Sentences with phrase «introduction to an exhibition of»

A casa é o corpo serves as the perfect introduction to an exhibition of Brazilian installation art not only because it was an

Not exact matches

Want a quick glimpse of what A Startup Store looks like in practice, as well as an introduction to the companies that participated in the first exhibition?

I was able to dive into classes that mattered to me, like Fundamentals of Textiles, Introduction to the Fashion Industry, Creative Fashion Presentations, Product Development, Fashion Merchandising, Art History, Visual Displays and Exhibition, Advertising Copywriting, Video Studio Production, Internet Marketing, Introduction to Business Law, Brand Management, Public Relations, and Event Planning to name a few.

Out of Eden Walk Photography Exhibition Project: Introduction Pulitzer Center Education This project outline uses Paul Salopek's Out of Eden Walk to engage students in reflections and analysis of how a «slow approach» to journalism in their own communities can enlighten larger issues facing their cities.

As noted by curator George Kinghorn, in his introduction to Freeman's current exhibition Three Chords, the «forms that inhabit these canvases (several of which are elegantly shaped) create dynamic interactions — the hard - edged thickened lines quiver, rotate, stretch and sag.»

In the introduction to her much - needed and admirable exhibition Black Paintings at Haus der Kunst, Munich (2006), Stephanie Rosenthal states that the creation of these paintings «revolve [d] around not being able to see (anything), or focus [ed] on the inwardly directed gaze of the viewer or on the artist's own existential state» (2).

Patrick Heron wrote an introduction to a Wynter exhibition catalogue for the New Art Centre, March — April 1982 and devoted most of his text to a consideration of the sort of shapes and marks most identified with the artist.

Galerie Perrotin's current exhibition is a spectacular introduction to the work of a largely unsung master of 20th century painting.

Diebenkorn speaks of his family background and early life; his education and his service in the Marine Corps; his introduction to modernism; his early abstract work; the formation of the Bay Area figurative school and the relationship between art in New York and in the Bay Area; teaching; critical and public reaction to his work; important exhibitions of his work; vacillating between the figurative and the abstract in his painting; his working methods.

They provide a comprehensive but not overwhelming introduction to the exhibition's theme of abstract expressionism as an amalgam of east and west; here, each work carries weight and can be attended to.

Kerry James Marshall's introduction of Rythm Mastr at the 1999/2000 Carnegie International took three forms: the exhibition, the single - panel appearances in the Pittsburgh Post-Gazette, and stand - alone copies printed on newsprint distributed to the public.

The exhibition featuring French - Algerian artist Kader Attia, the winner of the latest edition of the Joan Miró Prize, is an introduction to his output from the past few years.

Inspiration / [N. Blaine [and others]-RSB--- Introduction — 151: The «9th St.» Exhibition, the First Annual: the emergence of the New York School — Documentation of artists» participation in the New York Painting and Sculpture Annuals, including the «9th St.» Exhibition and the Stable Gallery Annuals, 1951 - 1957 — From downtown to uptown: The Ninth Street Show continued as the New York Painting and Sculpture Annuals, at the Stable Gallery, 1953 - 1957 — Documentation of artists» participation in the New York Painting and Sculpture Annuals, at the Stable Gallery, 1953 - 1957 — Complete index of artists» participation in the New York Artists» Annuals, 1951 - 1957 — Fine arts photographers and the New York School — Statements, artwork and biographies from the artists of the «9th St.» Show, 1951 and the Second Annual, 1953 Stable Gallery, NY.

Art Brut in America: The Incursion of Jean Dubuffet is the first major U.S. exhibition to explore the introduction of art brut to America.

In the catalogue introduction to the exhibition Fry argued that the post-impressionist creates, not a pale response to actual appearance, but a new reality.18 He argued that the logical extreme of such a method would be the complete renunciation of natural form and the creation of a purely abstract language, a visual music.

Lectures Introduction to the Exhibition March 4 at 2:00 p.m. East Building Auditorium Sarah Greenough, senior curator and head of the department of photographs, National Gallery of Art.

Events Programme A programme of talks and performances expand on the themes of the exhibition, from an introduction to geometric abstract art by Whitechapel Gallery director and exhibition co-curator Iwona Blazwick (27 Feb, 3 pm) to a major two - day symposium on abstraction and society bringing together experts in the field including Doug Ashford, Tanya Barson and Briony Fer (Fri 13 & Sat 14 Mar, 11.30 am — 6 pm).

Another of Walker's students was Arthur Watson, now president of the Royal Scottish Academy; in the introduction to Downie's exhibition catalogue for her 2013 show Walk Through Resonant Landscape, the consequence of her Chinese residency and travels, Watson observes the contribution made by Walker to her students» ability to perceive and explore the unique landscape of Scotland and for the primacy of drawing: «With a base on the island of Tiree, [Frances Walker] ranged across the West Coast and Western Isles interrogating the coastal margins — the rhythm of pebbles across a storm beach or the fractured architecture of a rocky foreshore, meticulously recorded through a vocabulary of precise but unforgiving ink lines.»

Åsmund Thorkildsen, curator of that exhibition, gives an introduction to Sherman's artistic practice based on his in - depth knowledge of the Postmodern period in American art history.

This publication will feature an introduction to the Meppayil's new work as well as images of the exhibition in New York and of tw / one (2016), her large - scale installation at Art Basel.

«Dubbed an «exhibition of new Chicago art,» this group show is the quickest introduction to the local scene in a single gallery.

SV: The form the Whitechapel Gallery exhibition Introduction to Nyau Cinema takes is evocative of a magazine spread.

Seen together, the sculptures in the exhibition should offer an introduction to Truitt's work and provide a sense of her unique artistic achievement.

Online exhibition Listen to the exhibition audio guide narrated by co-curator and acclaimed novelist Colm Tóibín with an introduction by Colin B. Bailey, Director of the Morgan Library & Museum.

Jacky Klein presents an introduction to Tate Modern's dazzling exhibition of Matisse's cut - outs.

It includes a reassessment of Rauschenberg's work as a sculptor by author and painter Mimi Thompson, an essay by Trisha Brown, an illustrated exhibition history, a preface by Philip Rylands and introduction by Susan Davidson that focuses on Rauschenberg's relationship to the Guggenheim and the artist's engagement with Venice in particular.

FEATURED FOUR YEARS AGO in the Metropolitan Museum of Art exhibition «Reconfiguring an African Icon: Odes to the Mask by Modern and Contemporary Artists from Three Continents,» Willie Cole recently returned to the museum to talk about his introduction to African art.

From introductions to little - known or forgotten artists, to reappraisals of modern giants and old masters, it has been a rich and rewarding year in art: in no particular order, here are just a few of the exhibitions that our critics have enjoyed in 2016.

Inspired by the spoken, written, and performed introductions Conrad regularly used to help frame screenings and presentations of his works, many of which are incorporated into the exhibition itself, it shows Conrad to be an unparalleled innovator in the mediums of painting, sculpture, film, video, performance, and installation, tenaciously working to challenge the boundaries between artistic categories.

Published on the occasion of the exhibition A Portrait of Our Times: An Introduction to the Logan Collection, held at the San Francisco Museum of Modern Art (September 29, 1998 — January 3, 1999)

Listen to the exhibition audio guide narrated by co-curator and acclaimed novelist Colm Tóibín with an introduction by Colin B. Bailey, Director of the Morgan Library & Museum.

Eduardo Paolozzi, talks and events (February — May) A number of events expand on the themes explored in the exhibition, including an evening of performance featuring artist Anthea Hamilton (30 March, 7 pm, # 5 / # 3.50 concs) an introduction to Paolozzi with the exhibition curator Daniel F. Herrmann (18 February, 3 pm, # 12.50 / # 10.50 concs), and a day - long symposium inspired by the artist's 1985 exhibition Lost Magic Kingdoms and Six Paper Moons from Nahuatl (25 March, 2 — 6 pm, # 15.50 / # 13.50 concs).

In this video, Emi Fontana, an Italian curator who lives in Los Angeles and worked closely with Mike Kelley during the last fifteen years of his life, provides us with a short introduction to the exhibition.

In this video we attend the opening reception of the show, and Alessia Stilli provides us with an introduction to the exhibition.

The exhibition is comprised of five works, including Trembling Time (2001), Kings of the Hill (2003), Low Relief II (2004), Wild Seeds (2005), and Summer Camp (2007), which provide an introduction to the past seven years of Bartana's artistic practice.

Selected Bibliography «No Border: Zheng Xuewu Solo Exhibition,» Time Out Beijing, Beijing, August 2007; Jonathan Goodman, «Zheng Xuewu at Art Projects International,» Art Asia Pacific, reproduction, New York, Fall 2005; Xenia Tetmajer von Prxerwa, Zheng Xuewu's Lone Journey into Abstraction, exhibition catalog, Redgate Gallery, Beijing, 2004; Zheng Zuoliang, My View of Xuewu Print, catalog essay, Beijing, 2003; Xenia Tetmajer von Prxerwa, A Labyrinth of Reality, catalog essay, Beijing, 2003; Judith Farquhar, Introduction to Zheng Xuewu's Work, exhibition catalogue, reproductions, Art Scene China, Shanghai, 2003; Song Xiaoxia, «The Visual World in the Eye of the Urchin,» Chinese Art, 1999; Li Chun, «To the Tune of a Different Drum: The Paintings of Zheng Xuewu,» Central Academy of Fine Arts, Beijing, SepteExhibition,» Time Out Beijing, Beijing, August 2007; Jonathan Goodman, «Zheng Xuewu at Art Projects International,» Art Asia Pacific, reproduction, New York, Fall 2005; Xenia Tetmajer von Prxerwa, Zheng Xuewu's Lone Journey into Abstraction, exhibition catalog, Redgate Gallery, Beijing, 2004; Zheng Zuoliang, My View of Xuewu Print, catalog essay, Beijing, 2003; Xenia Tetmajer von Prxerwa, A Labyrinth of Reality, catalog essay, Beijing, 2003; Judith Farquhar, Introduction to Zheng Xuewu's Work, exhibition catalogue, reproductions, Art Scene China, Shanghai, 2003; Song Xiaoxia, «The Visual World in the Eye of the Urchin,» Chinese Art, 1999; Li Chun, «To the Tune of a Different Drum: The Paintings of Zheng Xuewu,» Central Academy of Fine Arts, Beijing, Septeexhibition catalog, Redgate Gallery, Beijing, 2004; Zheng Zuoliang, My View of Xuewu Print, catalog essay, Beijing, 2003; Xenia Tetmajer von Prxerwa, A Labyrinth of Reality, catalog essay, Beijing, 2003; Judith Farquhar, Introduction to Zheng Xuewu's Work, exhibition catalogue, reproductions, Art Scene China, Shanghai, 2003; Song Xiaoxia, «The Visual World in the Eye of the Urchin,» Chinese Art, 1999; Li Chun, «To the Tune of a Different Drum: The Paintings of Zheng Xuewu,» Central Academy of Fine Arts, Beijing, September 199to Zheng Xuewu's Work, exhibition catalogue, reproductions, Art Scene China, Shanghai, 2003; Song Xiaoxia, «The Visual World in the Eye of the Urchin,» Chinese Art, 1999; Li Chun, «To the Tune of a Different Drum: The Paintings of Zheng Xuewu,» Central Academy of Fine Arts, Beijing, Septeexhibition catalogue, reproductions, Art Scene China, Shanghai, 2003; Song Xiaoxia, «The Visual World in the Eye of the Urchin,» Chinese Art, 1999; Li Chun, «To the Tune of a Different Drum: The Paintings of Zheng Xuewu,» Central Academy of Fine Arts, Beijing, September 199To the Tune of a Different Drum: The Paintings of Zheng Xuewu,» Central Academy of Fine Arts, Beijing, September 1994.

The exhibition, curated by the University of Arkansas's Alissa Walls, Ph.D, Assistant Professor of Art History, also features a library section, which serves as an introduction for those not as familiar with the artist's work, as well as an opportunity for those desiring a deeper level of investigation to study further.

Thurs, May 25, 7PM Swiss Institute / CONTEMPORARY ART, New York 102 Franklin Street, Front 1, New York NY 10013 Please join us for an evening to celebrate the launch of The Exhibitionist: Journal on Exhibition Making / / The First Six Years with an introduction by founding editor Jens Hoffmann, a discussion of the history of the history of exhibitions with Amara Antilla, and a roundtable conversation on exhibiting exhibitions with Ruba Katrib, Mia Locks and Lauren Cornell, moderated by Piper Marshall.

In this video, we have a look at the exhibition, and the curator of the show, Thibaut Verhoeven, provides us with an introduction to the artist and his work.

The exhibition will be accompanied by a fully illustrated two - volume publication: a catalogue with an introduction by the three curators, and an essay by Briony Fer, and a subject index, a second volume in the form of a glossary that is devoted to important ideas in Horn's practice or that relate to individual works.

This exhibition is an introduction to a series of ongoing exhibitions at Locks Gallery focusing on Rauschenberg's legacy in anticipation of a forthcoming catalog.

As an introduction to the project «L'Europe des Artistes» which will end up as a large exhibition where artists from all over Europe will be presented the Astrup Fearnley Museum initiated what will be a series of presentations, discussions and related events with a presentation of the contemporary art scene in France.

While Goodman Gallery Projects closed at Arts on Main in 2012, the [Working Title] exhibition series exists as a resolution to the Goodman Gallery's continued interest in independent and collaborative projects and allows for the continuation of previous projects and relationships, as well as the introduction of new artists, theorists and creatives into the Goodman Gallery.

Curator Bernice Rose remarks in an introduction to this exhibition: «The capacities for the transformation of reality were later reinforced and enlarged by television, video and the computer, and its concomitant new space, the Internet.

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.

A colleague and friend, Rothko wrote the introduction to Clyfford Still's first exhibition of paintings at Peggy Guggenheim's Art of This Century Gallery in 1946.

One of the largest exhibitions MoMA has ever lavished on an artist, the Polke show — titled «Alibis» — will serve as a vital introduction to his work (which most Americans have only seen in dribs and drabs) and help viewers understand how his early importation of Pop techniques helped shape the work of Kippenberger, Oehlen, and the other standard - bearers of visionary postwar German painting.

In the introduction, Jennifer Blessing, Curator of Photography at the Guggenheim Museum, sketches a theoretical framework for the exhibition, linking the recent focus on Northern locales to the qualities of the photographic medium itself.

In this new work, introduction to his upcoming exhibition in the fall, a discarded umbrella alters our perception of an otherwise abstract color - field painting.

Accompanying the color plates are an introduction and chronology of the artist's work by exhibition curator Rachel Hooper, an essay tracing Coolquitt's connections to other contemporary artists and designers by Frieze magazine senior editor Dan Fox, an in - depth exploration of Coolquitt's concepts and process by art writer Jan Tumlir, an interview with Coolquitt by director and chief curator of White Columns Matthew Higgs, and Coolquitt's biography and bibliography.