Sentences with phrase «larger context of the exhibition»

The individual artworks demand consideration within the larger context of the exhibition, as well as the oeuvre.

Not exact matches

Ursula von Rydingsvard does much better in Madison Square, but she has to compete with large screens for live action from the U.S. Open, and I shall return to her work in context of her gallery exhibition opening in September.

On view through Jan. 21, 2018, the exhibition places their work «in context with one another — and within the larger history of abstract art.»

Conceived by Exit Art's founders, Papo Colo and the late Jeanette Ingberman, this volume is a resource on more than 200 exhibitions, events, festivals and programs featuring more than 2,500 artists, presented within the larger context of the art world.

«This exhibition also will help visitors understand each artist's place in the larger context of American art.»

In the future we look forward to placing their art in historical context through exhibitions, spotlight publications, and special showcases at key art fairs, and to educating curators, collectors, and the public about the place these artists have in the larger scheme of artistic production.»

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.

In 2015, he was the guest curator of The Americas Society's exhibition Moderno: Design for Living in Brazil, Mexico, and Venezuela, 1940 — 1978, which aimed to reposition modern Latin American design within a larger global context.

Books, records, and films like Dara Birnbaum's Pop - Pop Video (1980) of the time complement the exhibition and place the works within a larger social context.

Sadly, the building was demolished and almost all of the art made on the pier no longer exists, but the presence of contemporaneous work in the exhibition makes tangible some of the waterfront art's physicality and its larger aesthetic context.

This major traveling exhibition originated at The Phillips Collection in Washington, D.C., which also «organized an installation of Scully «s early paintings, pastels, watercolors, and photographs to place the large - scale Wall of Light paintings in a larger context and demonstrate Scully «s great proficiency in varied media.»

The exhibition seeks to situate the significance of the past decade within a larger context of human endeavor and life experience through the work of Willie Birch, Dawn DeDeaux, Isabelle Hayeur, Spring Hurlbut, Nicholas Nixon, and Christopher Saucedo.

In keeping with the Center's mission, our exhibitions endeavor to place book art practice within the larger context of contemporary art, exploring the book as object, as media, and as a site of resistance.

The historical exhibitions have revived careers, helping women artists take their place within the context of larger movements.

Until now there has been no opportunity to look at his development within a larger context, and this — his first retrospective exhibition — concentrates on the whole of his work and on his challenging and ambivalent ideas about the photograph as a means of representing the elusive yet fundamental ways in which we perceive the world.

Opened in 2010 in Poland's oldest and third - largest city of Krakow, Museum of Contemporary Art in Krakow (MOCAK) is exhibiting art of the last 20 years within the context of post-war avant - garde and conceptual art, and is currently hosting an anthology exhibition with works from its collection.

Han's studio — an amalgamation of canvases and drawings, as well as the round objects that serve as the artist's inspiration — rubber bands, plastic cups, etc. — has been fully recreated for the exhibition, presenting the unique opportunity to explore and appreciate individual works within the context of the artist's larger body of work, her process, and the environment in which they are born.

The exhibition reestablishes Marisol as a major figure in postwar American art, fosters a broader understanding of her work, and positions it within a larger historical context.

Through the works of its included artists, the exhibition identifies these issues as part of a larger, global context.

The exhibitions addressed contemporary topics but always in a larger context, exploring the cultural, political, and historical aspects of the past that inform the art of the present.

During the symposium, a selection of key experts in the field have addressed these questions and framed them in the wider context of the naissance of the modern and contemporary art museum and the role models of Pontus Hultén and Willem Sandberg, our continuous engagement with the art production of the 1960s, the place of these exhibitions in the wider artistic oeuvres of the participating artists, post-1960s «labyrinthine» exhibition practices at large, and the growing discipline of exhibition history.

But such conflicts, Fürstenberg shows to be superficial when regarded in a larger global context of the group exhibition.

Given the context, an exhibition at Eyebeam Art & Technology Center, I was intrigued by the various possibilities of these little pictographs being transcribed and / or re-codified by artists and designers into interactive platforms, large - scale installation works, digital collage and even being represented in traditional media, like painting and drawing.

The focus on the words makes this an unusual exhibition, but the show is rendered more substantial and gains context by the inclusion of some knockout large paintings from various collections.

Three new works constructed from Slinky ® toys by American artist Tara Donovan, known for her ability to amplify the innate physical characteristics of everyday objects by transforming them into large - scale works of art, will be presented in the fourth Platform — the Parrish Art Museum's exhibition series in which artists are invited to create new work in response to the space, context, and environment of the Museum — on view from July 4 through October 18, 2015.

His current exhibition, There Is No Last Man, at MoMA PS1 in New York provides a sample of his recent production, with a smaller space presenting the text - and - image work Volume Eleven (flaw in the algorithm of cosmopolitanism)(2016), and a larger, improvised theater screening the feature - length film Tripoli Cancelled (2017), both of which had originally been made in the context of documenta 14.

The author thus indicates that no matter what is displayed, merely placing it within the context of a museum exhibition hall, grants the object a hierarchy, and legitimizes it as being worthy of being exhibited and presented to the public at large.

An important aspect of the exhibition program is to explore previously unrecognized work by major figures, and to reexamine this work within the artist's total oeuvre, its relationship to its time, and its place within the larger context of art history.

Aida Makoto, his first large - scale solo exhibition at an art museum, will present an overview of Aida's creative output, including several new works, as well as closely analyzing its social and art historical context.

The first New York survey of Shore's work in 10 years, this exhibition establishes the artist's full oeuvre in the context of his time — from his days at Andy Warhol's Factory through the rise of American color photography and the transition to large - scale digital photography — and argues for his singular vision and uncompromising pursuit of photography's possibilities.

The exhibition presented one of the largest cross-sections of artists working within the movement's diverse vernaculars, ever shown within a museological context in California to date.

The exhibition was born out of the desire to memorialize the installation work that Thek created in Europe and to approach it within a larger historical context.