Sentences with phrase «made exhibition text»

This procedure is repeated by the next artists, thus creating a collectively made exhibition text from which each artist creates their works for the exhibition.

Not exact matches

As the exhibition will display on panels and videos, imaging experts were able to map much of the hidden text using high - tech tools — including x-rays from a particle accelerator — and to make it available to scholars.

The result is the exhibition, «A Map Home,» which ponders the ways we connect text and image to make meaning in everyday life, especially the meaning of home.

In addition to curating, she has written about a number of artists — five of her texts can be read in the Made in LA 201 catalog — and her essay on artist Valerie Piraino appears in the Studio Museum's Fore exhibition catalog.

This expanded edition of Panorama includes a new text by Mark Godfrey that covers works made since the 2011 exhibition, including the Strip, Flow and Birkenau paintings, as well as an updated chronology.

The exhibition included both freestanding sculptures and wall works combining text and image; exhibited as well were examples of «interactive sculptures» (some produced in collaboration with Esther Shalev - Gerz), pieces either re-created, presented in the form of photographic documentation, or made accessible by computer.

The images are pulled from his imagination and from the imaginative realm of literature: his recent solo exhibition at the Drawing Center was composed of notebooks in which he makes a drawing every day in response to books he reads over the course of the year — texts that range from Ovid to Patti Smith.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

That particular text discussed his recent solo exhibition at Lennon, Weinberg Gallery, a stunning show that presented the artist at the height of his talent and made clear that many of his late works can be counted among his most accomplished.

Studio 10's exhibition, «Text,» is a concise installation of four artists (John Avelluto, Mary Carlson, Meg Hitchcock, Audra Wolowiec), showing art made of wood, ceramics, foam, and the paper of holy books.

Other exhibition highlights include a group of small text - based portraits of artists and writers, made between 1966 and 1968.

The very first thing you see when visiting Stefan Stagmeister's «The Happy Show» at MOCA's Pacific Design Center is wall text boldly declaring: «THIS EXHIBITION WILL NOT MAKE YOU HAPPIER.»

The exhibition, featuring Agnes Calf, Dorota Gawęda & Egle Kulbokaite, Mikko Kuorinki, and Tabita Rezaire among others, takes French anthropologist Claude Lévi - Strauss» «The Savage Mind» text as a starting point, citing the term bricolage as an associative practice experienced by many non-western societies, wherein «solutions are invented following paths made of fortuitous, unstable and contingent discoveries».

In 1969, Long was included in a seminal exhibition of Minimal and Conceptual works entitled When Attitude Becomes Form at the Kunsthalle Bern for which he made a walk in the Alps that was documented by his first text work.

The Hammer originally identified Durham as «a Native American of Cherokee descent» on its website, and the exhibition's wall text and 300 - page catalog make reference to his Native identity.

Robert Barry, Inert Gas: Neon, 1969 Two photographs and text Yvon Lambert presents an exhibition of works made from 1962 through 2008 by American artist Robert Barry.

In the text accompanying the exhibition, Desmett stressed the activity possible in the work's physical form and presentation; he acknowledged a «theatrical process» in the making of each painting.

Featuring more than 120 works made over the past 50 years, the exhibition includes the artist's photo works combining text and image, early assemblage sculptures, and his groundbreaking environments Al's Cafe (1969) and Al's Grand Hotel (1971), participatory projects that helped put Los Angeles on the map as a center for Conceptual art.

Inside the Work presents, in text and image, the curatorial practice and outreach work that make the Kunsthaus Bregenz stand out, and tracks its exhibitions through short artist statements and large - format illustrations.

Several artists in the exhibition reject traditional categories of painting and sculpture to explore new modes of art making which result in a plethora of unprecedented aesthetic and critical practices, ranging from industrially produced geometric abstractions, negating the hand of the artist, to text - based investigations.

The work is a photograph of damage caused to the walls of the Freud Museum by the hanging of a neon text work made by Tracey Emin for a previous exhibition at the museum.

Also included in the exhibition are text - based drawings that are made with bleach.

As part of the larger project started in the early 80's with shows such as the Thin Black Line (1986) and Black Woman Time Now (1983) devised to highlight the contribution black artists have made to visual art in Britain, she has with Susan Walsh in collaboration with the Interpretation and Education Team at Tate Liverpool, produced and distributed Open Sesame (2005) and The Point of Collection (2007) These are two DVD / text research documents which examine and reveal the contribution made to the exhibition education and collecting strategies at Tate in recent decades by artists of African, African / American, Asian and Caribbean descent.

Some of the works included in the exhibition explicitly engage with Eliot and his writing, such as Philip Guston's grim deathbed painting East Coker: T.S.E. (1979); David Jones's painted inscription Nam Sibyllam (1958), made as a gift for Eliot, which combines the text from Petronius that is The Waste Land's epigraph with the opening lines of the poem and other phrases connected to the Grail myth; Graham Sutherland's two Illustrations for T. S. Eliot (1973); and Vibeke Tandberg's The Waste Land (2007), which consists of 36 collages in which the artist has cut out each of the words of the poem, and re-organised them alphabetically and in groups, at once fragmenting Eliot's poem of «broken images» even further and bringing its underlying verbal structure to light.

Beginning in the 1980s with texts written with her collaborators in Group Material, In Part highlights Ault's shift from exhibition making in the mid-1990s to include publishing and writing.

Published on the occasion of the exhibition Isaac Julien: «I dream a world» Looking for Langston, at Victoria Miro (18 May — 29 July 2017) this lavishly illustrated publication includes texts by Isaac Julien and Pulitzer Prize winning critic Hilton Als, alongside rare archival material including storyboards by artist John Hewitt, colour polaroids taken during the making of the film and additional material relating to its original presentation and critical reception.

Other artists in the exhibition explore artmaking and its inextricably ties to daily life, as in Michelle Grabner's paper weavings, or Tony Lewis» site specific wall text — made specifically for this exhibition — based on selections from the classic Life's Little Instruction Book, a compendium of advice.

Jess Fuller Born 1972, Portland, Maine, US Lives and works in Brooklyn, NY Education University of Iowa, Master of Fin e Arts, Painting, Iowa City, US Boston University, Bachelor of Fine Arts, Painting, Boston, US Solo Exhibitions 2017 Canada, New York, US 2015 Fairy Smoke, Herald St, London, UK Planet without a body, Martos Gallery, New York, US 2012 NADA Miami, Martos Gallery, Miami, US Jellie, organized by Mary Grace Wright, Martos Gallery, New York, US 2011 Washed up and bleached out, organized by Jens Peter Brask, Galleri Tom Christoffersen, Copenhagen, DK Group Exhibitions 2016 Fort Greene, curated by Adrianne Rubenstein, Venus, Los Angeles, US Re-Planetizer, curated by The Pit, Regina Rex, New York, US Inside Out, Berthold Pott Gallery, Cologne, DE 8 Femmes, Office Baroque, Brussels, BE 2015 BFA Boatas, Sao Paulo, BZ Call and Response, Gavin Brown?s Enterprise, New York, US I Can?t Wait to GetOff Work, Bannerette, New York, US 2013 The Fruit Loop, Soloway, New York, US Beach Painting Club, Paddle 8 Silent Auction, NY Limits of Desire, 7 Dunham, New York, US A la Carte, Minimal Art, Shoot The Lobster, New York, US 2012 Temperature, curated by Hillary Doyle and Reid Hitt, Projekt722, New York, US Made with Mustard, East Hampton Shed, East Hampton, US Slowed and Throwed, Chinatown Arcade, New York, US Bred and Fed, organized by Mary Grace Wright, Shoot The Lobster, Iowa City, US The Cat Show, Tomato House, Brooklyn, US Dallas Art Fair, Martos Gallery, New York, US New Traditionalists, organized by Mary Grace Wright, Martos Gallery, New York, US 2011 Text / Image, SOUTHFIRST, Brooklyn, US The Idea of the Thing..., organized by Rachel Uffner, Halsey McKay, East Hampton, US BNA: From Brooklyn to Nashville, ZieherSmith pop - up gallery, Nashville, US Tensile Strength, ZieherSmith, New York, US Monochrome, The Journal Gallery, Brooklyn, US Group Expo, The Armory Show, Canada Gallery, New York, US The Balloon, SOUTHFIRST, Brooklyn, US A PERSON OF COLOR: a mostly orange exhibition, organized by Jose Lerma, The Green Gallery, Milwaukee, US 2010 SALAD DAYS, The Journal Gallery, Brooklyn, US Material Issue and Other Matters, organized by Wallace Whitney and Michael Mahalchick, Canada Gallery, New York, US Selected Press 2015 Steer, Emily,?

And that goes for the wonderful text pieces by Emily Roysdon and Gregg Bordowitz in the exhibition catalog, which, like the show, is free, a keeper and clearly made with love.

Following his acclaimed exhibition «Earth Sky» at Houghton Hall in Norfolk, England last year, Long's show at Lisson Gallery will feature a new wall work in mud created specifically for the exhibition and text works that document journeys made over the past few years.

This exhibition will utilize Stony Island Arts Bank's archive by incorporating or making reference to images, music and text from the Johnson Publishing Library, the Glass Lantern Slides Collection, the Edward J. Williams Collection of objects of «negrobilia,» and the Frankie Knuckles Vinyl Collection, with a focus on past, present and future ideas depicting black culture's interest in futurism and its roots in Africa.

Her writings include an essay on «Wall Text» in Questions of Practice: What Makes a Great Exhibition?

The exhibition relies heavily on a chronological text that runs through most of the space, where clearly an effort is made to historicize Bernadette Corporation and contextualize its production.

«Wall Text,» What Makes a Great Exhibition?

Not only is their updated museum guide stocked with the recent salaries, disproportions in pay, and even suggestions for rewriting wall texts, but the Guerrilla Girls are also taking on the museums of Chicago with a little self - proclaimed «gender reassignment» project as part of the exhibition «Not Ready to Make Nice: Guerrilla Girls in the Art World and Beyond,» at Columbia College.

In this exhibition, he presents an installation from «Without Provenance: the Making of Contemporary Antiquity,» a provocative new series of sculptures and text exploring the widespread looting and forgery in Khmer antiquities, permitted by the collusion of the marketplace.

In this exhibition of new works Long will also use materials indigenous to mainland China, such as stone and clay, and will feature sculpture, fingerprinted objects, a wall work made of colored clay, photographs, and text works.

see abstract snatches of Lund's Strings Attached, a series of 24 text - based paintings on fabric wallpaper, or The Paintshow, an exhibition Lund did that features paintings made on his Microsoft Paint - like website, Paintshop.biz.

The space between the work and its reception, and the act of making public — as with the publication of a text, a public screening or the public exhibition of art — become central, revealing processes, points of departure that develop in diverse, indeterminate directions.

Zhang Huan's solo exhibition at Pace Gallery, Let There Be Light (through December 5), includes the largest ash painting Zhang's made to date as well as a new series of ash paintings that use the language of Braille to transcribe western texts including the Bible and the Star Spangled Banner.

The exhibition «In a Word», his most comprehensive to date, spans many text, sound, painting, drawing, sculpture, and performance, including works made in collaboration with esteemed theater director Robert Wilson.

Quayola's new exhibition «Iconographies» represent a continuation of an ongoing project that employs computational methods to translate iconic paintings into abstract compositions made of points, lines, geometries, hues, saturations and texts.

2011 Postcards from the Edge, CRG Gallery, New York, US Litos Grafere, Danish Art Center Silkeborg Bad, Silkeborg, DE; Museum of Stavanger, NO Freeriding, East / West Galleries, Woman's University, Denton, Texas, US Sculpture in So Many Words: Text Pieces 1960 - 75, Ziehersmith, New York, US Intrusions, Galerie Michèle Chomette, Paris, FR Compagni Di Viaggio - Traveling Companions, Mestna Galerija Ljubliana, SI L'Insoutenable Légéreté de L'Être, Yvon Lambert, VIP Art Fair, Online Art Fair, New York, US Box is a Box is a Box, Librairie Florence Loewy, Paris, FR Drawn / Taped / Burned Abstraction on Paper, Kotonah Museum of Art, Kotonah, New York, US As Long as it Lasts, Galerie Sonja Junkers, Munich, DE Works from the Pentti Kouri Collection, Tracy Williams Ltd, New York, US Picasso: Guitars 1912 - 1914, Museum of Modern Art (MoMA), New York, US Berlin International Film Festival, various theaters around Potsdamer Platz, Berlin, DE Observadores - Revelaҫões, Trânsitos e Distâncias, Museu Colecção Berardo, Lisbon, PT Market Art Fair, The Royal Swedish Academy of Fine Arts, Stockholm, SE Feuille à Feuille, Musée de Vence, FR TextVideo / Female: Art after 60's, PKM Gallery, Seoul, KR Topography / Topography, Brooke Alexander Editions, New York, US Bidoun Project, Mercer Street, New York, US Temporary Stedelijk 2 - Making Histories: Changing Views of the Collection, The Temporary Stedelijk at the Stedelijk Museum, Amsterdam, NL Push Pull, Rijksmuseum, Amsterdam, NL Bild / Objekt: Neuere Amerikanische Kunst aus der Sammlung, Kunstmuseum Winterthur, Winterthur, CH Tod's Art Plus Drama Party 2011, Whitechapel Gallery, London, UK Shelf Ramp Wedge Bridge, Fitzroy Gallery, New York, US CLAP, Hessel Museum of Art, Annandale - on - Hudson, New York, US 100 Briques Pour Madagascar Œuvres Contemporaines, Hotel Marcel Dassault, Paris, FR Bomb 30th Anniversary Gala and Silent Auction, Capitale, New York, US Benefit Auction from the Icelandic Wetlands, The Culture House, Reykjavik, IS Locations, Paula Cooper Gallery, New York, US As Long as it Lasts, Arratia, Beer Gallery, Berlin, DE After Hours: Murals on the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvedere.

The exhibition catalog brings together works, objects, and texts on the theme of the universe with contributions from physicists, painters, writers, art historians, filmmakers, and urban planners: Paul Virilio, Jean - Louis Schefer, Moebius, Anne Diatkine... Each calls upon childhood imagination and reality, thereby combining two essential dimensions — man and play — through which we invent the world and make it our own.

For the exhibition at VENUS OVER MANHATTAN more than twenty artists and practitioners were invited to make new works or projects for individual 4» x 3» glazed bulletin boards, and an additional group of four people were invited to «curate» a display in larger 6» x 4» boards.The «Bulletin Boards» featured in the exhibition will include collections of photographs (found or otherwise), painted and collage works, sculptural interventions, text pieces, and a working fish tank amongst many other things.»

Also required are a current resume; a 500 -1,000-word letter of intent; and a 500 - word text that describes a recent exhibition that has made an impact on the applicant.

Following McEwen's recent solo exhibition (I Think I'm in Love, Aspen Art Museum, 2017), the conversation will use Koestenbaum's catalog contribution — a strange poetic / essayistic text in its own right — as a grounds for a conversation about art - making and objecthood.»

Joining these are many important works shown in the galleries for the first time including new works made specially for this exhibition, including a diaphanous cellophane window sculpture by Karla Black, a new text work from the series pretty much every world written, spoken, heard, overheard from 1989... by Douglas Gordon, a newspaper collage by Tony Swain, a sculptural work on paper by Andrew Kerr, Jim Lambie's colourful pop poster stack (free to take away) and Hayley Tompkins and Sue Tompkins painted chairs that can be found distributed throughout the galleries.

Ingrid Schaffner, «Wall Text,» in What Makes a Great Exhibition?

In today's museum world, where competition for exhibition space is escalating, emptying two large rooms, painting them black, and then posting a text instructing the viewer on how to perceive a black painting is an ambitious conceptual gesture — one that becomes even more commanding in view of the fact that the exhibition's curator, Stephanie Rosenthal, limited her checklist for the show to just four American male heavyweights who made black paintings between 1945 and 1965.