Sentences with phrase «important international group exhibitions»

His work has also been included in a number of important international group exhibitions, including: «The Encyclopedic Palace,» 55th Venice Biennale (2013); «10,000 Lives,» Gwangju Biennial, South Korea (2010); «21 artists for the 21st century,» Fondazione Sandretto Re Rebaudengo, Turin (2010); «Making Worlds,» 53rd Venice Biennale (2009); «Italics: Italian Art between Tradition and Revolution, 1968 - 2008,» Palazzo Grassi, Venice, and the Museum of Contemporary Art, Chicago (2008 — 10); «After Nature,» New Museum, New York (2008); «Fractured Figure: Works from the Dakis Joannou Collection,» DESTE Foundation for Contemporary Art, Athens (2007); and «Of Mice and Men,» 4th Berlin Biennial (2006).

Versions of the sculpture have been included in traveling museum solo exhibitions as well as important international group exhibitions, including the Asia Pacific Triennial of Contemporary Art at the Queensland Art Gallery, Gallery of Modern Art, Brisbane (2002); Whitney Biennial in Central Park, New York (2004); and Louvre's Sculpture Programme for FIAC in the Jardin des Tuileries, Paris (2010); among others.

Jensen has been featured in numerous important international group exhibitions including Documenta (1964, 1968, 1972), the Venice Biennale (1964), Biennial of São Paulo (1977), and Post Painterly Abstraction, a landmark travelling exhibition curated by Clement Greenberg for the Los Angeles County Museum of Art (1964).

Her work has been featured in important international group exhibitions including the 2013 Carnegie International, Carnegie Museum of Art, Pittsburgh, PA; the Venice Biennale 54th International Art Exhibition (2011); All of this and nothing, Hammer Museum, Los Angeles (2011); the Moscow Museum of Modern Art, Moscow; the Museum of Contemporary Art, Los Angeles; the Institute of Contemporary Arts, London; and the Whitney Biennial, Whitney Museum of American Art, New York (2008).

Morellet's work has been included in important international group exhibitions including The Responsive Eye at The Museum of Modern Art, New York (1965), Documenta in Kassel, Germany (1964 [with GRAV], 1968, and 1977), and the Venice Biennale (1970, 1990, and 2011).

Not exact matches

During his life, he participated in important group exhibition including Fourteen Americans, The Museum of Modern Art, New York (1946); four editions of the Carnegie International (1958, 1961, 1964, 1967); Documenta (1959, 1964); and numerous editions of the Whitney Annual (1939, 1945, 1950, 1952, 1956, 1960).

His work was included in the Museum of Modern Art's 1961 group exhibition, «Art of Assemblage,» an important international survey of artists working with collage in two and three dimensions, and during that same year he participated in the São Paulo Bienal.

Mellors has been featured in several important group exhibitions including: Taipei Biennal 2014, Taiwan; British Art Show 7: In The Days of the Comet (2011); La Biennale di Venezia - 54th International Art Exhibition - ILLUMinations, Venice, Italy (2011) and Altermodern, Tate Triennial 2009, Tate Britain, London.

Since the mid 1980s, Ottersbach's works have been included over one hundred international group and solo exhibitions and are held in some of the most important international collections today including the permanent collections of the Blibliothèque Nationale, Paris, the Museum of Modern Art, New York, the Getty Center, Los Angeles, and National Gallery, Canberra Australia amongst others.

In addition to participating in numerous international biennales and important group shows, he has held solo exhibitions at Capsule Gallery, Tokyo (2014); a site specific exhibition entitled «House Lives with Time» in a traditional house in Seoul, Korea (2012); Kunstmuseum St Gallen, Switzerland (2012); Ullens Center for Contemporary Art, Beijing (2011); Miyanomori Art Museum, Hokkaido, Japan (2010); San Francisco Museum of Modern Art, USA (1997); Fondation Cartier pour l'Art Contemporain, Paris, France (1996); and Modern Art Museum of Fort Worth, USA (1996).

He had paintings in group exhibitions in Angers, Rennes, Paris and Bordeaux; there were one - man shows of his work in Paris; his work appeared in the important Salons; he became a member of the Salon d'Automne; in the International Exposition of 1900 he received the Diploma Hors Concours — Jury Member; he painted in Brittany and Switzerland, as well as, in Paris; he evolved and progressed constantly through steady work, his vision refined and strengthened by his daily confrontation with nature.

Furthermore, Smith has been included in several important national and international group exhibitions at venues including the Contemporary Arts Museum, Houston, TX (2007, 1995); Camp Marfa, Marfa, TX (2007); Casa de Carton, Ingalls & Associates, Miami, FL (2007); Menil Collection Museum, Houston, TX (2006); African American Museum, Dallas, Texas (2015, 2006); Blue Star Contemporary Art Center, San Antonio, TX (2006); Rockland County Center for the Arts, West Nyack, NY (2000); Art Car Museum, Houston, TX (1999); Galveston Art Center, Galveston, TX (1999); Museum of Fine Arts, Houston, TX (1996); Studio Museum in Harlem, Sculpture Garden, New York, NY (1995); Project Row Houses, Houston, TX (1995); Kenkeleba Gallery, New York, NY (1992); Dallas Museum of Art, Dallas, TX (1992); High Museum, Atlanta (1992); Milwaukee Art Museum, Milwaukee, WI (1992); Blaffer Gallery, University of Houston, TX (1992); Deanza College, Euphrat Gallery, Cupertino, CA (1992); United States Information Agency, Washington, DC (1989); Huntington Art Gallery, University of Texas, Austin, TX (1989); Longview Museum of Art, Longview, TX (1989); Bronx Museum, NY (1989); Dallas Museum of Art, Dallas, TX (1989); The Museum of African American Art, Los Angeles, CA (1988); Studio Museum in Harlem, New York, NY (1988); Arnot Museum of Art, Elmira, NY (1973); New York Cultural Center, New York, NY (1973); Newark Museum, Newark, NJ (1973); Rutgers University, NJ (1971); Hudson River Museum, Yonkers, NY (1970) and the Whitney Museum of American Art, New York, NY (1970).

Fuchs has been included in several important national and international group exhibitions at venues including the ICA at MECA, Portland, Maine (2017); Texas Gallery, Houston TX (2016, 2010); Sala Diaz, San Antonio, TX (2014, 2001); McClain Gallery, Houston, TX (2012); Lisa Cooley, New York, NY (2010); Inman Gallery, Houston, TX (2010, 2000); Museum of Fine Arts, Houston, TX (2008, 1997); Diverseworks, Houston, TX (2007, 2005, 1999); Arthouse, Austin, TX (2006, 1997); University of Texas, San Antonio, TX (2005); Dallas Contemporary Arts Center, TX (2005); Contemporary Arts Museum, South Florida, Tampa (2002); New Orleans Museum of Art, LA (2001); Modern Art Museum of Fort Worth, TX (2000); Contemporary Arts Museum, Houston, TX (2000, 1998); Arlington Museum of Art, TX (1998); British Council Window Gallery, Prague (1998); Whitechapel Art Gallery, London, UK (1996); Cornerhouse, Manchester, UK (1992 - 93); and the ICA, London, UK (1992 - 93).

Curator Hans Ulrich Obrist's trick, with this group exhibition, is to enlist the house, gardens and contents, and inviting more than 30 Brazilian and international artists to work on a series of site - specific pieces: to «immerse themselves in Lina Bo Bardi's world in order to establish intimate relationships with this singularly important figure».

In addition to shows and projects by the gallery's LA - based artists, exhibitions at Hauser Wirth & Schimmel will include a mix of important historical, thematic group exhibitions; exhibitions that introduce LA to the gallery's international artists; and one - person shows and special projects by artists new to LA and the gallery.

She has participated in important group exhibitions and international biennials including «Illumination», Louisiana Museum of Modern Art, Humlebæk (2016); «Another Minimalism», Fruitmarket Gallery, Edinburgh (2015); «Formes simples», Centre Pompidou - Metz, Metz and Mori Art Museum, Tokyo (2014); Manifesta 10, St. Petersburg (2014); «Light Show», Hayward Gallery, London; Museum of Contemporary Art Australia, Sydney and Sharjah Art Foundation, United Arab Emirates (2013); 18th Biennale of Sydney (2012); «Fruits de la Passion», Centre Pompidou, Paris (2012); Manifesta 8, Murcia (2011); 5th International Media Art Biennale Seoul (2006); «Ecstasy: In and about altered states», Museum of Contemporary Art, Los Angeles (2005); 5th International Biennale of Istanbul (1997); and 22nd International Biennale of São international biennials including «Illumination», Louisiana Museum of Modern Art, Humlebæk (2016); «Another Minimalism», Fruitmarket Gallery, Edinburgh (2015); «Formes simples», Centre Pompidou - Metz, Metz and Mori Art Museum, Tokyo (2014); Manifesta 10, St. Petersburg (2014); «Light Show», Hayward Gallery, London; Museum of Contemporary Art Australia, Sydney and Sharjah Art Foundation, United Arab Emirates (2013); 18th Biennale of Sydney (2012); «Fruits de la Passion», Centre Pompidou, Paris (2012); Manifesta 8, Murcia (2011); 5th International Media Art Biennale Seoul (2006); «Ecstasy: In and about altered states», Museum of Contemporary Art, Los Angeles (2005); 5th International Biennale of Istanbul (1997); and 22nd International Biennale of São International Media Art Biennale Seoul (2006); «Ecstasy: In and about altered states», Museum of Contemporary Art, Los Angeles (2005); 5th International Biennale of Istanbul (1997); and 22nd International Biennale of São International Biennale of Istanbul (1997); and 22nd International Biennale of São International Biennale of São Paulo (1994).

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.

During the early 1910s, as well as teaching himself photography on a five dollar Brownie camera, and undertaking photographic commissions for local architects, he also showed his paintings at important group shows, including the International Exhibition of Modern Art (Armory Show)(1913), the Forum Exhibition (1916), and the Society of Independent Artist's Exhibition (1917).

Arcangel's work has appeared in numerous important group exhibitions and has attracted international attention in recent years.

Her work has been included in important group exhibitions and biennials such as the 20th Biennale of Sydney (2016); 10th Gwangju Biennale, Gwangju, Korea (2014); 10th International Istanbul Biennial (2007); Taipei Biennial (2006).

Since then, his works have been featured in numerous international solo and group exhibitions, and they are included in various important collections worldwide.

This major group exhibition, presented within BALTIC's Level 3 gallery, brings together leading international artists whose work, in very different ways, each sheds light upon this contemporary condition within a framework of the important legacies of Dr. King.

This major group exhibition, presented within BALTIC's Level 3 gallery, will bring together leading international artists whose work, in very different ways, each sheds light upon this contemporary condition within a framework of the important legacies of Dr. King.

The artist represented Brazil at the 2003 Biennale di Venezia and has participated in important group exhibitions including the Carnegie International (1995); International Biennial of Sao Paolo (1998 and 2005); Biennale of Sydney, Australia (2008); Shanghai Biennial (2006); and Prospect I, New Orleans (2008).

His projects have been shown in festivals and solo, group and retrospective exhibitions worldwide at important events and international institutions, including the 2010 São Paulo Biennial, Documenta X and XXII in Kassel, Tate Modern in London, MACBA in Barcelona, Museum Ludwig in Cologne and the Jeu de Paume in Paris.

Johanson has been featured in important group exhibitions including Glasgow International 2012 and the 2002 Whitney Biennial.

His work has also been the subject of important group and solo shows throughout the span of his almost 50 - year career, including Against the Grain: Wood in Contemporary Craft and Design, Museum of Art and Design, New York (2013); superhuman, Central Utah Art Center, Ephraim (2012); Reenactor, Williams Center Gallery at Lafayette College, Easton, PA (2012); The Last Newspaper, New Museum, New York (2010); 30 Seconds Off an Inch, The Studio Museum in Harlem, New York (2009); Corbu Pops, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA (2009); Thirty Americans, Rubell Family Collection, Miami (2008); Black Is, Black Ain't, Renaissance Society at the University of Chicago (2008); Drawing, Dreaming, Drowning at Art Institute of Chicago (2008); Art After White People: Time, Trees, and Celluloid... at Santa Monica Museum of Art, Santa Monica, CA (2007); William Pope.L: The Black Factory and Other Good Works, Yerba Buena Center for the Arts, San Francisco (2007); 7e Biennale de l'Art Africaine Contemporaine, Dakar, Senegal (2006); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); The Interventionists: Art in the Social Sphere, Massachusetts Museum of Contemporary Art, North Adams (2004); The Big Nothing, Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2004); Only Skin Deep, International Center of Photography, New York (2004); William Pope.L: the friendliest Black artist in America at ICA at Maine College of Art, Portland, DoverseWorks Artspace in Houston, Portland Institute for Contemporary Art, ME, Artists Space in New York, and Mason Gross Art Galleries at Rutgers University in New Brunswick, NJ (2002 - 2004); eRacism: Retrospective Exhibition, Institute of Contemporary Art at Maine College of Art, Portland (2002); eRacism: White Room, Thread Waxing Space, New York (2000); Eating the Wall Street Journal and Other Current Consumptions, Mobius, Boston (2000); and Out of Actions: Between Performance and the Object, 1949 — 1979, Museum of Contemporary Art, Los Angeles (1998).

The group was founded by seven female artists in New York City, disappointed that the Museum of Modern Art's exhibition An International Survey of Recent Painting and Sculpture, showcasing 169 important contemporary art and artists in the world, featured only 13 female artists — less than 10 percent of the total.

Mellors has been featured in several important group exhibitions including British Art Show 7: In The Days of the Comet, touring: The Slaughterhouse, Plymouth; CCA, Glasgow; Hayward Gallery, London (2011); La Biennale di Venezia - 54th International Art Exhibition — ILLUMinations, Venice, Italy (2011); Un» Expressione Geografica, Fondazione Sandretto Re Rebaudengo, Turin, Italy (2011); and Altermodern, Tate Triennial 2009, Tate Britain, London.

Important group shows include: 2014, First International Biennial of Contemporary Art of Cartagena de Indias, Cartagena, Colombia curated by Berta Sichel, Trees as Art, Peabody Essex Museum, MA, Stationary Realms, University of Arkansas, The Fifth Season, James Cohan Gallery, Re-presenting Representation VIII, Arnot Art Museum, NY and BEYOND EARTH ART: Contemporary Artists and the Environment, Herbert F. Johnson Museum of Art, Cornell University, NY; 2013, Unfolding Tales: Selection from the Collection, Brooklyn Museum of Art; 2010, 185th Annual: An Invitational Exhibition of Contemporary American Art, National Academy Museum, NY.