Sentences with phrase «how smaller galleries»

At the enjoyable risk of being obviously and wildly naïve, I would say the question of how smaller galleries might survive is often displaced onto just to those who are able to purchase works.

Not exact matches

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I remember how much it meant to me when David Smith came to my first show at a small downtown gallery in 1960 and told me he loved my work.

You see, by examining how the blue - chip galleries of an arts metropolis utilize social media and social networking tools, I thought perhaps artists who are represented by smaller galleries (or themselves) could glean some wisdom - after all, the galleries I looked at do a very brisk business and many have been around since before Facebook was even a glimmer in a Harvard student's eye - on what should and shouldn't be a part of their online marketing strategy.

This is quite remarkable coming from those very top - tier galleries — perhaps they understand how much value there is in being surrounded by smaller and more dynamic colleagues, and how much their own success is squeezing out those very galleries.

A small survey at George Adams Gallery in New York last spring, Joan Brown: Major Paintings from the 50s, 60s, and 70s, gave shape to Brown's enthusiastic reception of Bischoff's example, showing how she searched her immediate environment for things to paint.

In 2011 he took up the post of chief curator at the Dulwich Picture Gallery, another small but respected London institution that — like the Wallace Collection — boasts an impressive collection of Old Master paintings, a significant historic building, and an institutional legacy that continues to define how it operates today.

The cross-pollination of artistic venues during this time exemplifies how communities overlap, thrive, and otherwise extend themselves in multitudes of directions — be it through artists» books, periodicals, and publications, in performance spaces, within gallery - like venues, or in public spaces as small as alleyways and as expansive as Times Square.

Why, exactly, are they set together in one relatively small gallery — and how are we to understand the baffling title of the show, Naked at the Edge?

Read our interview to discover how internet blends with solitude in his new show, the personal way he subverts conventional displays and how he plans to open a small gallery in London under Chewday's name.

And I don't mean to belabor a point here — I talked about the Instagramming at Frieze, and how it related to those Richard Prince works at the Gagosian Gallery booth — but when a small fair of generally inexpensive works generates thousands upon thousands of pictures tagged #nadany, it should be involved in the conversation.

Opening reception: Wednesday, May 4, 6 - 8 p.m. Andrea Rosen Gallery presents their second exhibition of works by Katy Moran May 5 — June 11, 2011 These new works evocatively deepen and expand Moran's exploration of the sensation of painting, and although they remain in their characteristically small format, it is remarkable how the paintings reflect a dynamic push and pull between boundaries that feel at once immeasurable and yet profoundly essential.

Of my writings published online on this blog and The Huffington Post since last April 2010, the ones that have in any small way gone viral, very relatively speaking, were those in which I wrote fast enough about current hot news items or ones relating or engaging with artworld celebrities: as one example, «My Whole Street is A Mosque,» written within 24 hours of the news cycle surrounding the proposal for a Islamic cultural center near Ground Zero, was picked up by various web aggregators; «Looking for Art to Love, MoMA: A Tale of Two Egos» also did very well because of my speculation about how or whether Marina Abramovic peed during her performance «The Artist is Present» at MoMA, a subject of much prurient curiosity (interesting speculation was illustrated online at New York Magazine and resolution of the mystery came in the Wall Street Journal's blog, «Speakeasy»); «Anselm Kiefer@Larry Gagosian: Last Century in Berlin,» where I tucked a critical response to Kiefer's recent show into a bit of reporting about how Gagosian Gallery was using the NYPD as its private police force, also created a spike on my Google analytics; more recently I could perceive a noticeable uptick in my readership as well as in the number and enthusiasm of my Facebook friends» comments for «Should we trust anyone under 30?

These galleries curated their booths as they would a solo show in a small gallery, another example of how the exhibitors were given more room for their individual visions.

To help with the design of the galleries, an astonishing, tiny replica of SFMOMA has been constructed: over the past four years, a model - maker has made maquettes — detailed, accurate and some as small as half an inch long — of at least 2,000 artworks, which have been moved around by the curators to see how effective different hangings are, and what connections between pieces are suggested from different viewpoints.

But that was minor compared to the unexpected way in which an offhand comment by David Zwirner was blown up into a confused discussion of how to shore up the position of smaller galleries in the art market.

Watch David Zwirner speak about how established galleries can throw a lifesaver to smaller, struggling galleries at the The New York Times Art Leaders Network conference in Berlin.

Ms. Mehretu also shows with White Cube and the smaller and edgy Carlier Gebauer gallery in Berlin, an example of how some prominent artists are unafraid to straddle.

Nor: how welcome that Louise Bourgeois, the US sculptor and installer, is getting at least this small showing here, because her work has been inexplicably neglected by our galleries, except once at the Riverside in 1990 - though really a retro is what's needed, but they had one in America last year, so we've probably missed the chance.

2010 Order to see, Galerie Praz, Delavallade, Paris, France In the Company of Alice, Victoria Miro, London, Great Britain Whitney Biennial, New York / NY, USA 2009 We Are Sun - kissed and Snow - blind, Galerie Patrick Seguin invites Galerie Eva Presenhuber, Paris Artists of Conflcting Tales: Subjectivity (Quadrilogy, Part 1), Burger Collection, Berlin, Germany Cave Painting PSM Gallery, Berlin, Germany Mrs. MacGruder, Benson Keyes Arts, Hello, curated by Michele Maccarone, Southampton / NY, USA Cave Painting: Installment # 1, Gresham's Ghost, Curated by Bob Nickas and Ajay Kurian, New York / NY, USA 2008 Pretty Ugly, Gavin Brown's Enterprise, New York / NY, USA Blasted Allegories, Kunstmuseum Luzern, Works from the Ringier Collection, Luzern, Switzerland ESTRATOS, Contemporary Art Project, Murcia, Spain Future Tense: Reshaping the Landscape, Neuberger Museum of Art, Purchase, New York / NY, USA 2007 XXS (Extra Extra Small), Sommer Contemporary Art, Tel Aviv, Israel Painting as Fact - Fact as Fiction, de Pury & Luxembourg, curated by Bob Nickas, Zurich, Switzerland The Third Mind, Palais de Toyko, curated by Ugo Rondinone, Paris, France Jubilee Exhibition, House Eva Presenhuber, Vnà, Switzerland 2006 Panic Room, Deste Foundation, Athens, Greek Painting Codes, GC.AC, Galleria Comunale d'Arte Contemporanea di Monfalcone, Monfalcone, Italy 2005 Lyon Biennale, Lyon Translation, Palais de Tokyo, Paris Interested Painting, Gallery 400, University of Illionois, Chicago / IL, USA Down by Law, Whitney Museum of American Art, New York / NY, USA 2004 Huts, Douglas Hyde Gallery, Dublin, Ireland 2003 Utopia Station, Venice Biennal, Venice, Italy Breathing The Water, Galerie Hauser & Wirth & Presenhuber, Zurich, Switzerland Game Over, Grimm Rosenfeld, Munich, Germany Dirty Pictures, The Approach, London, Great Britain Dreams and Conflicts, Venice, Italy, 50th Venice Biennale, Venice, Italy 20th Anniversary - Welcome home, Gavin Brown's enterprise, New York / NY, USA 2002 Five Years, Jousse Enterprise, Paris, France From the Observatory, Paula Cooper Gallery, New York / NY, USA Urgent Painting, Musee d'Art Moderne de la Ville de Paris, Paris, France 2001 Best of the Season, The Aldrich Museum of Contemporary Art, Ridgefield / CT, USA Works on Paper from Acconci to Zittel, Victoria Miro Gallery, London, Great Britain Extended Painting, Monica de Cardenas, Milan, Italy Invisible Museum, Memphis / TN, USA Victoria Miro Gallery, London, Great Britain How is Everything?

2008 Small Wild Things (coordinated by Michelle Ross), The Art Gym, Marylhurst University; Nine Gallery, Portland, OR WORD, Curated by Ryan Burghard, Interstate Firehouse Cultural Center, Portland, OR Gender Symposium Art Exhibition, Lewis & Clark College, Portland, OR How The Ink Feels, The Ronna and Eric Hoffman Gallery of Contemporary Art, Portland, OR

Here the work is installed in a relatively small windowless gallery space, it could equally occupy an entire corridor wing of the Museum, and as a work in the IMMA Collection, it will be interesting to see how future «users» configure the elements.

Organized by the Fruitmarket Gallery, Edinburgh, this exhibition brings together 50 of the artist's small «test» pieces to examine, for the first - time, how Hesse's experimental practices and working method in the studio informed her larger sculptures.

Eva Hesse - Studiowork, organized by the Fruitmarket Gallery, Edinburgh, and curated by Briony Fer and Barry Rosen, brings together 50 of the artist's small «test» pieces or prototypes, to examine how experimental practices and working methods in the studio informed Hesse's larger sculptures.

A two year survey of Adams» recent paintings at College of the Canyons Art Gallery together with an exhibition of small works at CB1 Gallery provide an opportunity to see how Adams has created her own lexicon out of her leitmotifs.

Metropolitan Museum of Art: «Tibet and India: Buddhist Traditions and Transformations» (closes on Sunday) Floating high in a small mezzanine gallery above the museum's South and Southeast Asia galleries, this jewel of a show asks how Buddhism, fading out in India, managed to find its way over the Himalayas and blossom to life in Tibet.

The gallery is also experienced in creating electronic management systems for entire collections no matter how large or small.

LONDON — On a sunny Saturday afternoon earlier this month, a young woman stood in a gallery at Tate Britain, running her fingertips over a small marble sculpture that represented — how to put this?

In this environment, how would any business — much less the small niche of contemporary art galleries — survive?