Sentences with phrase «institutional exhibition art»

Featured in the traveling institutional exhibition Art AIDS America, which was shown locally at the Bronx Museum of Art last year, Silano's Arrangements project is presented by Rubber Factory (New York, both C10).

Not exact matches

Zeng has been the subject of numerous institutional surveys, most notably a 2016 exhibition at the Ullens Center for Contemporary Art in Beijing.

Expanding on its renowned VIP Program — an audience of top international collectors, gallerists, art advisors, artists, and academics — the annual EXPO CHICAGO Curatorial Forum provides a conference platform to leading institutional and independent exhibition organizers.

Torbjørn Rødland (b. 1970, Stavanger, Norway, lives and works in Los Angeles and Oslo) has been the subject of a number of institutional solo exhibitions, including shows at Henie - Onstad, Oslo, Norway (2015); Kunsthall Stavanger, Stavanger, Norway (2014); Hiroshima City Museum of Contemporary Art, Hiroshima, Japan (2010); Contemporary Art Museum, St. Louis, United States (2010) and P.S. 1 Contemporary Art Center, New York, United States (2006).

Art Sonje's institutional desire to keep alive, but not historicize its past is mirrored outside, where Jun Yang has renovated a hanok (a traditional Korean house) into a café and bookshop, freeing up their respective spaces on the art center's ground floor for the exhibitioArt Sonje's institutional desire to keep alive, but not historicize its past is mirrored outside, where Jun Yang has renovated a hanok (a traditional Korean house) into a café and bookshop, freeing up their respective spaces on the art center's ground floor for the exhibitioart center's ground floor for the exhibitions.

Installed at American Fine Arts, Co., as part of the 1993 exhibition What Happened to the Institutional Critique?

Building on Artists Space's history as an institution whose program has increasingly emphasized community participation and political organization (see last year's Decolonize This Place, which turned the gallery into a weekly activist meeting hub), Coop Fund foregoes traditional media like painting or sculpture in favor of video, art - science hybrids, updated junk sculpture, and institutional critique, making an implicit statement about these media that, for their associations with high - modernist seriousness, are appropriate to a politically engaged exhibition.

Exhibitions, Lectures, Presentations & Gallery Tours Beginning with dedicated frame exhibitions in Santa Monica and Laguna Art Museum in 1996, principals of Gill & Lagodich have lectured on the subject of period frame history, fabrication, and restoration; presented walk - through gallery talks in their own gallery and many museums, led museum docent and professional educator training sessions, and conducted hands - on period frame clinics for selected museum, institutional, and private groups, as well as national arts and appraisal cExhibitions, Lectures, Presentations & Gallery Tours Beginning with dedicated frame exhibitions in Santa Monica and Laguna Art Museum in 1996, principals of Gill & Lagodich have lectured on the subject of period frame history, fabrication, and restoration; presented walk - through gallery talks in their own gallery and many museums, led museum docent and professional educator training sessions, and conducted hands - on period frame clinics for selected museum, institutional, and private groups, as well as national arts and appraisal cexhibitions in Santa Monica and Laguna Art Museum in 1996, principals of Gill & Lagodich have lectured on the subject of period frame history, fabrication, and restoration; presented walk - through gallery talks in their own gallery and many museums, led museum docent and professional educator training sessions, and conducted hands - on period frame clinics for selected museum, institutional, and private groups, as well as national arts and appraisal conferences.

«Revolution in the Making» also has an institutional precedent: Hauser Wirth & Schimmel is just walking distance from the Museum of Contemporary Art's first building of the early 1980s, the Geffen Contemporary at MoCA, and its proximity prompts visceral memories of the 2007 exhibition «WACK!

Archives: The CCS Bard Archives contain the institutional archives for the Center for Curatorial Studies and the Hessel Museum of Art, including full documentation of exhibition and programming history.

The works on view throughout the exhibition extend late - modernist concerns regarding art's production and circulation to institutional conditions beyond the art system.

Recent institutional exhibitions and in situ paintings include Atoms Outside Eggs, Serralves, Porto, Portugal (2007); Hello Little Butterfly I Love You What's Your Name, ARKEN Museum for Moderne Kunst, Copenhagen (2009); One Floor Up More Highly, MASS MoCA, North Adams, MA (2010); Third Man Begins Digging Through Her Pockets, Museum of Contemporary Art Cleveland, OH (2012); Two younger women come in and pull out a table, De Pont Museum of Contemporary Art, Tilburg, The Netherlands (2013); WUNDERBLOCK, Nasher Sculpture Center, Dallas, TX (2013); Inside the Speaker, Museum Kunstpalast, Düsseldorf (2014); psychylustro, Philadelphia Mural Arts Program (2014); yes no why later, Garage Museum of Contemporary Art, Moscow (2015); Seven Hours, Eight Rooms, Three Trees, Museum Wiesbaden, Germany (2015); Untitled Trumpet, 56th Biennale di Venezia (2015); Museum Frieder Burda, Baden - Baden, Germany (2016); Rockaway!

Wallinger has held solo exhibitions at institutional venues including Dundee Contemporary Arts, Dundee, Scotland (2017); The Fruitmarket Gallery, Edinburgh, Scotland (2017); Serlachius Museum / Art Museum Gösta, Mänttä, Finland (2016); BALTIC Centre for Contemporary Art, Gateshead, England (2012); Museum de Pont, Tilburg, Netherlands (2011); Kunstnernes Hus, Oslo, Norway (2010); Aargauer Kunsthaus, Aarau, Switzerland (2008); Museo de Arte Carillo Gill, Mexico City, Mexico (2005); Neu Nationalgalerie, Berlin, Germany (2004); Vienna Secession, Vienna, Austria (2000); Tate Liverpool, Liverpool, England (2000); Palais Des Beaux Arts, Brussels, Belgium (1999); Museum for Gegenwartskunst, Basel, Switzerland (1999); the Serpentine Galleries, London, England (1995).

Notable solo institutional exhibitions include «KNOCK / KNOCK / NEPOMUK», Kunstverien Hechingen, Hechingen, Germany (2016); «Disintegration of the properties», K21 Standëhaus, Kunstsammlung Nordrhein - Westfalen, Düsseldorf, Germany (July 2014 - July 2015); «King Rat», Project Arts Centre, Dublin, Ireland (2010); and «Palimpsest», Kunstverein Hannover, Germany (2010).

White has had solo gallery exhibitions at the Andrea Rosen Gallery, New York; FA Projects, London; Loock Gallery, Berlin; Brandstrom Gallery, Stockholm; as well as solo institutional exhibitions at The Santa Barabara Contemporary Arts Forum; Domus Artium in Salamanca, Spain; Oslo Kunstforening in Oslo, Norway; and the Aldrich Museum of Contemporary Art, in Ridgefield, CT..

Major solo exhibitions of his work have been held at national and international institutional venues including The New Art Gallery Walsall (2017), the Whitworth Gallery, University of Manchester (2016 - 2017 and 2012); Sadler's Wells, London (2011); Gothenburg Konsthall, Sweden (2011); Museum of Contemporary Canadian Art, Toronto (2010); Kunsthaus Murz, Murzzuschlag, Austria (2010) and K20, Düsseldorf (2008).

Like Japan's Gutai Bijutsu Ky!kai (Gutai Art Association, 1954 - 72), a group that sought to move away from museums, galleries, and other institutional settings, Takamatsu created public interventions, or activities outside the confines of exhibitions.

Other highlights include «LA / LA and Institutional Collaboration», which will use Pacific Standard Time: LA / LA as a reference point to examine how institutions can encourage the growth of regional art scenes; «Digital Museums and Virtual Audiences», focusing on digital innovation and how new technology is starting to leave a deeper mark on the museum world; and «I Was Raised on the Internet», which brings together curators from three major institutions that collaborate on exhibitions investigating the effects of the Internet on contemporary art.

Mike Kelley Foundation Grants Ten Los Angeles nonprofits received grants from the Mike Kelley Foundation for the Arts, including the Underground Museum (to support videos and performances by Rodney McMillian, $ 45,000), Craft & Folk Art Museum (to present the first institutional solo show of Oakland - based artist Indira Allegra, $ 25,000), and the Museum of Latin American Art (to fund an exhibition documenting the history of printmaking in the Americas, $ 40,000).

Institutional and international exhibitions that have featured his work include Slash: Paper Under the Knife at the Museum of Art & Design, New York (2009 - 10); and House of Words at Dr Johnson's House, London (2009).

CUE provides institutional guidance, generous honoraria, a shipping budget, and an accompanying exhibition catalogue with a critical essay by a participant in CUE's Art Critic Mentoring Program.

His work has been featured in numerous exhibitions in the U.S. and internationally, and is held in major institutional collections including the Solomon R. Guggenheim Museum, the Museum of Modern Art, the Whitney Museum of American Art, Albright - Knox Art Gallery, Crystal Bridges Museum of American Art, the Centre Georges Pompidou, San Francisco Museum of Modern Art, and the Astrup Fearnley Museet for Moderne Kunst, Oslo.

Exhibitions like Thelma Golden's «The Black Male: Representations of Masculinity in Contemporary American Art» (1994 - 95) that followed were exemplary of an institutional change to come within the Whitney itself.

This exhibition is the first comprehensive survey in America of Sturtevant's 50 - year career, and the only institutional presentation of her work organized in the United States since her solo show at the Everson Museum of Art in 1973.

CUE provides institutional guidance, a stipend, shipping budget, and an accompanying exhibition catalogue featuring an essay written by a participant in CUE's Young Art Critic Mentoring Program.

Solo institutional exhibitions include «Portraits by Y.Z. Kami,» Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY (2003); the 52nd Biennale di Venezia (2007); «Perspectives: Y.Z. Kami,» Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC (2008); «Y.Z. Kami: Endless Prayers,» Parasol Unit Foundation for Contemporary Art, London (2008); «Y.Z. Kami: Beyond Silence,» National Museum of Contemporary Art, Athens (2009 — 10); and «Y.Z. Kami: Endless Prayers,» Los Angeles County Museum of Art (LACMA), CA (2016 — 17).

Paul Chan's institutional solo exhibitions include Schaulager, Basel, The Renaissance Society at the University of Chicago, Chicago, New Museum, New York, Serpentine Gallery, London, Stedelijk Museum, Amsterdam, Portikus, Frankfurt, and Institute of Contemporary Art, Boston.

His work is included in numerous prestigious institutional collections including the Museum of Modern Art, New York, the Philadelphia Museum of Art, the Art Institute of Chicago, the Menil Collection, Houston, the Tate, London, the Musée d'Art Moderne de la Ville de Paris, and Israel Museum, Jerusalem, and has been recognized by recent solo exhibitions at Centre Georges Pompidou, Paris, and the Fundación Proa, Buenos Aires.

His work has been most recently featured in a comprehensive solo exhibition at the Josef Albers Museum Quadrat in Bottrop, Germany, and is part of prestigious permanent institutional collections including the Whitney Museum of American Art, the Museum of Modern Art, New York, and The Museum of Contemporary Art, Los Angeles.

His work is appears in prestigious institutional collections throughout Europe and the United States, including the Museum of Modern Art, New York, Moderna Museet, Stockholm, Centre Georges Pompidou, Paris, the Royal Museums of Fine Arts of Belgium, Brussels, and the Tate, London, and was recently recognized by comprehensive solo exhibitions at the Museum of Modern Art, New York, the Menil Collection, Houston, and the Art Institute of Chicago, beginning in 2013.

His work has been featured in solo exhibitions throughout Europe, including retrospectives at the Musée d'Art Moderne de la Ville de Paris, the Serpentine Gallery, London, and the Museo d'Arte Contemporanea Donnaregina, Naples, and appears in established institutional collections including the Tate Modern, London, the Museum of Modern Art, New York, Stedelijk Museum, Amsterdam, and Galleria Civica d'Arte Moderna e Contemporanea, Turin.

Ed Gomez's interdisciplinary art practice revolves around the questioning of exhibition practices, institutional framework and historical models of artistic production.

Residents and Visitors: Twentieth - Century Photographs of Louisiana is the eighth collaborative exhibition drawn from the collections of the New Orleans Museum of Art (NOMA) and The Historic New Orleans Collection (THNOC), and the first to be based solely on institutional photographic holdings.

Within the globalized art scene, its journey takes the many forms of traveling exhibitions, international art fairs, biennials, public contests, and loans from personal or institutional collections.

This exhibition highlights Maine's artistic legacies in the making, featuring established artists with strong Maine ties as well as the first major institutional appearance for several young, emerging artists — showcasing the next wave of Maine artists and affording them the opportunity to make initial introductions to national art audiences.

She is a devoted student of art, art history, and exhibition history, and has devoted bodies of work to the formal and institutional legacies of Constantin Brancusi and the Venetian architect and exhibition designer Carlo Scarpa.

This summer Michelada Think Tank (MTT), a collective of MFA Public Practice students and alumni, will inhabit the Project Room at Los Angeles Contemporary Exhibitions with a humorous and critical exploration of survival under a framework of institutional racism in the arts.

The Archives at the Center for Curatorial Studies at Bard College serve as the institutional repository for the Center, and the Hessel Museum of Art and as a collecting repository which actively acquires, preserves, and provides access to a wide range of primary materials documenting the history of the contemporary visual arts and the institutions and practices of exhibition - making since the 1960s.

The institutional names, exhibition names, and other trademarks, logos, and service marks (collectively, the «Trademarks») displayed on the Site, including «Pulitzer Arts Foundation» and variations thereof are Trademarks of Pulitzer Arts Foundation.

Hauser Wirth & Schimmel's seven - building complex in Los Angeles» downtown arts district is a commercial gallery with institutional ambitions, promising thematic exhibitions, high - profile loans, publishing, and scholarship.

Institutional solo exhibitions include the Tel Aviv Museum of Art, Israel (2013) and the Whitechapel Gallery, London, (2011), which traveled to MUDAM Luxembourg and the Kemper Art Museum in St. Louis.

To accompany the primary exhibition materials that will be digitally accessible for the first time, we have developed related content to provide further art historical and institutional context for this historic exhibition.

In More Heat than Light and Less Light Warm Words (2015 - 16), installed in solo exhibitions at the CCA Wattis Institute for Contemporary Arts, San Francisco and Kunsthalle Basel, Basel, Switzerland, and the Swiss Institute, New York, respectively, Lewitt engineered specially manufactured heating circuits used for the regulation of internal temperatures in environmentally sensitive media systems and redirected all available energy that flowed through the institutional lighting grids in the exhibition spaces.

Duddell's bills itself as «a social and cultural destination for people who have an active appreciation for the arts» (a strategically coded phrase for collectors) and hosts what it calls exhibitions, often involving high - profile artists or institutional curators.

Take It or Leave It: Institution, Image, Ideology is the first large - scale exhibition to focus on the intersection of two vitally important genres of contemporary art: appropriation and institutional critique.

The less than reliable curatorial voice from Powhida's future proposes an authoritative account of our present and near future through institutional forms — wall texts, videos, an exhibition catalogue, as well as fictional works of art, speculative drawings, and research - based diagrams, that point to the ways exhibitions shape and reflect histories.

Although his work has routinely formed part of just about every major exhibition on light and moving - image art of the postwar era, he has somewhat shockingly never been granted a solo institutional exhibition in New York until now.

The price achieved cements Hlobo's place on the secondary market, now in tandem with his strong institutional presence following the exhibition of his work at the Centre Pompidou, the Smithsonian National Museum of African Art, Tate Modern, and the Boston ICA, among others.

He has been the subject of a number of institutional solo exhibitions, including the current show Torbjørn Rødland: Back in Touch at C / O Berlin and Torbjørn Rødland: The Touch That Made You at Serpentine Sackler Gallery (Fall 2017), as well as shows at Henie - Onstad, Oslo, Norway (2015); Kunsthall Stavanger, Stavanger, Norway (2014); Hiroshima City Museum of Contemporary Art, Hiroshima, Japan (2010); Contemporary Art Museum, St. Louis, United States (2010) and P.S. 1 Contemporary Art Center, New York, United States (2006).

Matters of Fact revisits a number of key encounters from the institutional history of the Hessel Museum of Art: between collector and artist, curator and exhibition, art and art histoArt: between collector and artist, curator and exhibition, art and art histoart and art histoart history.