Sentences with phrase «inform paintings in the exhibition»

John Ashbery, Frank O'Hara and e.e. cummings are some of the poets whose writing will inform paintings in the exhibition.

Not exact matches

The experience informed the paintings he went on to create for his first major solo exhibition, Truth to Power, which debuted at at Tiwani Contemporary in London in 2017.

In addition to the new works in the show, Richter has punctuated and augmented the exhibition with a selection of paintings on canvas, glass and photographs made over the last 15 years — including his «Abstraktes Bild» and «Farben» paintings — which inform and re-contextualize his more recent pieceIn addition to the new works in the show, Richter has punctuated and augmented the exhibition with a selection of paintings on canvas, glass and photographs made over the last 15 years — including his «Abstraktes Bild» and «Farben» paintings — which inform and re-contextualize his more recent piecein the show, Richter has punctuated and augmented the exhibition with a selection of paintings on canvas, glass and photographs made over the last 15 years — including his «Abstraktes Bild» and «Farben» paintings — which inform and re-contextualize his more recent pieces.

Similarly, Eric de Chassey, in the catalogue that accompanies the exhibition «Alex Katz: Small Paintings,» begins his essay by informing us that «Alex Katz is one of very few artists working today capable of creating works that can be reconciled with the world, without seeming anachronistic.»

Crossover: East and West is a new group exhibition opening Feb. 2 featuring ceramic, installation, painting, and video art that question and inform the Asian immigrant experience in America through the works of four accomplished Korean American artists: Victoria Jang, Christina Ko, Jang Soon Im, and Eun Kyung Suh.

This exhibition demonstrates the precise and committed way in which the artist conceives and executes his paintings by mediating between the building, the landscape and reproductions that inform one's experience of the original.

Many of the objects — paintings, sculptures, and drawings — presented in this exhibition were informed by time Jay Heikes (b. 1975) spent at a residency in Marfa, Texas, in early 2017.

Cumulatively, the works in the exhibition continue Hammond's post-minimal engagement with materials and process and a survivor aesthetic that began with her fabric sculptures in the early 1970s while also anticipating her materially informed paintings of the last decade.

The Korean Cultural Center Washington, D.C. proudly presents Crossover: East and West, a new group exhibition opening Feb. 2 featuring ceramic, installation, painting, and video art that question and inform the Asian immigrant experience in America through the works of four accomplished Korean American artists: Victoria Jang, Christina Ko, Jang Soon Im, and Eun Kyung Suh.

The accompanying exhibition demonstrated the shift in abstraction away from the heroic brushwork and emotional concerns first expressed in the 1950s to painting that is more mundane and mediated because it is more self - consciously culturally informed.

[6] The show was well received by critics, including Frieze Magazine [14] and The Brooklyn Rail, noting «Quaytman makes reference in the title to both the seat of seeing (i am), and the classical meter of poetry», and «Quaytman's sophisticated dissection of the complexities of seeing and the manifold aspects that inform perception is evident not only in individual works, but also in the relationship between specific works installed in the exhibition, and in the cumulative effect of the whole,» [13] and the New York Times «The paintings in R. H. Quaytman's exhibition are cerebral, physically thought out and resolutely optical.

Most recently, they were the focus of Hirst's intensely popular and critically important 2007 exhibition titled Superstition, which saw the apex in his use of butterflies in the production of religiously informed compositions - a tendency of Hirst's that is explicit in the title of Pray, and implicit in the large - scale formatting of the work (84 x 84 inches), its sparse composition, and the overall placidity of the painting.

Through paintings, sculpture, works on paper, a notebook, and other ephemera, as well as Adler's numerous photographs from this period, this exhibition explores how the context of life in New York informed and formed Basquiat's artistic practice.

The panel, moderated by Alexandra Sachs, executive director of SCAD FASH Museum of Fashion + Film and Atlanta exhibitions, will explore how these three artists — who work in a range of media and formats from film and video, to painting and sculpture, to site specific wall drawing — utilize their research and experiences of place to inform their personal visual language and creative pursuits.

Marco Antonini presents a slide lecture that takes Revolution in (Re) Form: More Thoughts on Abstraction Today, his eponymous essay for the exhibition NEW NEW YORK: Abstract Painting in the 21st Century as a departure point for an informed and timely analysis of recent trends in contemporary abstract pPainting in the 21st Century as a departure point for an informed and timely analysis of recent trends in contemporary abstract paintingpainting.

In November 2002, on the eve of a solo exhibition of his new paintings at Waddington Galleries in London, Caulfield was informed that he had cancer of the mouth and tongue and would have to face a major operatioIn November 2002, on the eve of a solo exhibition of his new paintings at Waddington Galleries in London, Caulfield was informed that he had cancer of the mouth and tongue and would have to face a major operatioin London, Caulfield was informed that he had cancer of the mouth and tongue and would have to face a major operation.

washington university faculty exhibition, st. louis, mo 2003 philip slein contemporary art, invitational group exhibition, st. louis, mo sherry leedy contemporary art, invitational group exhibition, kansas city, mo st. louis art museum, «change of space», film by laura beard and d. jansky 2002 museum of contemporary art, «art cache», invitational group exhibit, st. louis, mo left bank gallery, «this is an image», collaborative exhibition with ann rast, st. louis, mo springfield museum of art, water color usa, national juried exhibition, springfield, mo sherry leedy contemporary art, invitational group exhibition, kansas city, mo 2000 inform, invitational group exhibition, lemp brewery, st. louis, mo des lee gallery, «landscape», invitational group exhibition, curator: philip slein, st. louis, mo 1999 new american paintings, volume 22, national juried exhibition in print springfield museum of art, water color usa, national juried exhibition, springfield, mo sherry leedy contemporary art, invitational group exhibition, kansas city, mo 1998 r. duane reed gallery, invitational group exhibition, st. louis, mo leedy voulkos gallery, invitational group exhibition, kansas city, mo 1997 erector square gallery, international women's exhibition, new haven, connecticut art loft gallery, «extirpate» with andy milner, heather Bennett, st. louis, mo courthouse gallery, national juried exhibition, woodstock, il 1996 forum of contemporary art, «stations of the cross» group exhibit, st. louis, mo 1993 laguna gloria museum of art, «primarily paint», curator: peter doroshenko, austin, tx artist's lofts gallery, national group exhibition, galveston, tx wayland babtist gallery, national group exhibition, wayland, tx mcallen international museum, national group exhibition, mcallen, tx firehouse gallery, national group exhibition, del rio, tx red mesa art center, national group exhibition, gallup, nm 1990 henry art gallery, mfa thesis exhibition, seattle, wa 1990