Sentences with phrase «institutional exhibition of»

Swiss Institute proudly presents the first institutional exhibition of vintage prints by the late Karlheinz Weinberger (1921 - 2006).

One further solo presentation of the work of David Robilliard, The Yes No Quality of Dreams (16 April — 15 June 2014), will be the first institutional exhibition of his paintings in over twenty years.

The culmination of a whirlwind tour originating in Beirut was the Wattis Institute for Contemporary Arts» «Words and Places: Etel Adnan,» the first large - scale institutional exhibition of the artist's work, held in April 2013.

This is the first large - scale institutional exhibition of work by the Lebanese writer, poet, and painter Etel Adnan, spanning six decades of her artistic practice.

This will be the first — ever major institutional exhibition of Saeed's work.

Curated by Sergio Edelsztein, Four Works is the first large - scale institutional exhibition of Gilad Ratman's works in Europe.

Swiss Institute is delighted to present Curriculum, the first institutional exhibition of Swiss artist Timothée Calame.

In this first UK institutional exhibition of Neïl Beloufa's work, the ICA show a selection of his latest works on film alongside recent sculptural works across the Lower Gallery and Theatre.

Not exact matches

Yet, it is such exhibition of near - zero institutional memory, as Ogun crassly showed, that condemns contemporary Nigeria to repeating avoidable mistakes!

The exhibition, the late Chicagoan artist's first institutional show in New York, brings together a selection of abstract paintings.

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

A chronological recounting of the artist's short career came next, followed by the story of how he began making the type of work he is best known for, and finally some information about upcoming institutional exhibitions overseas.

«LATOYA RUBY FRAZIER: Performing Social Landscapes» @ Carré d'Art - Musée d'Art Contemporain Nimes, France Photographer LaToya Ruby Frazier «s first solo institutional exhibition in France presents selections from several of her documentary projects, including the video «Frazier Take on Levi's» and photographs from «Pier 54,» and the foundation of her work, images that examine the decline of the population and steel industry of her hometown of Braddock, Pa. («Campaign for Braddock Hospital» and «The Notion of Family»).

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.

The solo exhibition at MoMA PS1 — her first institutional outing in New York — is organized in conjunction with the Maria Lassnig Prize, of which Wilkes is the first recipient.

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).

For this exhibition, Beasley's «manipulations of language and objects of sport and utility strive to subvert diametric systems of institutional control and reclaim an altered narrative.»

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

In her first institutional solo exhibition in Switzerland, Lynette Yiadom - Boakye (b. 1977 in London; lives and works in London) fills the majestic, skylit upstairs galleries of Kunsthalle Basel with all new paintings, lush and vibrant reflections on perception, painting, and the figure.

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.

In line with Tillmans's interest in exhibitions as amplifiers of a particular underlying perspective, each of the works engages in an intricate system of relationships between its aesthetic elements, subject, and institutional setting.

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!

This could be because the rhetoric of exhibition display was historically more actively engaged within Europe, although the 1969 Whitney Museum exhibition Anti-Illusion: Procedures / Materials did much to further institutional critique in North America.

Swiss Institute is pleased to present the first institutional solo exhibition in the United States of New York - based artist Andrea Crespo, centered on a new video, virocrypsis (2015), which develops the artist's ongoing inquiry into posthuman desire.

She is co-curator of the forthcoming exhibition The Shadows Took Shape at the Studio Museum in Harlem (14 November 2013 — 9 March 2014) and is a PhD candidate at the University of Central Lancashire where her research focuses on black artists and institutional frameworks.

Adding to SAMA's institutional bragging rights, the Lams» passion for the field was sparked by the museum's 2000 exhibition Spirit Country, which featured the collection of the Melbourne - based families Gantner and Myer.

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.

Swiss Institute is pleased to present Spring, the first institutional solo exhibition of New York - based Croatian artist Dora Budor (b. 1984).

STRUKTUR is the title of the first institutional solo exhibition of Peter Krauskopf in Leipzig.

Expanding upon the success of Swiss Institute's ONE FOR ALL series, which offered emerging artists a first institutional exhibition in the US, Swiss In situ presents new systems of research and production to New York audiences.

This set of issues was the subject of an exhibition James Meyer curated in 1993, called (directly quoting Bordowitz's 1989 comment) «What Happened to the Institutional Critique?

For Sam Lewitt's first institutional solo exhibition in New York, entitled Less Light Warm Words, the artist has removed all of the fluorescent lights from the ceiling rig in Swiss Institute's main gallery and redirected the total available electricity into custom - designed flexible copper heating circuits.

In her 2005 Artforum essay «From the Critique of Institutions to an Institution of Critique,» Andrea Fraser scrutinized the distinctions between what is inside and outside of the gallery space, emphasizing the inquisitive approach artists working with the framework of institutional critique — Michael Asher and Daniel Buren to name a few — bring into exhibition spaces.

Curated by artist - filmmaker Guy Sherwin, this exhibition offers the visitor a comprehensive over - view of the aesthetic, conceptual and institutional tendencies within British experimental film and expanded cinema.

His work has been shown in numerous solo and group exhibitions in the US and Europe and are part of permanent institutional and private collections in the USA, Australia, Europe, Japan, China and his native Macedonia.

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.

«This season, we have the opportunity to evolve and create new forms of expression that span both time and place — from a prodigiously talented group of self - made dancers from New York in their debut institutional performance, to the first U.S. exhibition from one of the most influential visual artists working today in France,» stated Alex Poots, Artistic Director of Park Avenue Armory.

Although the interest in his work has always remained very strong in Europe, his presence over here was limited to a very strict number of institutional exhibitions.

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).

For her first solo institutional exhibition, «Tenderheaded,» on view at The Renaissance Society in Chicago through November 5, Packer further explores emotional and physical vulnerability through new portraits as well as a developing series of painted funerary bouquets.

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).

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.

Dressing the Monument features the first institutional collaboration of Tobias Madison & Kaspar Müller, and Hannah Weinberger's first site - specific exhibition, in the United States.