Sentences with phrase «look in smaller galleries»

One simply needs to get out of NY and look in smaller galleries throughout the U.S. Lots of great works to be seen!

Not exact matches

I stopped a small gallery here in Biloxi today to look around and I had a nice conversation with the guy who was there.

In the case of a lesson planning process, teachers could work with other teachers in a grade band in groups of 3 - 5 teachers and then share their work with the large group in one of several ways: a gallery walk of a product, small group presentations to the large group, or forming several K - 12 groups that have representatives of each grade band to look at and provide feedback on the worIn the case of a lesson planning process, teachers could work with other teachers in a grade band in groups of 3 - 5 teachers and then share their work with the large group in one of several ways: a gallery walk of a product, small group presentations to the large group, or forming several K - 12 groups that have representatives of each grade band to look at and provide feedback on the worin a grade band in groups of 3 - 5 teachers and then share their work with the large group in one of several ways: a gallery walk of a product, small group presentations to the large group, or forming several K - 12 groups that have representatives of each grade band to look at and provide feedback on the worin groups of 3 - 5 teachers and then share their work with the large group in one of several ways: a gallery walk of a product, small group presentations to the large group, or forming several K - 12 groups that have representatives of each grade band to look at and provide feedback on the worin one of several ways: a gallery walk of a product, small group presentations to the large group, or forming several K - 12 groups that have representatives of each grade band to look at and provide feedback on the work.

Hotel University, located right in the cradle of the culture of the region, near the oldest university in the world, next to the Municipal Theatre... Read more and the National Art Gallery, It is a real living in the city for who is looking for an elegant and warm atmosphere that only small structures can offer.

You see, by examining how the blue - chip galleries of an arts metropolis utilize social media and social networking tools, I thought perhaps artists who are represented by smaller galleries (or themselves) could glean some wisdom - after all, the galleries I looked at do a very brisk business and many have been around since before Facebook was even a glimmer in a Harvard student's eye - on what should and shouldn't be a part of their online marketing strategy.

Selected Group Exhibitions 2016 — «Faculty Exhibition», Evanston Art Center, Evanston, IL 2015 — «Wish List», Gallery Project, curated by Gloria Pritschet and Rocco DePietro, Toledo, Ohio and Ann Arbor, Michigan 2015 — «Roots», Linda Warren Projects, Chicago, IL 2015 — Noyes Cultural Arts Center, Evanston, IL 2015 — «Faculty Exhibition», Evanston Art Center, Evanston, IL 2014 — «National Contemporary Painting», Weatherhead Gallery, University of Saint Francis, Fort Wayne, Indiana 2013 — «31st Juried Art Show», Wilmette Public Library, Wimette, IL 2012 — «30th Juried Art Show», Wilmette Public Library, Wimette, IL 2012 — «Narrative Fragments», Quidley & Company, Boston, MA 2011 — «Juxtaposed», juried by Alyssa Monks, Six Summit Gallery, Ivoryton, CT 2011 — «Paintworks», Gowanus Ballroom, curated by Kristin Kunc, Courtney Jordan & Hyeseung Marriage - Song, Brooklyn, NY 2011 — «Space Invaders», co-curated by Virginia Rose and John Nickle, Rose Contemporary, Portland, ME 2011 — «Cinematic Bodies», curated by Jamie Adams, Zolla Lieberman Gallery, Chicago, IL 2010 — «Snow», XL Projects, Syracuse University Gallery, Syracuse, NY 2010 — «Women Painting Women», Robert Lange Studios Gallery, Charleston, SC 2010 — «Remnants», Fuse Gallery, New York, NY 2010 — «Highlights» Island Weiss Gallery, New York, NY 2010 — «Conceptually Sound», Medialia Rack and Hamper Gallery, New York, NY 2010 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2010 — «Looks good on Paper», DFN Gallery, New York, NY 2009 — «Water / Bodies», Eden Rock Gallery, St. Barths, F.W.I. 2009 — «Summer Exhibition 2009», curated by Eric Fischl, Matthew Flowers, Anne Strauss, New York Academy of Art, NY, NY 2009 — «Old School», Jack the Pelican, Brooklyn, NY 2009 — Caldwell Snyder, San Francisco, CA 2008 — «Small Works», Sarah Bain Gallery, Anaheim, CA 2008 — «City Lights», George Billis Gallery, New York, NY 2008 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2008 — «Take Home a Nude» Art Auction at Phillips de Pury & Company, New York, NY 2007 — «Summer Exhibition 2007», curated by Eric Fischl, Jenny Saville, Vincent Desiderio, New York Academy of Art, NY, NY 2007 — «Four Handed Lift: Advocacy, Art, Spirit and Community», Moti Hasson Gallery, New York, NY 2007 — «Small Works», Sarah Bain Gallery, Anaheim, CA 2008 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2006 — «Contemporary Imaginings, The Howard A. and Judith Tullman Collection», Mobile Museum of Art, Mobile, Alabama 2006 — «Night of a Thousand Drawings», Group Show, Artist's Space, New York, NY 2006 — «AAF», shown by DFN Gallery, New York, NY 2006 — «Salon 2006», New York Academy of Art, New York, NY 2006 — «LA Art Fair», shown by Linda Warren Gallery in Chicago, Los Angeles, CA 2005 — «New Works», curated by Eric Fischl, Jane Gallery, St. Barthelemy, F.W.I. 2005 — «A Terrible Beauty: Figurative painting in the 21st Century», Grey McGear Modern, Santa Monica, CA 2005 — «Small Works», Sarah Bain Gallery, Brea, CA 2005 — «Cityscapes», Sarah Bain Gallery, Brea, CA 2005 — «Take Home a Nude» Art Auction at Phillips de Pury & Company, New York, NY 2005 — «Go Figure», George Billis Gallery, New York, NY 2004 — «Postcards from the Edge, Visual Aids Benefit», Brent Sikemma Gallery, New York, NY 2004 — «Night of a Thousand Drawings», Group Show, Artist's Space, New York, NY 2004 — «Points of Muse», Linda Warren Gallery, Chicago, IL 2004 — «Separate Visions», Sarah Bain Gallery, Brea, CA 2004 — «Still Life», Sarah Bain Gallery, Brea, CA 2004 — «27th Small Works Exhibition», New York, NY 2003 — «Space Invaders», curated by Peter Drake, Fish Tank Gallery, New York, NY 2003 — «26th Small Works Exhibition», New York, NY 2002 — «National Arts Club 26th Annual Student Show», National Arts Club, New York, NY

Selected Group Exhibitions 2017 Ted Stamm / Gerrit Rietveld, OV Project, Brussels, Belgium 2017 Painting on the Edge: A Historical Survey, Stephen Friedman Gallery, London 2012 Times Square Show Revisited, Hunter College Art Galleries, New York, NY 2010 Black & White, Galleri Weinberger, Copenghagen, Denmark 1987 Recent Acquisitions, Guggenheim Museum, Brooklyn, NY 1987 Recent Acquisitions, Brooklyn Museum, New York, NY 1985 Art Heritage at Hofstra, Emily Lowe Gallery, Hofstra University, Hempstead, NY 1985 Constructures: New Perimetries in Abstract Painting, Nohra Haime Gallery, New York, NY 1984 Fourth Annual Anniversary Show, John Davis Gallery, Akron, OH 1984 Fifteen Abstract New York Painters, Susan Montezinos Gallery, Philadeiphia, PA 1984 Small Works, Muhlenberg College, Allentown, PA 1984 Mail Art, Franklin Furnace, New York, NY 1984 Artists Call, Judson Memorial Church, New York, NY 1984 Process Black, LIU South Hampton, New York, NY 1984 A Decade of Art, Artists Space 105 Hudson, New York, NY 1984 Offset: A Survey of Artists Books, New England Foundation for the Arts, Wakefield, RI 1983 David Reed, Sean Scully, Ted Stamm; Zenith Gallery, Pittsburgh, PA 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; 1708 East Main Street, Richmond, VA 1983 Abstraction Two Views: Davis and Stamm, The Contemporary Arts Center, Cincinnati, OH 1983 Second Anniversary Exhibition, Harm Bouckaert Gallery, New York, NY 1983 Hundreds of Drawings, Artists Space, New York, NY 1983 A More Store, Jack Tilton Gallery, New York, NY 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; Condeso / Lawler Gallery, New York, NY 1983 Artists for Nuclear Disarmament, Colburn Gallery, Burlington, VT 1982 A Look Back: A Look Forward, Aldrich Museum, Ridgefield, CT 1982 Pair Group, Art Galaxy, New York, NY; travelled to Jersey City Art Museum, Jersey City, NJ 1982 Destroyed Prints, Pratt Manhattan Center, New York, NY 1982 Annual Holiday Invitational, A.I.A. Gallery, New York, NY 1982 Group Exhibition, Roy Boyd Gallery Chicago, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL 1982 Pair Group II, Jersey City Museum, Jersey City, NJ 1982 Black and White, Freeport Mc Mo Ran, New York, NY 1982 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post, Greenvale, NY 1981 Drawings, Roy Boyd Gallery, Chicago, IL 1981 Abstract Painting: New York, Hofstra University, Hempstead, NY 1981 Arabia Felix, Art Galaxy, New York, NY 1981 Words and Images: Contemporary Artist's Books, Southern Alleghenies Museum of Art, Loreto, PA 1981 Love: Hate: Fear and Suicide, University of Brussels, Brussels, Belgium 1981 New Directions, Commodities Corp..

It wasn't just the fact that the small social space that adjoined the gallery — a big table in the middle, and a bar to one corner seemingly constantly stocked with beers straight from the crate — looked like a sauna that made this artist - run initiative unique.

Of my writings published online on this blog and The Huffington Post since last April 2010, the ones that have in any small way gone viral, very relatively speaking, were those in which I wrote fast enough about current hot news items or ones relating or engaging with artworld celebrities: as one example, «My Whole Street is A Mosque,» written within 24 hours of the news cycle surrounding the proposal for a Islamic cultural center near Ground Zero, was picked up by various web aggregators; «Looking for Art to Love, MoMA: A Tale of Two Egos» also did very well because of my speculation about how or whether Marina Abramovic peed during her performance «The Artist is Present» at MoMA, a subject of much prurient curiosity (interesting speculation was illustrated online at New York Magazine and resolution of the mystery came in the Wall Street Journal's blog, «Speakeasy»); «Anselm Kiefer@Larry Gagosian: Last Century in Berlin,» where I tucked a critical response to Kiefer's recent show into a bit of reporting about how Gagosian Gallery was using the NYPD as its private police force, also created a spike on my Google analytics; more recently I could perceive a noticeable uptick in my readership as well as in the number and enthusiasm of my Facebook friends» comments for «Should we trust anyone under 30?

In Part 2, which I'll post soon, we'll look into the smaller galleries.

This will be an interesting chance to get a closer look at the process of a prolific abstract painter in a smaller, gallery setting, as the New Work show will be an assortment of gouache color studies, 2D drawings, and large - scale paintings.

The gallery at Roche Court — a small glass box looking out onto an expansive sculpture park in the Wiltshire countryside — must be an inspiring and intimidating place to exhibit.

In the downstairs gallery are three smaller and more recent sculptures, two Blu and a Giallo, whose curves develop out from what look like stretchers for canvas paintings.

I'm standing next to a small wall - mounted speaker, looking through a large circular hole cut in a plasterboard wall and watching a film of dancers moving through the same gallery space I'm occupying.

One of those pieces requires the visitor to look through a small opening in a black curtain, to see a television screen a stop - motion video of one of the sculptures, moaning sexually, the audio of which fills the entire gallery:

«I looked at the odds, and they put me at 7 to 2, which, in a race that small, is insulting,» the artist recounts from his studio in London, where he is busy preparing «52 Variables,» his upcoming show at New York's Pace Gallery.

In the smaller space adjoining the upstairs gallery, Ms. Dee will feature an in - depth look at the art and objects of Annette Lemieux, one of the «picture theory» artists of the 1980s, as part of the gallery's new series of researched exhibitionIn the smaller space adjoining the upstairs gallery, Ms. Dee will feature an in - depth look at the art and objects of Annette Lemieux, one of the «picture theory» artists of the 1980s, as part of the gallery's new series of researched exhibitionin - depth look at the art and objects of Annette Lemieux, one of the «picture theory» artists of the 1980s, as part of the gallery's new series of researched exhibitions.

In Thorne's current installation A Wall Around a Window at Devin Borden Gallery, site there are paintings of bricks, look louvers, clinic rocks, wood grain, and even a crochet pattern laser - cut into a small stool.

For his most recent exhibition, which ended last month at David Kordansky Gallery in Los Angeles, he presented found images, like a set of early headshots of the actor Anthony Perkins smiling while holding an armful of milk and juice cartons, as well as a set of charcoal drawings presented alongside small sculptures that looked like bed frames.

Last chances: «Particle and Wave,» an intriguing look at light as a tool of art (at Hosfelt Gallery through Saturday, March 19) features strong works by Jay DeFeo, Adam Fuss, Gay Outlaw and a dozen others... «Eleven Etchings by Leonardo Drew,» a small exhibition of very large prints recently produced at the incomparable (in San Francisco, at least) Crown Point Press, continues through April 2.

As an addendum to this traveling retrospective, which originated at the Krannert Museum in Illinois last year, a small exhibition uptown at CDS gallery affords a look at selections from Sterne's oeuvre.

Jason Jägel, a SF - based artist who we have championed for years on this site and in our print edition, just opened «From the Sky, Rivers Look Like Snakes» at Gallery 16 in San Francisco.The exhibition contains three bodies of work; large oil paintings, works on paper and smaller mixed media peices.

When I spoke to Chicago last year, she pointed out: «The monographs on artists, permanent collections and major exhibitions are really the path into history, and that's what is important to look at, and not be deceived by the many women showing at entry level in smaller and regional museums and galleries.»

A Lucian Freud sold for a record # 9.3 million in 2007 is thought to be worth in excess of # 18 million; a classic, eye - boggling Bridget Riley that saw a collector bid # 1.2 million through US dealer, Jeffrey Deitch in 2006, has risen more modestly to # 2.5 million; and a small Frank Auerbach landscape, which quadrupled estimates ten years ago selling to New York gallery, Acquavella, for # 433,600, is back just looking to cover costs.

Front Gallery: In a small scale model constructed of wire, wood and plasticene, the Toronto artist presents a humorous look at his immediate environment, — the Broadview and Queen area surrounding his Clark St. studio.

In another small gallery hang sweet and deft paintings by Ms. Corrigan that look as if made by a hillbilly savant with an M.F.A. degree.

Having trained in academic French painting, so to speak, you make visible references to Western art, especially in your works in the main gallery, while in the smaller gallery toward the back — a beautiful, dimly lit environment — your paintings are ghostly, palimpsest - driven images that compel one to look closely.

It seems consistent with a language piece, shown in the same gallery with a Donald Judd sequential wall sculpture and a small bright gouache by the Pattern and Decoration painter Kim MacConnel that is tellingly titled «Better Looking.»

Instead, galleries tended towards smaller, subtler works that rewarded close looking, which was equally refreshing and frustrating; I saw any number of things I wished I could return to in a more forgiving environment.

A series of smaller works on paper by each artist are also on view in the Robinson Strolling Gallery, providing a more intimate look at their individual practices.

So, having spent the morning looking at the predominantly cinematic John Hoyland canvases in the inaugural «Power Stations» exhibition at Damien Hirst's Newport Street Gallery (NSG), an afternoon session viewing John Bunker's comparatively small collages at the Westminster Reference Library was a suitable combination and, by good chance, seen in the right order.

The exhibition includes paintings and small works on paper created over the past five years and updates the exhibition, Looking Out to Sea, presented at Alexandre Gallery in NYC in 2015.

It's true that Lapin's small - and medium - sized works look great on the gallery wall and in the art - fair booth, and why shouldn't they?

The paintings that were located in the adjacent small gallery looked like old dances, recognizably individual, but defined by moves made famous in another era.