Sentences with phrase «into early exhibitions»

Not exact matches

«The early focus on one of the most important and most innovative technology and business segments, flanked by an innovative exhibition concept, have ensured LogiMAT's growth into the leading platform for the industry,» is how Ulrich Kromer von Baerle, Managing Director of Landesmesse Stuttgart describes the event.

A video sequence early in the exhibition shows a time - lapse computer re-creation, in which, layer by layer, the temple edifice is built into an ever grander structure.

The exhibition at the V&A, one of the most inspiring cultural spots in London, began earlier this year and will run through to March 2015 and is a fascinating and unique insight into the history of wedding dresses from 1775 through to current day.

Varejão's recent debut exhibition in Hong Kong, at Lehmann Maupin gallery, itself marked the artist's boomerang - like return to China — a place that she had visited earlier in her career and sparked her long - running interest of incorporating its culture into her work.

Many of these early exhibitions sought to bring visibility to artists of color or were organized around the most urgent political concerns of the day, including racism, Apartheid, and the US government's intervention into Central America.

She began painting in the 1920s but it was not till the early 1930s that she really got into her stride, a period represented in the exhibition by her sober portrait Martin Jay (1932).

Divided into seven chronological chapters, from early twentieth century avant - garde movements such as the Harlem Renaissance to current debates around «Post-Black» art, this exhibition opens up an alternative transatlantic reading of Modernism and its impact on contemporary culture for a new generation.

The Tibor de Nagy Gallery is pleased to present an exhibition of Larry Rivers's mixed media constructions from the mid-1960s into the early - 1970s.

Charlie Was a Sailor also references and underscores earlier works in the exhibition such as Places (2005), which deals with the notions of absence / presence, loss and memory in combination with the exploration of the meaning of «place» and the possibility of rendering this philosophical concept into a work of art, and Places [Lost](2010), which explores places of memory that concentrate meanings, events and fragments of experience.

Hamburg - based artist Michael Pfisterer's exhibition presents recent work based on research into and documentary of a series of early scientific instruction models.

I was so energized creatively from being at these exhibitions that I ended up painting into the early hours of the morning.

«Aptly titled «Playing Dirty,» this bawdy exhibition of the late Robert Arneson's small early works provided ample evidence of the earthy, sardonic humor that this pioneering Bay Area Funk artist injected into his stoneware vessels.

The exhibition brings attention to Whitten's early gestural works and the transition into his signature process - based techniques, visible in two momentous paintings including Boschville, 1969, and CHE!

The Newport Street exhibition is the first major show since Hoyland's death in 2011 and will reaffirm his status as an important and innovative force within international abstraction, providing new insights into the way in which his work evolved from the huge colour - stained canvases of the 1960s, through the textured surfaces of the 1970s to the more spatially complex paintings of the early 1980s.

Time / Image Window into Houston — Darryl Lauster and Vincent Valdez Early Awnings: Henning Bohl with Sergei Tcherepnin Teresa Hubbard / Alexander Birchler: Sound Speed Marker Window into Houston — Shane Tolbert: Fine China UH School of Art Annual Student Exhibition 37th Master of Fine Arts Thesis Exhibition Window into Houston — Bret Shirley: Rising Through the Infinite Janet Biggs: Echo of the Unknown Mel Chin: Rematch

Early shows at Charles Egan Gallery and Sidney Janis Gallery segued into large scale exhibitions at the Smithsonian Institute, Solomon R. Guggenheim Museum, Whitney Museum, and Los Angeles County Museum of Art.

The earliest sculptures in this exhibition are Donovan's 36 inch cubes, in which no adhesive is used to transform millions of pins, toothpicks and glass into new and unexpected geometric forms.

There are cracks in the walls, however, and for a year now, rain has leaked periodically into the exhibition space, to the point where the ceiling fell in and the gallery was forced to close for a few months earlier this year.

The first monographic exhibition of the artist to be held in the US since 1987, Berthe Morisot: Woman Impressionist provides new insight into a defining chapter in art history and the opportunity to experience Morisot's work in context of the Barnes's unparalleled collection of impressionist, post-impressionist, and early modernist paintings.

It was first shown publicly in 1970, when it was presented as one of Rauschenberg's earliest prints in exhibitions organized by the Institute of Contemporary Art, Philadelphia, and the Minneapolis Institute of Arts. 8 Though it has continued to be referred to as a monoprint, 9 the work's status as a print has fallen into the background over time, with scholarly interest instead focused on Rauschenberg's use of the direct imprint or indexical mark.

For his New Museum exhibition, Hiwa K will debut a new sculpture that gives shape to his recent inquiries into early colonial encounters between the Inca and Spanish Empires, and reflects on misperception and misinterpretation in the circulation of culture.

«The House at Kawinal,» the artist's first solo exhibition in the US, will present a recent performance for video, Life in His Mouth, Death Cradles Her Arm (2016), together with a new body of sculptures inspired in part by the artist's research into the effects of the construction of the Chixoy Hydroelectric Dam in Guatemala in the early 1980s.

From The Infinity Engine, the exhibition splits into Hershman Leeson's early works which are characterized by drawing, painting, sculpture, and feminist performance and protest pieces, and mid-career works which focus on the internet, artificial intelligence and technology.

They were the most admired works at the annual exhibitions and as such offered a valuable glimpse into the early life of the Dallas art community.

On the occasion of this exhibition, Leila Heller Gallery presents various bodies of Hadid's design work, exemplifying her transition after the 1990s from an «early semi-tectonic» into her «later semi-liquid» phase.

Any attempt to critically deal with this exhibition's surprising juxtaposition of works by Monika Baer and Thomas Bayrle must first take into account the clear differences between their aesthetic positions: Since the early»90s, Baer has been developing...

The exhibition is divided into several sectors: On the seventh floor, the section «Portrait of the Artist» brings together self - portraits with portraits of artists and other members of the creative community; Early Twentieth Century Celebrity and Spectacle; under the rubric of «Street Life» the exhibition presents artists who took to the pavement with their cameras, photographing subjects as they encountered them, sometimes surreptitiously; Portraits Without People; Body Bared (nude portraits); Self Conscious; Institutional Complex and Postwar Celebrity.

Following the themes in the related exhibition, In the Library: Selections from the Dwan Gallery and Virginia Dwan Archives provides a deeper look into the Dwan Gallery's evolution from a West Coast outpost for established New York and European avant - garde artists in the early 1960s to one of New York's leading galleries devoted to minimalism, conceptual art, and land art in the late 1960s and early 1970s.

The space is divided into two conjoined galleries, one of which hosts the third solo exhibition of Ryan Travis Christian — whose drawings and paintings are clearly influenced by early Disney animation, George Condo, and the Chicago Imagists — while the smaller gallery hosts text - heavy prints by Steve Reinke.

From the early Foley Artist (1996)-- a celebration of the unseen sound artists of film that scripts an imaginary film entirely through the efforts of two foley artists — to the «bewilderingly intricate» Event for Stage (2015) in which actor Stephen Dillane delivers (in four performances cut into one) scripts given to him, page by page, by the artist, the exhibition examines performance and its relationship to narrative, the imagination and the collective effort of artist and audience in film, theatre, drawing and photogravure.

In the main gallery space will be Timofeev's site - specific installation, which — like his earlier Proxyah series of exhibitions — will most likely evolve into different iterations in the future.

On completion of the film in early January, the second phase of the exhibition will begin with a complete reinstallation of the galleries transforming it into a theater space.

However, the theme also arrives at a time when technology is changing the way in which museums also construct their exhibitions (earlier this year, The Met even employed 3 - D headsets to give visitors an immersive look into Jackson Pollock's «Autumn Rhythm (Number 30)»).

Ranging from her earliest explorations in painting to new works made in the past few years, this survey — the artist's first major exhibition in New York in fifteen years — celebrates a career of exceptional duration and distinction, tracing the development of Kusama into one of the most respected and influential artists of her time.

Ian Monroe's exhibition «The Instantaneous Everything» at Haunch of Venison Berlin draws its title from an earlier work by Ian Monroe, and plays with the proposed notion of a single identifiable moment in which the entirety of a universe comes into being — both real and imagined.

Selected from the artist's estate and public as well as private collections, this exhibition provides the first occasion to view Rothko's contribution to early American modernism as a precursor to his unprecedented transition into abstraction.

The first major investigation into his iconic and groundbreaking early work in more than 20 years, this exhibition surveys the renowned American designer's wood and fiberglass objects, and presents related materials from his archives.

Building on her earlier exhibitions this collection continues a line of inquiry into the ways that the dual influences of harmony and chaos profoundly shape our psyche and sense of individuality.

With much of the work in «The Order of Things» focusing on the individual and cultural identity, the exhibition also includes a large selection devoted to vernacular photography from the late - nineteenth and early twentieth century — offering a glimpse into the day - to - day life of a time that we will never know.

Following on from exhibitions of the work of Garth Evans (2013, curated by Richard Deacon) and Uncommon Ground: Land Art in Britain 1966 - 79 (2014), which between them covered the period from 1959 - 1982, where sculptural practice was very much ephemeral, conceptual, or based on performance, this current exhibition looks at the early 80s, a time when sculptural practice in the UK went back into the workshops to experiment with a completely new approach of assembling.

Produced over a quarter of a century beginning in 1964, the maquettes offer a unique view into the sculptor's creative process: some illustrate the origins of compositions for monumental works, while others document ideas not realized ultimately in large scale or provide fascinating examples of early sculptural ideas that underwent significant transformation as they emerged as full - scale sculptures in the exhibition chronicle Arneson's evolution as an artist and the development of his freewheeling creativity and prodigious imagination.

Highlighting the DMA's exceptional holdings of artwork by female artists working in Europe between the late 18th and early 20th centuries, this exhibition, a complement to Berthe Morisot, Female Impressionist, explores the challenges and limitations experienced by female artists seeking professional careers before women were admitted into fine art academies and / or gained widespread social acceptance.

Bringing together some 80 paintings, collages, and objects, along with a selection of photographs, periodicals, and early commercial work, the exhibition offers fresh insight into Magritte's identity as a modern painter and Surrealist artist.

In this, her third solo exhibition in as many years, Brown's paintings continue to have a raw energy while the graphic and sexually charged depictions of the earlier work has morphed into a more ambiguous vision.

This is perhaps most evident in the artist's practice of incorporating parts of earlier works into newer pieces, including several of the works on view in the current exhibition.

Earlier this year, his multi-floor exhibition inaugurating Gavin Brown's new Harlem mega-gallery, which featured uncanny - valley - born CGI videos of men falling into sinkholes or other forms of unusual misery, seemed to announce a new era of immersive art experience that can compete with TV, film, and the other attention - devouring screen - based sirens.

Everyone then shuffled into the exhibition, which refreshed memories of the semiforgotten and reconfirmed the early promise of those, like Steve McQueen and Wolfgang Tillmans, who are still very much with us.

John Stezaker remembered having been to the exhibition, though he could recall no specific details other than a fire; when Sandy Nairne worked on it, as director of exhibitions at the ICA in the early»80s, he had to negotiate Mona Hatoum's plan to have a video camera in the lavatories live - feeding into the gallery; Pablo Bronstein spoke about it in venomous terms, having applied on every possible occasion but having never been selected.

During Langa's early successful forays into exhibition - making, foreigners often confronted him with rather conventional questions — questions that appeared to be prompted by clichéd or romanticized assumptions about the artist's background as a black South African without formal artistic training.

In early and late works from his oeuvre, the exhibition probes into Guston's ascent to «visionary awareness,» that is, his encounter with complete forms, images and ideas, and their physical manifestation.