Sentences with phrase «important centers of the art world»

If you are ready to move into the international market, and exhibit your work in one of the most important centers of the art world, this may be the next natural stage for your career as an artist.

Not exact matches

An important settlement for more than two millennial, Paris is today one of the worlds leading business and cultural centers, and its influence in politics, education, entertainment, media, fashion, science and the arts all contribute to its status as one of the worlds major global cities.

For example, one facet of the film centers on the government's attempt at saving «important» pieces of art and culture throughout the world.

SaatchiArt.com — perhaps the largest POD service, Saatchi also sells original art and is the center of an important part of the art world.

About MASS MoCA MASS MoCA is one of the world's liveliest (and largest) centers for making, displaying, and enjoying today's most important art, music, dance, theater, film, and video.

About MASS MoCA MASS MoCA is one of the world's liveliest (and largest) centers for making and enjoying today's most important art, music, dance, theater, film, and video.

MASS MoCA is one of the world's liveliest (and largest) centers for making and enjoying today's most important art, music, dance, theater, film, and video.

That according to the New York Times is why you'll want to visit one of the world's liveliest (and largest) centers for enjoying today's most important art.

Given his first major museum solo show by Haus der Kunst, Munich, Germany, in 2007, Robin Rhode has since had major solo exhibitions at a number of important museums around the world, including the Hayward Gallery, London (2008); The Wexner Center for the Arts, Columbus, Ohio (2009), Los Angeles County Museum of Art, California (2010), and the National Gallery of Victoria, Melbourne, Australia (2013).

Sommer's works have been exhibited and collected by the world's most important institutions, among them: Art Institute of Chicago; Center for Creative Photography, University of Arizona, Tucson (founding artist); George Eastman House, Rochester; Institute of Design, Chicago; J. Paul Getty Museum, Los Angeles; Los Angeles County Museum of Art; Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Museum of Modern Art, New York; National Gallery of Art, Washington D.C.; Nelson - Atkins Museum, Kansas City; Philadelphia Museum of Art; Princeton University Art Museum; Rhode Island School of Design, Providence; San Francisco Museum of Modern Art; Smithsonian Institution, Washington D.C.; and internationally at Maison Europeene de la Photographie, Paris; Tokyo Fuji Art Museum, Japan; Victoria and Albert Museum, London.

Given his first major museum solo show by Haus der Kunst, Munich, Germany, in 2007, Robin has since had major solo exhibitions at a number of important museums around the world, including the Hayward Gallery, London (2008); The Wexner Center for the Arts, Columbus, Ohio (2009), and Los Angeles County Museum of Art, California (2010).

This will be addressed through three specific case studies: Lisa Schiff (Schiff Fine Art, NY), art advisor, dedicated to building collections, many of them with important social functions such as the Leonardo DiCaprio Foundation; Pedro Barbosa (The CMB, Coleção Moraes - Barbosa, São Paulo), owner and operator of an established collection that supports two residency programs in Europe and one in São Paulo, as well as two social projects in Brasil; Ruth Estévez (LA), director and curator of REDCAT, an interdisciplinary contemporary arts center for innovative arts that introduces diverse audiences to the most influential developments in the arts from around the world through projects and publicatioArt, NY), art advisor, dedicated to building collections, many of them with important social functions such as the Leonardo DiCaprio Foundation; Pedro Barbosa (The CMB, Coleção Moraes - Barbosa, São Paulo), owner and operator of an established collection that supports two residency programs in Europe and one in São Paulo, as well as two social projects in Brasil; Ruth Estévez (LA), director and curator of REDCAT, an interdisciplinary contemporary arts center for innovative arts that introduces diverse audiences to the most influential developments in the arts from around the world through projects and publicatioart advisor, dedicated to building collections, many of them with important social functions such as the Leonardo DiCaprio Foundation; Pedro Barbosa (The CMB, Coleção Moraes - Barbosa, São Paulo), owner and operator of an established collection that supports two residency programs in Europe and one in São Paulo, as well as two social projects in Brasil; Ruth Estévez (LA), director and curator of REDCAT, an interdisciplinary contemporary arts center for innovative arts that introduces diverse audiences to the most influential developments in the arts from around the world through projects and publications.

As an important exhibiting and promoting space of the group, Art100 (Hong Kong) takes advantage of the its location in Hong Kong, the center of Asian contemporary art, in order to vigorously cooperate with world renowned organizations and to launch academic researches.

Attendees included curators, directors and patrons groups from important institutions from around the world, including Art Institute of Chicago (Chicago); Aspen Art Museum (Aspen); Burger Collection (Hong Kong); Brooklyn Museum (New York); Centre Pompidou (Paris); Cleveland Museum of Art (Cleveland); Carnegie Museum (Pittsburgh); Hirshhorn Museum and Sculpture Garden (Washington, D.C.); Institute of Contemporary Arts (London); KW Institute for Contemporary Art (Berlin); La Maison Rouge — Fondation Antoine de Galbert (Paris); Los Angeles County Museum of Art (Los Angeles); Museo de Arte Latinoamericano de Buenos Aires (Buenos Aires); Museo de Arte de Lima (Lima); The Metropolitan Museum of Art (New York); Museo Tamayo Arte Contemporáneo (Mexico City); The Museum of Contemporary Art, Los Angeles (Los Angeles); Museu de Arte de São Paulo (São Paulo); Museum of Contemporary Art Chicago (Chicago); Museum of Contemporary Art Cleveland (Cleveland); Museum of Fine Arts, Houston (Houston); Museum of Modern Art (New York); MoMA PS1 (New York); Nasher Sculpture Center (Dallas); Palais de Tokyo (Paris); Philadelphia Art Museum (Philadelphia); The Power Plant (Toronto); Serpentine Galleries (London); Stedelijk Museum (Amsterdam); Solomon R. Guggenheim Museum (New York); Tate (London); Walker Art Center (Minneapolis) and Whitney Museum of American Art (New York).

Much of the fanfare will center on the museum's big anniversary present, which came early: an agreement in September with the family of Gap Inc. co-founders Doris and Donald Fisher that lets SFMOMA preside over their contemporary art collection, one of the world's most important in private hands.

Her videos have a meditative, ritualistic quality, and, like many of humanity's important rituals, they are often centered on the idea of communication between different realms: between the living and the dead, the insane and «normal» people, humans and animals, the worlds of art and «real life.»

Museum attendees included curators, directors and patrons groups from important institutions from around the world, including Art Institute of Chicago (Chicago); Aspen Art Museum (Aspen); Burger Collection (Hong Kong); Brooklyn Museum (New York); Centre Pompidou (Paris); Cleveland Museum of Art (Cleveland); Carnegie Museum (Pittsburgh); Hirshhorn Museum and Sculpture Garden (Washington, D.C.); Institute of Contemporary Arts (London); KW Institute for Contemporary Art (Berlin); La Maison Rouge — Fondation Antoine de Galbert (Paris); Los Angeles County Museum of Art (Los Angeles); Museo de Arte Latinoamericano de Buenos Aires (Buenos Aires); Museo de Arte de Lima (Lima); The Metropolitan Museum of Art (New York); Museo Tamayo Arte Contemporáneo (Mexico City); The Museum of Contemporary Art, Los Angeles (Los Angeles); Museu de Arte de São Paulo (São Paulo); Museum of Contemporary Art Chicago (Chicago); Museum of Contemporary Art Cleveland (Cleveland); Museum of Fine Arts, Houston (Houston); Museum of Modern Art (New York); MoMA PS1 (New York); Nasher Sculpture Center (Dallas); Palais de Tokyo (Paris); Philadelphia Art Museum (Philadelphia); The Power Plant (Toronto); Serpentine Galleries (London); Stedelijk Museum (Amsterdam); Solomon R. Guggenheim Museum (New York); Tate (London); Walker Art Center (Minneapolis) and Whitney Museum of American Art (New York).

Abstract Expressionism remains the most important and quintessential American art movement to date and was instrumental in shifting the gravitational center of the modern art world from Paris to New York in the mid-twentieth century.

The Pop Heard Round the World — Randy Kennedy of the New York Times gives us an important primer on two upcoming exhibitions at the Walker Art Center and Tate Modern, both focusing on unknown «60s Pop art, much of it from beyond the United StatArt Center and Tate Modern, both focusing on unknown «60s Pop art, much of it from beyond the United Statart, much of it from beyond the United States.

During the past few years, there have been several important solo exhibitions of Tony Cragg's work all over the world: MUDAM Luxemburg (2017); Yorkshire Sculpture Park, UK (2017); Museo Nacional Havana, Cuba (2017); Von der Heydt, Wuppertal, Germany (2016); The State Hermitage Museum, Russia (2016), Benaki Museums, Athens, Greece (2015); Madison Square Park, New York, (2014), Lembruck Museum, Duisburg, Germany (2013); CAFA Art Museum, Beijing, China (2012); The Nasher Sculpture Center, Dallas, (2011) and Musée du Louvre, Paris (2011).