Sentences with phrase «man exhibition took»

His most renowned one man exhibition took place in 2013 at Galleria Varsi in Rome, titled Heroes in Crisis.

His second one - man exhibition took place at the Green Gallery, New York, in 1963.

In 1897, his first one - man exhibition took place in the back room of Philip Suval's frame shop; the show went unnoticed.

Not exact matches

The exhibition explores how men and women found new ways to dress as the rationing of clothes took hold, revealing what life was really like on the home front in wartime Britain.

In this video, curator Per Rumberg takes us inside the exhibition and discusses Portrait of a Man («Terris Portrait») and Portrait of a Young Man («Giustiniani Portrait»), the keystones in Giorgione's oeuvre.

The exhibition begins with an enigmatic photograph of dust ostensibly taken by Man Ray nearly a century ago.

An open - air exhibition that takes inspiration from the High Line as an urban park cutting straight through the city, creating new vistas and vantage points onto the surrounding natural and man - made landscapes.

Conceived by writer and curator David Campany, the exhibition takes as a starting point the 1920 photograph taken by American artist Man Ray of Marcel Duchamp's work in progress The Large Glass (1915 — 23) deliberately left to gather dust in his New York studio.

by Alan Feuer Boston Globe, Nov. 16, Intimacy of attention paid in close up by Sebastian Smee Brooklyn Daily Eagle, Nov. 16, «Visions of an American Dreamland:» New book and Brooklyn Museum exhibition highlight Coney Island by Peter Stamelman The New York Times, Nov. 15, Amusement for Everyone by Ken Johnson Boston Globe, Nov. 11, Andy Warhol and Robert Mapplethorpe Rocked the Boat by Mark Feeney Crave, Nov. 11, Exhibit Warhol & Mapplethorpe: Guise & Dolls by Miss Rosen Antiques and the Arts Weekly, Nov. 10, Q&A: Linda Roth WSFB / Better Connecticut, Nov. 9, Get Some Art History at this Local Stop by Kara Sundlun Take Magazine, November 2015, This MATRIX is Real by Janet Reynolds American Fine Art Magazine, November 2015, Radical Chick and Taylor Made by Jay Cantor Art New England, November 2015, Preview: Warhol & Mapplethorpe: Guise & Dolls by Susan Rand Brown The Hartford Courant, Oct. 16, Gender - Bending «Warhol & Mapplethorpe» Exhibit At Wadsworth by Susan Dunne The Wall Street Journal, Oct. 13, At the Wadsworth Atheneum, an Old Building Gets New Life by Lee Rosenbaum Hartford Courant, Oct. 2, Artist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Stepexhibition highlight Coney Island by Peter Stamelman The New York Times, Nov. 15, Amusement for Everyone by Ken Johnson Boston Globe, Nov. 11, Andy Warhol and Robert Mapplethorpe Rocked the Boat by Mark Feeney Crave, Nov. 11, Exhibit Warhol & Mapplethorpe: Guise & Dolls by Miss Rosen Antiques and the Arts Weekly, Nov. 10, Q&A: Linda Roth WSFB / Better Connecticut, Nov. 9, Get Some Art History at this Local Stop by Kara Sundlun Take Magazine, November 2015, This MATRIX is Real by Janet Reynolds American Fine Art Magazine, November 2015, Radical Chick and Taylor Made by Jay Cantor Art New England, November 2015, Preview: Warhol & Mapplethorpe: Guise & Dolls by Susan Rand Brown The Hartford Courant, Oct. 16, Gender - Bending «Warhol & Mapplethorpe» Exhibit At Wadsworth by Susan Dunne The Wall Street Journal, Oct. 13, At the Wadsworth Atheneum, an Old Building Gets New Life by Lee Rosenbaum Hartford Courant, Oct. 2, Artist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, StepExhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step Right Up!

Central to the exhibition is The Black Man in Africa has Strong Warriors and Beautiful Cities (2018), a powerfully incandescent rendering composed of fluid lines which blur the division between painting and sculpture, taking inspiration from Robert Rauschenberg's Green Shirt (1965) and featuring imagery from the storied Black Panther Coloring Book created in 1968 by artist and aspiring Black Panther Party member Mike Teemer.

«Ghosts in the Machine» also takes its cue from a number of exhibitions designed by artists that incorporated modern technology to reimagine the role of art in contemporary societies, including Richard Hamilton's «Man, Machine and Motion» (1955).

His most recent «World Stage» project was hosted in Jamaica and produced new work for his first solo exhibition at Stephen Friedman Gallery, London, England, featuring both black men and women assuming poses taken from 17th and 18th Century British portraiture.

Opening October 15, the exhibition features Jamaican men and women assuming poses taken from 17th and 18th century British portraiture, the first one in the «World Stage» series to feature portraits of women.

Exhibition Title: Taking Care of Business Artist: Immony Men Exhibition Dates: Sat, July 9, 2011 — Sat, August 6, 2011 Opening: Fri..

Featuring rare objects from the artist's estate, major museums, and important private collections, César coincides with the 60th anniversary of the artist's first one - man exhibition, which took place at the Galerie Lucien Durand in Paris.

Richter's «take» on life appears to be that of a man permanently focused on «the dark side of the road,» and he has consequently been called many negative things: «dour undertaker, dry - eyed mourner, systematic debunker of clichés and lethal parodist,» among others, writes Robert Storr, in the huge catalogue which accompanies the exhibition, «Gerhard Richter: Forty Years of Painting.»

Bruce Helander (The Art Economist) writes, «It seems that everything positive is happening to Manolis, as his fast - paced profession skyrockets with accolades and prestigious exhibitions, gaining the thrust, inertia and power that correlates to a rocket ship taking off, he's... «Rocket Man!

«I was interested in creating this exhibition because I wanted to take a deeper look at Burchfield: the man, the artist, and the work.

The exhibition features Jamaican men and women assuming poses taken from 17th and 18th Century British portraiture, the first one in the «World Stage» series to feature portraits of women.

Along with his curatorial work, Obrist is «the artworld's Studs Terkel — its default oral historian — with his interviews taking forms ranging from a video exhibition at the Venice Architecture Biennale to Volume Two of his mammoth Hans Ulrich Obrist: Interviews book series», and a man who has «turned curation into an art».

On arrival in the UK Schwitters was sent to an internment camp in the Isle of Man where took part in group exhibitions and poetry performances with his fellow inmates.

We take a look a the Whitney's biennial exhibition through the eyes of the man who literally puts it together

Selected recent exhibitions include As I took her arm she stared through my face at the dark branches of trees over my head, Yellow, Varese, Italy (2018); A Motley Crew, Christian Larsen, Stockholm, Sweden (2017); Teeth Where Fingernails Should Be, Ivan gallery, Bucharest, Romania (2017); Outpost, Caves, Melbourne, Australia (2017); Residence in Nature, Konsthall Växjö, Smaland, Sweden (2016); June Mostra, The British School at Rome, Italy (2016); A Bestiary, Turf, London, UK (2016); An evening with Flat i, Flat i Publishing, London (2015); Structural Object, 27, London (2015); Mudlark, FOLD Gallery, London, UK (2013); School Play, Kingsgate Gallery, London, UK (2013); Backwards Man, CGP, London, UK (2012); How Could Everybody be so Wrong, ANDOR / David Roberts Foundation, London, UK (2011); Bunker Bar Christening, ANDOR, London (2011); Haze Moods, Supplement, London (2009).

Review: Turner Prize exhibition: The winner takes it all in Turner show The Scotsman; December 7, 2007; Susan Mansfield; 700 + words... joined the ranks of Turner Prize alumni, alongside Damien... the mythology of the Turner Prize, crucially, they didn... meticulous reconstruction of Brian Haw's one - man anti... things that winning the Turner Prize is all about.

«The Seven Towers I» is based on the same artistic theme with the exhibition, combining the natural topography with the man made materials and taking on the process of destruction and construction in the Middle East.

«bonita bonita» A solo exhibition curated by Sven Davis 2 May — 1 June 2013 «Bonita bonita» is taken from the catcall olive47 would hear from the local men and the also the compliments heard from the local ladies about her work when painting a series of murals in Mexico earlier this year.

Take part in a fascinating discussion between the French artist Daniel Buren, the man behind Daniel Buren: A Fresco, and Joël Benzakin, curator of the exhibition.

From this beginning the exhibition takes in aerial photography, forensic photography, abstractions of landscapes, ruins, postcards and press photos of the American dust storms, artists videos, film clips, documentary photography and site specific works, featuring artists like Man Ray, John Divola, Sophie Ristelhueber, Walker Evans, Mona Kuhn, Aaron Siskind, Gerhard Richter, Xavier Ribas, Nick Waplington, Eva Stenram, Georges Bataille, Jeff Wall, among others.

While the show at Jack Shainman's 21st Street space presented a more conventional gathering of Weems» art, including her new series Scenes & Take, her exhibition at the 24th Street gallery on the killings of unarmed black men by police was so gut - wrenching it's hard to forget.

Once again, this twelfth part of the exhibition cycle is based on Robert Musil «s novel, The Man without Qualities, which takes place in the year 1913.

The exhibition takes Warhol's 13 Most Wanted Men as its single subject, addressing its creation and destruction and placing it in its artistic and social context by combining art, documentation, and archival material.

The museum also stages recreations of original works from early land art exhibitions, includingthe British artist Richard Long's A Line the Same Length as a Straight Walk from the Bottom to the Top of Silbury Hill (1970/2012)-- a large white clay spiral drawn on the gallery floor that corresponds to the number of steps Long took to reach the top of the largest prehistoric man - made hill in England.

In other recent museum news, Mario Ybarra Jr.'s «Take Me Out: No Man is an Island» (2008)-- which was featured in Mark Moore Gallery's 2009 group exhibition, «Ul...

Recent group exhibitions include: «Somatechnics», Museion, Bollzano, 2018 (upcoming); EVA International, Ireland's Biennal of Contemporary Art, Limerick, 2018; «Total Anastrophes», Dhakar Art Summit, Volcano Extravaganza, 2018; «Through the Looking Glass», Palazzo Capris, Turin, 2017; «Take me (I'm Yours), Pirelli HangarBicocca, Milan, 2017; «Grim Tales», Cassina Project, New York, 2017; «Sette Messaggeri», Marselleria, Milan, 2017; «Predictions, Mendes Wood Gallery, Sao Paolo, 2016; «Mundus Muliebris» Cura Basement, Rome, 2016; «Ennesima», Triennale, Milan, 2015; «I am here but you have gone», Fiorucci Art Trust, London, 2015; «Don't you know who I am», M HKA, Antwerp, 2014; «Portrait of the Artist as a young man», Castello di Rivoli, Rivoli, 2014; «Baker and Le Courbusier in Rio, a transatlantic affair», Museo do Arte do Rio, Rio de Janeiro, 2014; «The 338 Hour Cineclub», Fondazione Sandretto Re Rebaudengo, 2013; «It may be that beauty has strengthened our resolve», ParaSite, Hong Kong, 2013.

In other recent museum news, Mario Ybarra Jr. «s «Take Me Out: No Man is an Island» (2008)-- which was featured in Mark Moore Gallery's 2009 group exhibition, «Ultrasonic IV: Fresh Perspectives» — has been acquired for the LA County Museum of Art's permanent collection.

Solo Exhibitions 2016 «Drunk Brown House», Serpentine Sackler Gallery, London 2016 «Eucalyptus, Let us in», Greene Naftali, New York 2014 «Orchids, or a hemispherical bottom», Johann König, Berlin 2014 «Parrot Problems», Fridericianum, Kassel 2014 «Oreo St. James», Sadie Coles HQ, London 2013 «No borders in a wok that can't be crossed», CCS Bard, New York 2012 «Plank Salad», Chisenhale Gallery, London 2012 «Evian Disease», Palais de Tokyo, Paris 2012 «Almost the exact shape of Florida», Kunsthalle Zurich, Zurich 2011 «Park Nights», Serpentine Gallery, London 2011 «Fruits, Flowers, and Clouds» (with T293), Museum of Applied Arts, Vienna 2011 «Take a stick and make it sharp», Johann König, Berlin 2010 «I like my heroes marble chested», Carl Kostyál, London 2010 «Wicked patterns», T293, Naples Group exhibitions 2018 «Faithless Pictures», The National Museum of Art, Architecture and Design, Oslo 2018 «The Body Electric», The Walker Art Centre, Minneapolis 2017 «Suspended Animation», Les Abattoirs, Toulose 2017 «made on the table», Sadie Coles HQ, London 2017 EuroVisions: COntemporary ARt from the Goldberg Collection, NAS gallery, Sidney, Australia (touring exhibition in Australia to 2019) 2017 «Second Nature», K11 Art Foundation, Hong Kong 2016 «The Hepworth Prize for Sculpture», The Hepworth Wakefield 2016 «NO MAN»S LAND: Women Artists from the Rubell Family Collection», National Museum of Women in the Arts, Washington 2016 «Turner Prize 2016», Tate Britain, London 2016 «OVERPOP: New Art from Yuz Collection and Beyond», Yuz Museum, Shanghai 2016 «The future is already here — it's just not evenly distributed», 20th Biennale of Sydney 2016 «THE NEW HUMAN: Knock, Knock, is Anyone HExhibitions 2016 «Drunk Brown House», Serpentine Sackler Gallery, London 2016 «Eucalyptus, Let us in», Greene Naftali, New York 2014 «Orchids, or a hemispherical bottom», Johann König, Berlin 2014 «Parrot Problems», Fridericianum, Kassel 2014 «Oreo St. James», Sadie Coles HQ, London 2013 «No borders in a wok that can't be crossed», CCS Bard, New York 2012 «Plank Salad», Chisenhale Gallery, London 2012 «Evian Disease», Palais de Tokyo, Paris 2012 «Almost the exact shape of Florida», Kunsthalle Zurich, Zurich 2011 «Park Nights», Serpentine Gallery, London 2011 «Fruits, Flowers, and Clouds» (with T293), Museum of Applied Arts, Vienna 2011 «Take a stick and make it sharp», Johann König, Berlin 2010 «I like my heroes marble chested», Carl Kostyál, London 2010 «Wicked patterns», T293, Naples Group exhibitions 2018 «Faithless Pictures», The National Museum of Art, Architecture and Design, Oslo 2018 «The Body Electric», The Walker Art Centre, Minneapolis 2017 «Suspended Animation», Les Abattoirs, Toulose 2017 «made on the table», Sadie Coles HQ, London 2017 EuroVisions: COntemporary ARt from the Goldberg Collection, NAS gallery, Sidney, Australia (touring exhibition in Australia to 2019) 2017 «Second Nature», K11 Art Foundation, Hong Kong 2016 «The Hepworth Prize for Sculpture», The Hepworth Wakefield 2016 «NO MAN»S LAND: Women Artists from the Rubell Family Collection», National Museum of Women in the Arts, Washington 2016 «Turner Prize 2016», Tate Britain, London 2016 «OVERPOP: New Art from Yuz Collection and Beyond», Yuz Museum, Shanghai 2016 «The future is already here — it's just not evenly distributed», 20th Biennale of Sydney 2016 «THE NEW HUMAN: Knock, Knock, is Anyone Hexhibitions 2018 «Faithless Pictures», The National Museum of Art, Architecture and Design, Oslo 2018 «The Body Electric», The Walker Art Centre, Minneapolis 2017 «Suspended Animation», Les Abattoirs, Toulose 2017 «made on the table», Sadie Coles HQ, London 2017 EuroVisions: COntemporary ARt from the Goldberg Collection, NAS gallery, Sidney, Australia (touring exhibition in Australia to 2019) 2017 «Second Nature», K11 Art Foundation, Hong Kong 2016 «The Hepworth Prize for Sculpture», The Hepworth Wakefield 2016 «NO MAN»S LAND: Women Artists from the Rubell Family Collection», National Museum of Women in the Arts, Washington 2016 «Turner Prize 2016», Tate Britain, London 2016 «OVERPOP: New Art from Yuz Collection and Beyond», Yuz Museum, Shanghai 2016 «The future is already here — it's just not evenly distributed», 20th Biennale of Sydney 2016 «THE NEW HUMAN: Knock, Knock, is Anyone Home?»

Mostre Personali 2016 «Drunk Brown House», Serpentine Sackler Gallery, Londra 2016 «Eucalyptus, Let us in», Greene Naftali, New York 2014 «Orchids, or a hemispherical bottom», Johann König, Berlino 2014 «Parrot Problems», Fridericianum, Kassel 2014 «Oreo St. James», Sadie Coles HQ, Londra 2013 «No borders in a wok that can't be crossed», CCS Bard, New York 2012 «Plank Salad», Chisenhale Gallery, Londra 2012 «Evian Disease», Palais de Tokyo, Parigi 2012 «Almost the exact shape of Florida», Kunsthalle Zurich, Zurigo 2011 «Park Nights», Serpentine Gallery, Londra 2011 «Fruits, Flowers, and Clouds» (con T293), Museum of Applied Arts, Vienna 2011 «Take a stick and make it sharp», Johann König, Berlino 2010 «I like my heroes marble chested», Carl Kostyál, Londra 2010 «Wicked patterns», T293, Napoli Mostre Collettive 2018 «Faithless Pictures», The National Museum of Art, Architecture and Design, Oslo 2018 «The Body Electric», The Walker Art Centre, Minneapolis 2017 «Suspended Animation», Les Abattoirs, Tolosa 2017 «made on the table», Sadie Coles HQ, Londra 2017 EuroVisions: COntemporary ARt from the Goldberg Collection, NAS gallery, Sidney, Australia (touring exhibition in Australia to 2019) 2017 «Second Nature», K11 Art Foundation, Hong Kong 2016 «The Hepworth Prize for Sculpture», The Hepworth Wakefield 2016 «NO MAN»S LAND: Women Artists from the Rubell Family Collection», National Museum of Women in the Arts, Washington 2016 «Turner Prize 2016», Tate Britain, Londra 2016 «OVERPOP: New Art from Yuz Collection and Beyond», Yuz Museum, Shanghai 2016 «The future is already here — it's just not evenly distributed», 20a Biennale di Sydney 2016 «THE NEW HUMAN: Knock, Knock, is Anyone Home?»

How these seemingly unrelated events apply to Ruyter's new body of work can be made explicit if we take a closer look at the artist's recent solo exhibition «Let Us Now Praise Famous Men» at Eleven Rivington Gallery, New York.

Nixon's early city views taken of Boston and New York in the mid-seventies were exhibited at one of the most influential exhibitions of the decade, New Topographics: Photographs of a Man - Altered Landscape at the George Eastman House in 1975.

This group exhibition will explore human nature as it exists through the relationship of man and animal: in what ways do we see our own image in the creatures surrounding us, in what ways do we try to control the creatures surrounding us, or in what ways are these creatures that surround us completely overshadowed and taken for granted?

The New Topographics take their name from an exhibition titled «New Topographics: Photographs of a Man - Altered Landscape,» mounted in 1975 by William Jenkins, then curator at the International Museum of Photography at George Eastman House in Rochester, New York.

As the director and curator of Carnegie Mellon's Miller Gallery she curated Keep It Slick: Infiltrating Capitalism with The Yes Men, the first solo exhibition of the internationally renowned culture - jamming group; Whatever It Takes: Steelers Fan Collections, Rituals, and Obsessions, which explored sports fanaticism as a significant form of cultural production; and Alien She, a traveling exhibition on the lasting impact of the global punk feminist movement Riot Grrrl, among other exhibitions.

Pousette - Dart's first one - man exhibition of painting took place at the Artists» Gallery in New York in the fall of 1941, a year after he completed the painting Desert (collection of The Museum of Modern Art.