Sentences with phrase «interesting exhibitions by»

In fact, it is one of the most interesting exhibitions by a leading British artist to have taken place in London for some time.

Not exact matches

You would think that those responsible for exhibition policy might respond to the present public interest by showing off their treasure.

The conference will be augmented by an exhibition of products and services of interest to the conference participants.

Among Bologna Children's Book Fair initiatives linked to illustrated art there is an exhibition organized by the Fair that continues to arouse unprecedented interest.

Likewise, art galleries are also taking an interest in comic art — Liverpool City Library has held yearly comic exhibitions starring local creators, while Artshine Gallery in Sydney is hosting an annual exhibition by members of the Sydney Comics Guild.

Prof. Berndt's lecture will focus on three aspects: 1) the ir / relevance of traditional Japanese painting for contemporary manga; 2) manga museums compared to recent manga exhibitions in Japanese art museums; and 3) the unilateral interest in manga by contemporary artists such as Murakami Takashi and Aida Makoto.

Nothing particularly interesting on the operating side except that higher exhibition bookings were more than offset by lower attendance, perhaps due to the lingering effects of the recession, and the company was nearly break - even on a GAAP basis.

Travel and Tourism Fairs and Exhibitions: Visit a travel trade fair; featuring professionals from the tourism industry, attended by people interested in travel.

They have some great permanent exhibitions with works by Picasso, Modigliani, and Miro as well as interesting temporary exhibitions.

One of them is very interesting exhibition of photographs taken by IB Putra Adnyana (Gustra) entitled «Face Landscape»

This game is fun as hell, the exhibition mode is fun (with friends), classic fights are a good way to get someone who wasn't into MMA interested in it (e.g. me) Career mode is fun but the problem is that you don't age is kinda dumb to be honest, you're «CRED» has no real purpose other than to get you new equipment, sponsors, sparring partners and opportunities to increase your «CRED» the controls are confusing to someone who's never played a game like this A.K.A me but I'll give it credit for innovation, you can go to training camps which upgrade you're striking and grappling which gives you new moves, their is a few exploits in the game No. 1 if you manage to get all the sponsors you can use them in create a fighter (which by the way has a decent enough amount of options) you can put all of the sponors that give the most cred and get everything easily and I mean everything No. 2 when you go to a training camp all you have to do is watch two demonstrations by the camp fighter and you have full stamina No. 3 any fighter you can beat within a minute of the first round you can beat a few times and shoot up the ranks, the music is good but you'll soon get sick of it and turn it off cause it repeats itself soo often, they didn't add intro walks, music and cage entries which would've made you feel more like an actual UFC fighter, but overall its a fun game but there's a few missed opportunities and not many fighting styles to choose from but rent it if you are curious about the game.

Featuring 28 works by 19 artists — both black and white — the exhibition explores how visual perspectives of blackness «have been influenced at particular historical moments by specific political, cultural, and aesthetic interests, as well as the motives and beliefs of the artists.»

Wienberger, who wrote his new essay collection A Calendar of Stones for the exhibition catalog, will introduce and interview Teresita.Teresita Fernandez's work is characterized by an interest in perception and the psychology of looking.

The exhibition Písařovic's Study is a way of presenting to the public (at least in a fragmentary form) a valuable collection of works by psychiatric patients, as well as a way of showing to the spectator the interesting and complicated personality of the Czech psychiatrist František Písařovic.

Raphael Rubenstein's strong interest in painting is manifested though this exhibition catalogue, which «focuses on New York painting in the 1980s as practiced by a generation born between 1939 and 1949.»

There has been a growing interest around Matta's sculptural production lately from collectors and critics, as it is testified by the exhibition in the evocative Garden of Palazzo Soranzo Cappello, headquarter of the Soprintendenza of the Venice, included among the official collateral events of the 56.

Both parts of this exhibition of fifteen small paintings by Eilshemius and twenty - two by Thompson are very interesting.

It also includes a large collection of poetry by Bill bissett (published by Talon Books) and other interesting exhibition catalogues from the 1980s to present.

MUST - SEE EXHIBITION openings and interesting talks and appearances happening this week in black art: Through June 21, 2014 Brenna Youngblood at Contemporary Art Museum St. Louis A selection of muted abstracts by Los Angeles - based artist Brenna Youngblood are on view at the Contemporary Art Museum St. Louis.

More than thirty years after her death, the oeuvre of American painter Alice Neel attracts ever greater interest, and seems only ever more relevant: the substantial and moving exhibition of her paintings currently at the Gemeentemuseum in The Hague is the latest indication of this groundswell of attention, including various shows and catalogs in addition to a fine biography by Phoebe Hoban and a biographical film directed by Neel's grandson, Andrew Neel.

In addition to color plates and illuminating details, the exhibition catalogue includes an essay by Peter Galassi that explores the full range of Wall's artistic and intellectual interests and offers fresh perspectives on one of the most adventurous creative achievements of our time.

«By co-authoring this exhibition with them in their own territory geographically and conceptually, this exhibition is attempting to draw a consensus between different creative impulses, and sensitize an audience which is increasingly interested in work that is informed by other practiceBy co-authoring this exhibition with them in their own territory geographically and conceptually, this exhibition is attempting to draw a consensus between different creative impulses, and sensitize an audience which is increasingly interested in work that is informed by other practiceby other practices.

Borrowing its title from the eponymous work by Carrie Mae Weems (American, b. 1953), the exhibition presents the history of the medium in three parts, emphasizing the strengths of Menschel's collection and mirroring his equal interest in historical, modern, and contemporary photography.

But before that, Newcastle hosts the Great Exhibition of the North (22 June — 9 September); among BALTIC's series of exhibitions and offsite commissions from artists from or based in the North is a solo show by Turner Prize - winning artist Lubaina Himid (and also Apollo's Artist of the Year), whose project will develop her interest in the East African Kanga (11 May — 16 September).

This new exhibition by Clare Woods will explore her interest in the power and history of rock formations in the British landscape, and its various manifestations in the works of artists such as Hepworth, Moore, Sutherland, Piper and Nash.

We see that in the breadth of people included in major recurring exhibitions, in the interests of younger artists, critics and curators, in the editorial choices made by the most current magazines, in the increasing visibility of artists emerged in the 60s and 70s, but did not enter the canon.

JG Matthew, when you curate exhibitions that mingle work by marginalized or developmentally disadvantaged people with that of other contemporary artists, surely there is a special ethical responsibility to protect their interests?

Feasley is particularly interested in the sublime power of nature and several of the paintings included in this exhibition were inspired by transformational experiences.

But there's also an air of seriousness — the photographer is interested in contemporary global problems, like climate change and migration issues, two themes that are well covered by this exhibition.

But Arteaga says the exhibition will also introductory works from the nineteenth - century that make clear that Mexican artists» interest in muralism and indigenous culture predated the revolution — in fact, mural - making did not resume until about a decade after the upheaval — while turn - of - the - century works by Mexican artists living in Paris foreshadow the cross-cultural pollination that happened between artists in Mexico, Europe, and the U.S. over the next several decades.

The point of departure for the exhibition is a particular shade of violet that all three artists coincidentally found themselves using, with this coincidence inspiring an interest in seeing their work side by side, to draw a line between their practices and their innovative approaches to painting.

The Leland Bell exhibition, which has come to the Salander - O'Reilly Galleries after a yearlong tour of college museums, is not to be missed by anyone with a serious interest in the art of painting.

FORMWORK inaugurates a series of two - person exhibitions hosted by dalla Rosa with the aim of creating a dialogue between artists that have not previously worked together but share similar interests and influences.

The «Primary Structures» exhibition at the Jewish Museum in New York in 1966 introduced minimal art to a broad public — with work by Caro, Carl Andre, Donald Judd and Dan Flavin — and Araeen shared their interest in simplified geometry and industrial effects.

Taking its name from Gloria (1956), an iconic work by Rauschenberg in the collection of the Cleveland Museum of Art, this exhibition explores the interests and actions of Rauschenberg in the 1950s through a younger set of eyes, those of internationally acclaimed artist Rachel Harrison (b. 1966), who has become known for her original approach to art - making that simultaneously addresses and analyzes the conventions of art and mass culture.

Chareau and his wife were keenly interested in contemporary art, and the exhibition reunites several pieces from their collection of paintings, sculptures, and drawings by significant artists such as Piet Mondrian, Amedeo Modigliani, Max Ernst, Jacques Lipchitz, and Robert Motherwell.

Encouraged by his teacher, Joseph Solman, Stamos pursued his interest in painting, read surrealist literature and met among others Betty Parsons, who gave him his first solo exhibition in 1943 at the Wakefield Gallery in New York City.

Those interested in Brooklyn history might want to check out Pioneers of Bushwick, a photography exhibition by Daryl - Ann Saunders, and Defying Devastation: Bushwick Then & Now, which examines Bushwick's past and present through Meryl Meisler's photos and Vanessa Mártir's stories, alongside art from contributors who range in age from eight to 101 years old.

Because she feels there is so much interesting and exciting work being done today in photography and because part of Viridian's mission is to give exposure to outstanding under - known artists, the gallery's director, Vernita Nemec, selected the images of twenty - five photographers not selected by Blessing to be shown in an ongoing Power Point presentation during the exhibition.

Inspired by projects like Gambia Castle, Y3k and CBD Gallery, and expanding with a collaboration with now - defunct Sydney art space Minerva, the integrative element of the project peaked at a solo exhibition by O'Shea called Thank you for your email and your interest, but this won't be possible and a group exhibition called We Remember It For You Wholesale (Part Two) in 2017.

This is the latest in a series of exhibitions of contemporary Chinese ink paintings held by the gallery, which Giuseppe Eskenazi credits to his son Daniel, who is particularly interested in the area.

Himid attributes the recent interest in black art in the UK — including Tate Modern's «Soul of a Nation» exhibition — to the fact that current influential figures in arts organisations are «young enough not to be afraid of the work made by black artists».

Inspired by the exhibition Human Interest: Portraits from the Whitney's Collection, this series invites artists to discuss portraits that speak to them.

What is interesting to note about the art exhibitions that are hosted by the city is the fact that they are tailored to suit the needs of a broad spectrum of art fanatics from around the world.

For this exhibition, Fernandez will present 3:37 p.m. (2001), a wall installation composed of hundreds of acrylic cubes in seven colors of the light spectrum, a reductive representation of a rainbow captured at a specific moment in time, 3:37 p.m. Fernández's work is characterized by an interest in perception and the psychology of looking, so she encourages the viewer to conjure up his or her own personal associations with the landscape, which in turn become part of the meaning behind the work.

There was also continued interest in Peter Hujar supported by his recent exhibition at the Morgan Library, along with appreciation for Gillian Wearing and Yale graduate newcomer Felipe Baeza who we have first introduced at the fair together with our more recognised artists to great effect.

The following year, the renowned Sidney Janis Gallery declared its shift in interest from New York School to Pop by staging an exhibition that conjoined French Nouveau Realistes with the new American Pop icons including Lichtenstein, Warhol and Robert Indiana — a decision which prompted Mark Rothko, Philip Guston and Robert Motherwell to sever their ties with the gallery.

This exhibition of works by ten artists offers numerous lines of intersection of interest, influence and technique.

To speak more about the selection process for this show, it is also interesting to note that as we narrowed our focus there were a number of directions this exhibition could have taken and while it became clear that we could have, for instance, created an entire exhibition strictly of triangular shapes in corners (with pieces by Benglis, Morris, Smithson, and Turrell, for example), we chose to mount an exhibition where each work engages the corner in its own unique and distinctive way.

While the large numbers of pencil drawings, watercolors, pastels, and other works on paper by Clyfford Still provide ample evidence that his style underwent a dramatic evolution, this exhibition reveals how Still's interests and the content of his art appear remarkably stable.