Sentences with phrase «influences exhibition making»

While the architecture influences exhibition making, it's definitely not the only factor.

For the project's 10 - year anniversary, DRAF has invited Per Hüttner to think about the project and how IAAC has influenced exhibition making.

Not exact matches

It influences our thinking on multiple levels and, for the Whitney, translates directly into the choices we make about our exhibitions and collections.

In 2015 - 6, the Courtauld Gallery, in its exhibition «Bridget Riley: Learning from Seurat», made the case for how Seurat's pointillism influenced her towards abstract painting.

From the influences of African art on the Modernist forms of artists like Picasso, to the work of contemporary artists such as Kara Walker, Ellen Gallagher and Chris Ofili, the exhibition will map out visual and cultural hybridity in modern and contemporary art that has arisen from the journeys made by people of Black African descent.

Below is a transcript of our exchange, which touches upon the personal influences on his exhibitions, making album artwork for minimal synth musicians, and his recent move to Zetten.

The project began as an exploration of the ways design and editorial principles might influence how we make exhibitions.

Presented as a suite of shows beneath a single exhibition umbrella, «Circumstance» aims to reveal the ways inspiration and its influence manifest across object making, according to the museum.

The exhibition will include work by Bernard Leach and Shoji Hamada, as well as pieces by Randy Johnston, Jan McKeachie Johnston and Mark Pharis, three ceramicists trained or influenced by MacKenzie who have made creative adaptations to the living tradition as it continues to thrive in the Midwest.

MoMA presents the exhibition as an «Open monograph,» inviting other artists who influenced Rauschenberg's life and career to display their work, documenting the exchange of ideas that the artist held as a central tenet of his art - making practice.

Making his New York debut with a solo exhibition at the Low Brow Artique through July 5, I spoke with the artist about collaborating with The Bushwick Collective, his influences, and his new Jay Z - Jean - Michel Basquiat mural on Troutman St.

The armor, paintings, and tapestries in the exhibition were made for the Spanish royal family — the nobles, kings, and Holy Roman Emperors who expanded Spain's influence throughout Europe and the New World.

But the Ernst Busch school gave me the chance to study Brecht in depth which had a big influence on how I think about exhibition making.

The exhibition will include work from Yinka Shonibare MBE whose work makes visible the cultural influences of colonisation and explores the rich complexity of post-colonial cultures.

Piero Gilardi was an influential figure in the development of Arte Povera in Turin in the late 1960s, and his international networks and collaborative approach to exhibition making influenced the development of the two key post-Minimalist exhibitions, When Attitudes Become Form and Op Losse Schroeven in 1969.

Despite the influence artists had on one another, and collective responses that were made by the surrounding world, this exhibition highlights the solitude - graceful, thought - through, strategic and compassionate individuality of each exhibiting artist and the corresponding decade they represent for the past 50 years, 1970s - 2010s.

An exhibition at the former, «Matisse and American Art,» (through June 18) explores Matisse's influence on American modern art from 1907 to the present, while one at the latter «Making Space: Women Artists and Postwar Abstraction,» (through August 13) displays female abstract artists» accomplishments between 1945 and 1968.

Anchoring the exhibition is the stunning Black Mat Oriole video, an ambitious work five years in the making, in which Kang has created an immersive narrative influenced by the flow and movement found within classical Korean poetry, calligraphy, and dance but is firmly rooted in the contemporary landscape.

We are organizing landmark exhibitions by legendary figures like Thomas Bayrle and Ida Applebroog, who have influenced generations and are making some of their most exciting work today.

This volume accompanies a major retrospective of Kiefer's works at the Royal Academy of Arts which includes a number of new works especially made for the exhibition and explores the themes that run through Kiefer's oeuvre, from the complex relationship between art and spirituality to the influence of German woodcuts and folklore.

His revolutionary ideas about art - making would soon travel coast to coast through his students and his tremendous influence, but his first exhibition in Berkeley was of black - and - white drawings.

The resulting exhibition is an incisive snapshot of contemporary practice, spanning diverse media, processes, themes, influences and approaches — from moving image and performance to more traditional approaches to making work such as printmaking, painting and sculpture.

The exhibition centres around a film influenced by science fiction, archaeology and politics, in which a resistance group makes underground deposits of elaborate porcelain as a way of supporting future claims to their vanishing lands.

This experience probably reinforced his insight into the studies of light and the use of exhibition space and exposed him to the Impressionists, Colorists, Modernists, and Dadaists whose influences are made explicit in his work through his practice of leaving pieces untitled yet dedicated to artists including Mondrian, Brancusi, Jasper Johns, and Duchamp.

About Museum of Contemporary Art North Miami The Museum of Contemporary Art (MOCA), North Miami is dedicated to making contemporary art accessible to diverse audiences — especially underserved populations — through the collection, preservation and exhibition of the best of contemporary art and its art historical influences.

Way ahead of its time, Schwitters» creativity was a huge influence 40 years later on the great contemporary artist Robert Rauschenberg, who said, after viewing an exhibition of Schwitters» work at the Sidney Janis Gallery in 1959: «I felt like he made it all just for me.»

Luis Camnitzer included in Art Turning Left: How Values Changed Making 1789 — 2012, the first exhibition to examine art influenced by left - wing values, curated by Francesco Manacorda, Lynn Wray, and Eleanor Clayton at the Tate Liverpool, United Kingdom.

There are scores of artworks in «Art AIDS America Chicago,» the new and groundbreaking exhibition that attempts to survey AIDS - related art and make a case for its lasting influence on the art world.

Nevelson's public art projects will also be considered for the first time within the context of her oeuvre, as will her influence on contemporary artists in a video made for the exhibition.

This superbly designed volume, accompanying a major retrospective and including new works especially made for the exhibition, explores the themes that run through Kiefer's oeuvre, from the complex relationship between art and spirituality to the influence of German woodcuts and folklore.

The body of work in this exhibition took its starting point from Feyrer and Henderson's collaborative 16 mm film Bottles Under the Influence (2012), made with bottles from the collection of the Historical Museum of Wine & Spirits in Stockholm.

Join the SCAD Museum of Art curatorial team, Dr. Walter O. Evans, president of the Jacob and Gwendolyn Knight Lawrence Foundation and exhibiting artists Barbara Earl Thomas, Aaron Fowler, Derrick Adams and Meleko Mokgosi for a closer look at «Jacob Lawrence: Lines of Influence» and insights into the making and development of the exhibition with this one - of - a-kind guided tour.

The exhibition makes two things very clear: the abiding influence of Postminimal sculpture from the late 1960s on today's abstract sculpture, and the way that influence has helped to create a lively, somewhat kooky kind of contemporary nonfigurative 3D art that stands in contrast to the male dominated geometric tradition.

Despite the influence artists had on one another, and collective responses that were made by the surrounding world, this exhibition highlights the solitude — graceful, thought - through, strategic and compassionate individuality of each exhibiting artist and the corresponding decade they represent for the past 50 years, 1970s — 2010s.

In the centennial year of both artists» births, two exhibitions now on view in New York celebrate their work and underline the fact that even after their deaths, their influence continues to play an important role in how we understand, interpret, and even make art today.

This exhibition focuses on the artworks Schwitters made in the eight years he lived in Britain and reveals how this extraordinary visionary continues to influence artists today.

Although Buthe, who made vast installations, paintings, and drawings, was a central figure in German art of the»70s and»80s and exercised great influence as a teacher, this exhibition is the first large solo show of his work since his death.

In a Hopps exhibition, considerations of art history and scholarship are often present, along with ideas about style and influence and social issues, but the primary emphasis is always on how the art looks on the wall, and this, surprisingly, makes Walter Hopps something of a maverick in his profession.

Center support has made possible a number of significant exhibitions and projects at the museum, including retrospectives on the work of Barnett Newman and Arshile Gorky; a mid-career survey of Philadelphia - based artist and Pew Fellow Zoe Strauss; a commissioned composition by saxophonist / composer Wayne Shorter for the museum's well - known Art After 5 series; an exhibition examining the influence of Duchamp on John Cage, Merce Cunningham, Jasper Johns, and Robert Rauschenberg; a reinstallation of the museum's South Asian Galleries; and an interactive performance and installation project with Dutch artist Jeanne van Heeswijk.

Art and the Feminist Revolution is the first institutional exhibition to examine comprehensively the international foundations and legacy of art made under the influence of feminism.

Luxembourg & Dayan will present In The Making: Artists, Assistants, and Influence, a group exhibition that surveys the field of artistic production through a series of juxtapositions that reveal discrete dialogues between artists and their assistants both current and former.

Published to accompany a major exhibition at the Kemper Art Museum, this volume brings together a broad range of artistic practices that replace active decision - making with the unexpected possibilities inherent in accident and random influence.

The exhibition includes approximately 45 light works beginning with a series called «icons,» made from 1961 to 1963, which are constructed boxes with attached incandescent or fluorescent lights that show the influence of artists such as Barnett Newman and Marcel Duchamp.

Christian Marclay exhibition at Fraenkel Gallery in San Francisco uses the streets of London and what he sees on its pavements, as the influence for the making of the displayed new images.

Alfred Sisley, who was French by birth but had British nationality, painted in France as one of the Impressionists; Walter Sickert and Philip Wilson Steer at the start of their careers were also strongly influenced, but despite the dealer Paul Durand - Ruel bringing many exhibitions to London, the movement made little impact in England until decades later.

Today, Pace Gallery and Gagosian Gallery are renowned for museum - calibre exhibitions while non-for-profit museums are influenced by commercial galleries and invite living artists to make new works.

The exhibition focuses on a number of iconic works made in the early 1970s in Los Angeles and Amsterdam, where both Bas Jan Ader and Ger van Elk were working at the time, and aims to show how they influenced each other and furthered each other's practices going forward.

Interview with Georganne Deen, Summer 2011 Fee, Georgia, Artslant, Interview w / Georganne Deen, Apr 22, 2008 Bors, Chris, Artinfo, Georganne Deen in New York, Apr 3, 2008 Reverend Jen, Artnet, Diary of an Art Star, Mar 31, 2008 Tanner, Matt, Beware the Wild Children, Grand Street News, Mar 2008 Powers, Kevin, Interview with Georganne Deen, Artes & Leiloes (Portugal), Nov, 2007 Behrens, Katja, Verspielter Exorzismus, TAZ nrw, March 20, 2007 Wertheim, Christine, Georganne Deen: Underground Woman, X-TRA, Winter 2006 Harvey, Doug, I Art the 80's, L.A. Weekly, March, 2006 Fahl, David, Text Hook, Houston Press, June 17, 2004 Klaasmeyer, Kelly, Deen's List, Houston Press, Jan. 2, 2003 Lowry, Mark, Artist's Work Hits Close to Home, Fort Worth Star Telegram, Mar. 13, 2002 Mitchell, Charles Dee, Self Examination Turns Disturbing, The Dallas Morning News, Feb. 28, 2002 Deen, Georganne, The Girlfriend and The Devil, Grand Street # 70 Halstrup, Anjee, Georganne Deen: The Secret Storm and the Vogue Book of the Dead, ZERO magazine, July, 2001 Rodriguez, Juan, Georganne Deen at Babilonia 1808, Artweek, June, 2001 McEwam, Ann, 15 Psychic Orgasms, Waitako Times, Mar. 8, 2000 Mutch, Nicola, Ads Undermine American Dream, Otago Daily Times, Oct. 26, 1999 Munro, Bruce, Artist Explores Dream World, The Star, Oct. 27, 1999 Madoff, Steven Henry, Pop Surrealism ARTFORUM, Oct., 1998 Gopnick, Blake, Old Wounds Healed Through Older Art Form, The Globe & Mail, Jul 29, 1998 Hume, Christopher, Allegories of Her Hateful Family Tree The Toronto Star, Jul 11, 1998 Schoenkopf, Rebecca, The Glamour of Ugly, Orange County Weekly, Sept 19, 1997 Curtis, Cathy, Light Images, Dark Truth, Los Angeles Times, Sept 9, 1997 Dambrot, Shana Nys, Georganne Deen, JUXTAPOZ, Fall 1997 Kim, Soo Jin, Georganne Deen, Art Issues, Summer 1997 Kandel, Susan, Fierce: Georganne Deen, Los Angeles Times, Feb 28, 1997 McKenna, Kristine, Los Angeles, Art & Antiques, Summer 1996 Zellen, Jody, The Mother Load, World Art, Summer 1995 Lueck, Brock, Co-Mix Art: Fine Tooning Pop, The New Art Examiner, Mar, 1995 McKenna, Kristine, Coming to Terms With Mom, L.A. Times, Dec 18, 1994 Desmarais, Charles, Georganne Deen, Grand Street # 49, 1994 Dubin, Zan, Experiences of a Girl as Seen by a Woman, L.A. Times, Oct 23, 1993 Rose, Cynthia, Pacific Meltdown, British Vogue, Jul, 1991 Carlin, John, Bad Influences, The Paper, Jun, 1988 Smith, Alton, Reinventing the WheelI, Village Voice, Nov 29, 1988 Tanney, Kathy, Paper Tigers, Plastic Toys, Art Week, Aug 22, 1987 Knight, Christopher, Bad Influences Knocks Popular Culture Wisdom, L.A. Herald Examiner, Aug 4, 1987 Leston, Kimberely, Georganne Deen, the Face, Dec, 1986 Pincus, Robt, Voyage on Sculpture May Make Some Viewers Ill, San Diego Union, Jul 10, 1986 Wilson, William, Social Distortion Exhibition, L.A. Times, Jul 10, 1986 Rugoff, Ralph, Exterminating Angel, Los Angeles Weekly, Oct 11, 1985 Drohojowska, Hunter, The Art World's Biggest Pests, Los Angeles Herald Examiner, Oct 20, 1985

The travelling Matisse retrospective exhibition that Diebenkorn saw on a trip to Los Angeles in 1952 influenced paintings such as Urbana No. 4 (1953), which he made while teaching at the University of Illinois.

But, only when all Jones» work in this exhibition has been seen does the over-riding steadying influence from his main influences of Miro and Frankenthaler come to the fore and show how these two artists (along with Matisse) have undoubtedly shaped Jones» attitude and approach to making art.