist's recent works on paper, Empire's Mirror (2012) is an intense work examining the historical and interpreting the current state of the artist's birthplace, Puerto Rico.

Her work has been included in group exhibitions, including «Lines and Spaces», Hartford Art School, CT; «About Painting» and «Twice Drawn», Tang Museum, Skidmore College, Saratoga Springs, NY; and the traveling exhibitions «Drawn by New York: Six Centuries of Watercolors and Drawings at the New - York Historical Society», and «Drawing is Another Kind of Language» which originated at the Harvard University Art Museums and traveled to museums in the U.S. and Europe.

This survey exhibition features 86 works in all media by 50 historical and contemporary artists associated with Western New York.

The works in this exhibition occupy this middle ground and challenge the historical conceptions of painting.

She will then turn to a discussion of the sculptures and three dimensional aspects of the various works included in the current exhibition at the New Museum, whose rich iconography connects them with both historical masterpieces and contemporary art practices.

Sean Kelly is delighted to present Marina Abramović Early Works, an exhibition featuring twelve historical performance editions, first issued by the gallery in 1994, that document Abramović's early performances (1973 - 1975).

The artists» shared exhibition history, with Peláez showing her work alongside the new abstract generation in the 1950s, challenges the art historical narrative of a rupture between the early

Featuring works gifted to the Museum by Boltanski from that project, in addition to important loans and site - specific works, the exhibition carries local and historical significance while posing human questions beyond place and time.

Bona Montagu, director of Skarstedt London, says that given the new gallery's location in St James's amid the Old Master galleries they wanted the inaugural exhibition to be «focused on these historical and accomplished bodies of work», to reflect the London market's greater «emphasis on the historical» compared to New York, where Skarstedt was established in 1994.

This exhibition, accompanied by a scholarly catalogue with essays by experts in the field, represents a major step in bringing Lewis's work into the art historical conversation alongside his peers, for example well - known abstract painters Willem de Kooning and Ad Reinhardt.

His show at the Jewish Museum, itself built originally as a family home in 1908, will bring together artworks, interiors, textile, furniture and wallpaper designs and feature his seminal 1978 work Here and There... as a historical lens through which to read the various materials this exhibition gathers.