Sentences with phrase «key exhibitions on»

Last sold at auction in 1973 at Sotheby's in London, Femme assise has remained in a private collection for over forty years, during which time it has featured in some of the most important international exhibitions of Picasso's work, including key exhibitions on Cubism: Picasso and Braque: Pioneering Cubism at The Museum of Modern Art, New York, in 1989; Picasso: Sculptor / Painter at Tate Gallery, London, in 1994; and Picasso: The Cubist Portraits of Fernande Olivier at the National Gallery of Art, Washington in 2003 - 04.

Not exact matches

For trade visitors, time is spent well focused on meeting key exhibitors without the distractions normally associated with «market bazaar» exhibitions.

Programmes from practising engineers, technologists and key industry speakers are streamed live and / or on demand and include: • Lectures and presentations from major IET events • Product demonstrations and showcases • Interviews with experts from industry and academia • Reports, news and commentary from exhibitions and trade shows • Research seminars from Universities and research Institutions • Training sessions for IET volunteers

Some successful exhibitions even have had key components selected by visitors — voted on in advance or as part of the gallery.

Focusing on artifacts and activities based on the Museum's current special exhibition, The Pelican State Goes to War: Louisiana in World War II, discover the key themes that cross Louisiana's geographic and cultural diversity, review important individuals and events, and learn how the war changed the state for decades to come.

«The exhibition resonates with a key theme of the National Park Service's 100th anniversary, which is to connect our individual lives with the larger world around us through meaningful experiences on park land,» says Christine Lehnertz, superintendent of the Golden Gate National Recreation Area.

And Tourism Australia has expanded its exhibition space by 17 % year - on - year, as it continues to target key source markets such as the US, the UK and Asian countries.

The topic of online versus traditional booking channels will once again be a key focus at the 2013 Arabian Travel Market technology seminar sessions as organiser, Reed Travel Exhibitions, highlights the dramatic shift in consumer mindset over the last 12 months as travellers log on to technology for convenient airline and hotel bookings.

Frida Kahlo: Making Her Self Up will be the first exhibition outside of Mexico to display her clothes and intimate possessions, reuniting them with key self - portraits and photographs to offer a fresh perspective on her compelling life story.

The exhibition focuses on the artist's public mural projects, and also includes several key later paintings.

The upcoming exhibition addresses the recurring themes throughout Fouts» work, such as time, nature, and religious iconography, and includes key pieces from the past decade, alongside new works on view for the first time.

The exhibition will include Looking for the Map 8 2013 - 14, a new work shown in the UK for the first time on display alongside works made in situ by the artist such as the re-making of the key sculpture Ten Kinds of Memory and Memory Itself 1972 as well as international loans from museums and private collections.

Taking place on the 50th anniversary (to the day) of the opening reception for MoMA's 1967 New Documents exhibition, New Documents: Fifty Years Later brings together three key figures who visited the landmark photography exhibition in 1967 and whose critical reflections have shaped our understanding of its legacy.

Major retrospective exhibitions of Bacon's work include the Tate Gallery, London (1962) ON DUPLICATE KEY UPDATE «description «= VALUES («description «-RRB-; the Grand Palais, Paris (1971) ON DUPLICATE KEY UPDATE «description «= VALUES («description «-RRB-; and the Metropolitan Museum of Art, New York City (1975).

Focusing on two key works — the Pietà and the Raising of Lazarus — this exhibition examines the artistic fruits of their camaraderie, which was borne in part out of a rivalry with the High Renaissance painter Raphael.

In addition to curating the U.S. pavilion at the 2017 Venice Biennale (along with Christopher Bedford), Siegel has curated exhibitions and written several key books on Abstract Expressionism and post-war American art.

In this exhibition, key works by Bacon and Warhol will engage in an intelligent dialogue with those by some of the many different painters who have worked on the borderline between these two artistic languages, developing their own vocabularies with an emphasis on the manipulation and transgression of images, creating direct and indirect actions and narratives.

This exhibition features works by caricaturist and cartoonist Thomas Nast for historical context along with works by award - winning editorial cartoonists Matt Davies, Walt Handelsman, Mike Keefe, Steve Kelley, and Signe Wilkinson that offer commentary on our current national election process, candidates, and key issues.

The exhibition combines a chronological display with a thematic approach, structured in a series of major chapters in the artist's career, with emphasis on two key moments: the period from 1923 to 1933, when Torres - García participated in various European early modern avant - garde movements while establishing his own signature pictographic / Constructivist style; and 1935 to 1943, when, having returned to Uruguay, he produced one of the most striking repertoires of synthetic abstraction.

THE MOHN AWARD │ Jury award honoring artistic excellence Created in conjunction with the inaugural Made in L.A. exhibition in 2012, the $ 100,000 Mohn Award will be granted over two years to an artist from the exhibition and will be accompanied by the publication of a monograph on the artist's work, including essays and interviews, that will be distributed to key influential international curators, critics, gallerists, museums, and collectors.

On the occasion of the exhibition dedicated to Fernand Léger, the Centre for Fine Arts is inviting the Belgian artist Benoit Platéus (° 1972) to present a series of works created in New York, a key ci...

Curated by MOCA Director Jeffrey Deitch and Associate Curators Roger Gastman and Aaron Rose, the exhibition will trace the development of graffiti and street art from the 1970s to the global movement it has become today, concentrating on key cities such as New York, Los Angeles, San Francisco, London, and Sao Paulo, where a unique visual language or attitude has evolved.

The exhibition is presented in four chronological sections displaying key works including rarely seen textiles, drawings and animated films.Tickets on sale from 10 November 2016

Following the publication of «We Wanted a Revolution: Black Radical Women, 1965 — 85: A Sourcebook,» which «focused on re-presenting key voices of the period by gathering a remarkable array of historical documents,» a second volume has been released to further amplify the exhibition.

Some of the key artistic developments highlighted in that show can be seen in this exhibition of works on paper.

May 10 — September 25 2011 The first special exhibition of the Daimler Art Collection to be held in the Mercedes - Benz Museum (built by UN Studio), which first opened its doors in 2006, showcases key exhibits from the collection as well as new work commissioned by renowned international artists in various thematic stages — integrated into the company's history on a floor area of 16,500 m ².

The work will be one of several key Bacon paintings on loan to Tate Britain for the exhibition All Too Human.

Audrey Malloy talks with Karen Seapker about her show «Sentinels,» a high - key exhibition of monolithic paintings that ruminate on temporality.

One of the exhibition's key features is a film about the former Syrian cosmonaut Muhammed Ahmed Faris, who in 1987 with the Soviet spacecraft Soyuz TM - 3 went on a seven - day journey to the space station Mir.

For her part, Macarena Gómez - Barris used Chicanx repeatedly in her catalog essay on the photographer Laura Aguilar, a key artist in a West Hollywood exhibition about the area's pre-AIDS «queer» art scene.

As Curator - at - Large, she will work with the Tang's team to plan and implement exhibitions and artist projects, produce inventive programs at the Tang and in New York City, expand interdisciplinary research and scholarship, advise the Museum on key acquisitions, and share her expertise with Skidmore faculty, staff, and students.

In addition to providing a comprehensive account of Bradford's career to date, with an emphasis on his work as a painter, this exhibition will foreground new works, including an environmental installation with sound entitled Pinocchio Is on Fire, which examines key moments in the history of the black community in Los Angeles from the early 1980s to the present.

Rauschenberg is currently the subject of a major retrospective exhibition at London's Tate Modern (until April 2017, later travelling to the Museum of Modern Art, New York), where a key room is dedicated to the «Silkscreen Paintings» — many of them on loan from major museum collections.

A New Section: The Nineties Selected by Geneva - based curator Nicolas Trembley, galleries will revisit seminal exhibitions from the 1990s, highlighting key collaborations between dealers and artists that have had a lasting impact on contemporary art.

With almost 100 works on display, this mammoth exhibition has been expertly curated in a manner that doesn't follow the traditional chronological route; «The works are grouped into key sequences, allowing connections and common themes to emerge and to promote a comprehensive understanding of Jones's wide - ranging artistic practice.»

Sitting on the heights of the historic hill of La Croix - Rousse in Lyon, La Salle de Bains has, over the past 15 years, become a key alternative not - for - profit exhibition space for international contemporary artists in the city's cultural landscape.

The exhibition highlights key events, starting with the March on Washington in 1963, and considers cultural influences such as music, literature, and sports, on the artists of the time.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquExhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquexhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquExhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

That same year, a key example of Goode's milk bottle painting series appeared on the cover of Artforum; another commences CAM's exhibition.

Bridget Carberry was crucial to developing the framework for this online exhibition catalogue, and Emily Robbins and Ana Fox - Hodess played a key role in documenting the works on view.

A trio of exhibitions, on view from June 30 through September 30, 2018, focus on three key chapters in the Civil Rights Movement.

While assessments of the Pre-Raphaelite movement remain largely London - centric, this exhibition draws on enlightening new research — supported through the Art Fund's Jonathan Ruffer curatorial grant — to assert that Liverpool was in fact a key northern hub during the Victorian era.

After amassing a formidable archive of their own, they decided to focus the exhibition only on the years 1960 - 1985, a time period that encompasses both a key period in the history of art and a particularly tumultuous era in the political history of many of the countries represented in the show.

Mickalene Thomas's rejoinder - the crux of her first solo museum exhibition, «Origin of the Universe,» which opened at the Santa Monica Museum of Art and is currently on view at the Brooklyn Museum - is rooted in this retrospective, and the physical fact of confronting the panel seems key to what she makes of it: three versions of the original (all works 2012), with herself and her partner alternately serving as the models for the cropped, attenuated figure disappearing under the folds of rumpled bed linens.

The magazine highlighted key moments in the development of Modern Art, such as the Carnegie International Exhibition in 1937, A.E. Gallatin's Museum of Living Art in 1938, the Museum of Modern Art's roundtable on Modern Art featuring 15 major art critics in 1958, The Downtown Gallery founded by Edith Halpert, and The Jewish Museum's Primary Structures exhibitioExhibition in 1937, A.E. Gallatin's Museum of Living Art in 1938, the Museum of Modern Art's roundtable on Modern Art featuring 15 major art critics in 1958, The Downtown Gallery founded by Edith Halpert, and The Jewish Museum's Primary Structures exhibitionexhibition in 1967.

«It's not a key,» Enrique Martínez Celaya warns of the text Empires: The Writing, which accompanies his first solo exhibition at Jack Shainman, now on view at the gallery's two venues in Chelsea under the titles Empires: Land and Empires: Sea.

Key's exhibition was organized by P.S. 1 Curatorial Advisor Nick Stillman and is on view from February 11 — April 16, 2007.

The exhibition (21 October 2017 — 1 January 2018) will provide visitors with the opportunity to experience six of Kusama's infinity rooms alongside large - scale installations and key paintings, sculptures and works on paper from the early 1950s to the present.

The exhibition included letters, drawings, photographs, notebooks, and films related to key projects by Matta - Clark drawn from the archive of the Canadian Centre for Architecture in Montréal, and focused on the social and creative aspects of his approach — as he described it, of «making space without building it.»

Reflecting on the artists own classical training as a painter, Mahmoud Khaled's exhibition revolves around six key terms that define art practice.