Sentences with phrase «large number of exhibitions»

Since then he has presented a large number of exhibitions at regular intervals, and his oeuvre has been the object of constantly renewed interest.

In cooperation with international curators, the gallery has developed a large number of exhibitions based on sub-cultural and urban movements such as street art.

That same year, Round established the decorative arts company The Grantchester Pottery at Wysing, with fellow residency artist Phil Root, and subsequently both The Grantchester Pottery and Round have contributed to a large number of exhibitions and events at Wysing.

Outside of the Reina Sofía she has curated a large number of exhibitions, including solo shows by Valie Export and Lotty Rosenfeld, and group exhibitions in institutions such as the former Whitney Museum (Connecticut), CIFO (Miami), ArtPace (San Antonio), Museo Vostell (Carceres), Argos (Brussels), Centro Atlántico de Arte Moderno (Canary Islands), Centro Andaluz de Arte Contemporaneo (Seville), Itau Cultural (São Paulo), and New York University 80WES, among many others.

Not exact matches

Asia's largest and the 4th biggest food innovation exhibition in the world, SIAL China 2017 concluded at Shanghai New International Expo Center on May 19th with a record number of visitors, exhibitors and exhibition squares.

Not only is it an exhibition but also a process, one of active participation among a large number of players around the theme of Feeding the Planet, Energy for Life.

He has now completed a large number of paintings for the exhibition.

Thus, an exhibition now on view at Lori Bookstein Fine Art in New York that showcases a number of Müller's mature, large - scale paintings is a welcome, if short lived, opportunity to see his monumental Abstract Expressionist allegories.

There have been a large number of international exhibitions of his work since his first solo exhibition at the Frye Art Museum in Seattle, USA, 2012.

Designed by the MNBAQ and organized in partnership with the Art Gallery of Ontario (AGO), supported by the Joan Mitchell Foundation in New York and the Estate of Jean - Paul Riopelle in Montréal, the exhibition mainly presents large - format paintings, a number of works on paper and archival documents from more than 30 French, Canadian and American lenders, private and museum collections.

In addition, Hollein has organized a number of major exhibitions in modern and contemporary art, larger survey shows, and special projects such as the American pavilion at the Seventh Venice Architecture Biennale (2000) and the Austrian pavilion at the Venice Art Biennale (2005).

The exhibition makes the most of Tate St Ives» expansive new display areas to show a number of Heron's large - scale paintings, and marks the evolution in his visual language, aesthetic sensibility and practice.

A number of UK shows are celebrating black British art, and large - scale exhibitions of Merce Cunningham and Lygia Pape are planned in the US

We framed a number of pastel works on paper for this exhibition which hang alongside large - scale works on canvas.

In his November 1952 exhibition at the Sidney Janis Gallery in New York City Pollock showed Number 12, 1952, a large, masterful stain painting that resembles a brightly colored stained landscape (with an overlay of broadly dripped dark paint); the painting was acquired from the exhibition by Nelson Rockefeller for his personal collection.

However, very little of the exhibition could actually be seen due to the large number of visitors, who had already gathered in front of the exhibition space an hour before the opening.

They are joined in Gioni's exhibition — which features more than 150 artists — by an unusually large number of mid-career and senior British figures, many of them women.

The fourth floor of the exhibition will feature a number of large - scale works by Bayrle, including his monumental Flugzeug (Airplane)(1984), presented alongside his recent kinetic sculptures made of repurposed automobile parts repeatedly reciting the rosary, as in his much - celebrated inclusion in dOCUMENTA 13 (2012).

Rivas, who has worked in the museum sector since 2002, has been involved with a large number of major exhibitions in the US, Europe, the Middle East, and Latin America.

Following the exhibition, the 21C Museum purchased a large number of his pieces for the museum's permanent collection.

The exhibition will present a number of large, heavily textured and abstract paintings, forming a contextual backdrop to the ceramic and bronze works which have played a crucial role in the artist's practice since the mid-1990s.

He has curated a number of large international exhibitions including the Biennale of Sydney (1998), Facts of Life: Contemporary Japanese Art, Hayward Gallery, London (2001), Quotidiana, Castello di Rivoli, Turin (1999), Tate Triennial (2003), Shanghai Biennale (2006), Sharjah Biennial (2007), Negotiations, Today Art Museum, Beijing (2010) and the Guangzhou Triennial (2012).

The exhibition also places side by side the largest number of Matisse's famous Blue Nudes ever exhibited together.

The trendsetting exhibition program is supplemented with a large number of activities like artist talks, performances, concerts and film screenings.

Meanwhile, the David Zwirner gallery is celebrating its new representation of the Judd Foundation with an exhibition of nine large anodized boxes made in Switzerland in 1989 and never before shown in such numbers in the United States.

Baselitz's first solo exhibition at White Cube Bermondsey will span the entire gallery space, and will include the large - scale paintings, but also a bronze sculpture and a wide number of works on paper.

The Paris show is larger than the two preceding, in terms of both exhibition space and number of works exhibited.

Featuring five typologies of industrial structures, as well as a number of single, large - scale photographs, the exhibition at Sprüth Magers

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.

She has curated a number of large - scale exhibitions of film and video including Scream and Scream Again: Film in Art and Into the Light: The Projected Image in American Art 1964 - 1977, awarded best thematic exhibition in New York City by the International Association of Art Critics.

The paintings, works on paper, mixed - media collages, and photographs feature a number of purchases, including Audrey Flack's large oil and acrylic canvas, World War II (Vanitas); two elaborate mixed - media collages by Mickalene Thomas; textile artist Sonya Clark's Unraveling; photographs of performance artist Cassils» Becoming an Image; photographs related to Leah Modigliani's Morris Gallery exhibition The City in her Desolation; and works on paper by Fernando Orellana.

After graduating in 1960 and before her tragically early death in 1966, her collages and large bright canvases were exhibited in a number of group shows and in her own solo exhibition at the Grabowski Gallery in London.

Eagle - eyed visitors to «Hot Cottons,» Magali Reus's first solo presentation in Scandinavia — and the London - based Dutch artist's largest exhibition to date — will have noticed a short column of numbers, ascending in regular intervals, discreetly incised into the plastered walls at the gallery's threshold.

Now recognised as the crowning moment of Pollock's career, this exhibition contained several of his greatest large - scale masterpieces, all of which were painted that year: Number One, 1950 (Lavender Mist)(National Gallery of Art, Washington, D.C.); Number 27, 1950 (Whitney Museum of American Art, New York); Autumn Rhythm (Number 30)(Metropolitan Museum of Art, New York); One: Number 31, 1950 (Museum of Modern Art, New York); and Number 32, 1950 (Kunstsammlung Nordrhein - Westfalen, Düsseldorf).

Thematic essays come together with a select number of object entries to place individual works of art within a larger historical context, and the whole is lavishly illustrated with one hundred images from the exhibition itself.

Wilke has also participated in a large number of significant group exhibitions including the forthcoming exhibition Virginia Woolf: an exhibition based on her writing, Tate St Ives (2018); Delirious: Art at the Limits of Reason, 1950 - 1980, Met Breuer, New York (2017); Body Talk, Rose Art Museum, Waltham (2017); Feminist Avant - Garde of the 1970s, ZKM, Karlsruhe (2017), travelling to Stavanger Art Museum, Norway and The Brno House of Arts, Brno (2018); I Remember Not Remembering, Scottsdale Museum of Contemporary Art (2017); The Beguiling Siren is Thy Crest, Museum of Modern Art in Warsaw (2017); Performing for the Camera, Tate Modern, London (2016); Revolution in the Making: Abstract Sculpture by Women, 1947 - 2016, Hauser & Wirth & Schimmel, Los Angeles (2016); Americana: Formalizing Craft, Perez Art Museum, Miami (2013); Aquatopia: The Imaginary of the Ocean Deep, Nottingham Contemporary (2013); Human Nature, Los Angeles County Museum of Art (2012); Naked Before the Camera, Metropolitan Museum of Art, New York (2012); Elles: Women Artists from the Centre Pompidou, Seattle Art Museum (2012); The Body as Protest, Albertina Museum, Vienna (2012); Ourselves, Australian Centre for Contemporary Art, Melbourne (2012); The Original Copy: Photography of Sculpture, 1839 to Today, MoMA, New York and elles@centrepompidou, Centre Pompidou, Paris (2010).

Rather than focusing on individual works of a larger number of artists, the exhibition includes 18 artists who, each in his or her own way, is central to the collection.

A number of works were sold, with «Winter, Box Hill Gardens», a large oil that appeared on the exhibition invite and is currently on Michael's website homepage, has been acquired by the City of Whitehorse for the City's Art Collection.

The entries are in, and three artists — Beth Krensky, David Lash, and Jodi Stuart — have been selected from a large number of applicants to have their original artworks on display in conjunction with the 2015 Summer exhibition entitled, «Re: Visioning the West.»

The wooden construction walls, which run through the exhibition, deliberately resemble a market hall or fair, with works displayed on both sides to include the large number of artworks.

As the title of the exhibition suggests the visitor comes into contact with over thirty paintingsa large number of drawings, as well as a selection of sculptures from throughout his career.

Contacted in the midst of hanging the record - breaking number of works in this year's exhibition, she said that «clearly this is the largest we've ever had, and it's just extraordinary.

The exhibition will feature a large number of works including the artist's paintings, collages, metal, bronze, ceramic, fiber, urethane and formica sculptures.

His recent show at the Fondation Beyeler (now at the Louisiana Museum of Modern Art, Humlebæk; until 16 August) hung alongside a major Gauguin exhibition; a mid-career retrospective at the Tate — an accolade for any artist — was accorded him in 2008 when he was still in his 40s; and during this year's Venice Biennale he will show a selection of new works which he summarises laconically as: «Five or six large paintings and quite a number of smaller paintings: some cityscapes, some walls, some figures, some animals.»

Over the years the artist has shown his works in various solo and group exhibition, not to mention the large number of pieces held in numerous public collections spanning from The Museum of Modern Art in New York City, over Albertina in Vienna to Malmö Konsthall in Sweden.

Kiefer's new works for the exhibition will incorporate a number of large - scale paintings and sculptures, including a major installation for the Royal Academy's courtyard.

Presented alongside the original participants of «The Responsive Eye» are a large number of contemporary artists not included in that seminal exhibition, but inspired by it and its alumni mentioned above.

The mirror almost becomes the guiding principle of this exhibition, for which predominantly rarely seen or not previously shown works have been selected, including for instance a large number of re-discovered photographs from the late 1960s and early 1970s.

100,000 people have already visited the hugely popular Lucian Freud Portraits, and last year's BP Portrait Award 2011 exhibition — free entry made possible by BP's sponsorship — received the largest number of visitors for any National Portrait Gallery exhibition (341,050).

In addition to the exhibition in the Hessel Museum, the galleries of the adjacent Center for Curatorial Studies will be used to expand Wrestle to include a number of large - scale installations and significant works from the collection.