Sentences with phrase «key international contemporary artists»

Not exact matches

The Campaign for Art: Contemporary includes key figures that emerged in New York, such as Robert Gober, Jeff Koons, and Sherrie Levine; important California artists, such as Mark Bradford, Vincent Fecteau, and Charles Ray; and international figures, such as Doris Salcedo, Thomas Schütte, Luc Tuymans, and Ai Weiwei.

C1S — Coated on one side (paper or print) C2S — Coated on two sides (paper or print) CA2M — Centro de Arte Dos de Mayo (Madrid) CAA — College Art Association CalArts — California Institute for the Arts CACT — Thessaloniki Center of Contemporary Art CAFA — China Central Academy of Fine Arts (Beijing) CAPC — Contemporary Art Museum (Bordeaux) C.G.A.C. — Centro Galego de Arte Contemporanea (Santiago de Compostela) CIFO — Cisneros Fontanals Art Foundation (Miami) CIMAN — International Committee for Museums and Collections of Modern Art CMYK — Cyan, magenta, yellow, and key (black), which are the primary printing colors CNAP — Centre National des Arts Plastiques (Paris) CoBrA — Copenhagen (Co), Brussels (Br), and Amsterdam (A), a free - spirited Marxist avant - garde movement lasting from 1948 to 1951 featuring the artists Asger Jorn, Christian Dotremont, and Constant, whose countries of origins make up the group's name CoCA — Centre of Contemporary Art Znaki Czasu (Torun) CPIF — Centre Photographique d'Ile - de-France CPLY — The name American artist William N. Copley went by as a painter CP — Cancellation proof (the proof made after an edition is finished as evidence that the artist has defaced the plate) C - Print — Chromogenic color print CR — Catalogue raisonné CTP — Computer to plate, digital printing process

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.

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» Expert.

First opened in 1971 by gallerist Bruna Aickelin, Galleria Il Capricorno is renowned for showing key twentieth - century artists such as Lucio Fontana, Piero Manzoni, Cy Twombly and Robert Rauschenberg and, later, international contemporary artists, while attracting legendary figures such as Peggy Guggenheim to its quintessentially Venetian canalside location.

Both have curatorial and scholarly expertise in international contemporary art and a keen interest in the art and artists of Southern California LOS ANGELES, CA — Ann Philbin, Director of the Hammer Museum, has announced the appointment of two new curators, effective spring 2009, filling key vacancies in the Hammer's curatorial team.

The museum's unique collection of international contemporary art is a selective collection of works created by artists who occupy key positions in the field, either because they have created a distinctive visual language, objects and images with great originality and quality, or because they have reinvented important aspects of cultural production.

Alongside newly commissioned essays by leading international scholars and works by contemporary visual artists, key historical texts trace a trajectory of writings across religions, cultures, genders and ages to reflect the breadth of conflicting and constantly shifting attitudes towards the veil.

Contemporary Chinese art has established itself in the international arena of art via certain key artists.

Curated by Daniela Ferrari, art historian and curator at the Museum of Modern and Contemporary Art of Trento and Rovereto (MART), Italy, the exhibition will explore the use of text and the written word in the practice of major Post-War Italian artists including, Vincenzo Agnetti (1926 - 1981), Alighiero Boetti (1940 - 1994), Dadamaino (1930 - 2004), Lucio Fontana (1899 - 1968), Emilio Isgrò (b. 1937), Piero Manzoni (1933 - 1963), Mimmo Rotella (1918 - 2006), Salvo (1947 - 2015) and Mario Schifano (1934 - 1998), alongside key international artists including Cy Twombly (1928 - 2011), Joseph Kosuth (b. 1945), Jannis Kounellis (1936 - 2017), Mel Bochner (b. 1940), John Baldessari (b. 1931) and Tracey Emin (b. 1963).

«The AGO is proud to be a key destination for major international artists like Kiefer; Palmsonntag is an ideal addition to our spring season of contemporary art on the leading edge.»

Museum of Contemporary Canadian Art (MOCCA) Toronto Founded in 1999, MOCCA's brief is to exhibit, collect, and promote contemporary art by Canadian and international artists, whose artworks address the key issues oContemporary Canadian Art (MOCCA) Toronto Founded in 1999, MOCCA's brief is to exhibit, collect, and promote contemporary art by Canadian and international artists, whose artworks address the key issues ocontemporary art by Canadian and international artists, whose artworks address the key issues of our times.

This collection comprises 300 works by 224 key artists in contemporary creation, both on a national and international level, and it includes the main trends of the 21st century as well as the last 30 years of the 20th century.

Key collection areas include Finnish contemporary art, the latest international trends in contemporary art and associated theoretical literature, artists represented in Kiasma collections, and art periodicals.

Laura Roughneen is postgraduate researcher studying the international contemporary art market and a fine art graduate with a key interest in the portrayal of artists at fairs.

The project places its focus on international contemporary emerging artists together with the presentation of key figures from within the Amsterdam cultural scene.

Practices by international contemporary artists are accompanied by historical works that point to key moments of shift in artists» engagement with the flesh and the body: liberated with Carolee Schneemann, feminist with Renate Bertlmann, contaminated with David Wojnarowicz and the multi-cultural with Martin Wong.

The MATRIX format — spontaneous, flexible, small - scale, and short - term — was «key to engendering experimentation on the part of both the artists and the institution, resulting in a mix of exhibitions that defied categorization and kept Berkeley at the forefront of international contemporary art,» according to the BAM / PFA website.

The international contemporary artists included in Pleinairism are rarely considered pleinairistes, but their approach demonstrates key elements of this phenomenological practice.

One of the most significant contemporary artists, she achieved international recognition with such key works as Everyone I Have Ever Slept With 1963 - 95 (1995, destroyed 2004) and My Bed (1998) for which she was shortlisted for the Turner Prize and is currently on display at Tate Britain alongside works by Francis Bacon.

28 Apr 2016 07 May 2017 IMMA Collection: A Decade IMMA, as the national cultural institution for collecting modern and contemporary art, aims to acquire examples of the most significant Irish art of the day as well as key works by international artists many of whom have been part of the museum's temporary exhibition and residency programmes.

Bringing together painting, sculpture and video from throughout Lichtenstein's career, this exhibition constitutes a key body of work, drawn from ARTIST ROOMS — a collection of international modern and contemporary art, established through the d'Offay Donation in 2008, and jointly owned by Tate and the National Galleries of Scotland — alongside major loans from both institutions and the Roy Lichtenstein Foundation.

Twenty Years of documenting the Artist's Voice March 7 - 8, 2013 at the Solomon R Guggenheim Museum, New York Carol Mancusi - Ungaro was a key speaker at the International Network for the Conservation of Contemporary Art — North America (INCCA - NA) Artist Interview Methodology Workshop