Sentences with phrase «most painting and photography»
The corner not only defies the flat plane of most painting and photography, but also reduces the workable space of a sculptural object from 360 degrees to just 90 degrees.
http://www.andrearosengallery.com/ Not exact matches
Drawing, painting and photography commanded most of my attention and I went on to complete a degree in fine art.
With Timothy Spall at his most boisterous and thunderously introverted, and resplendent photography evoking Turner's genius and bridging the artistic gaps of cinema and painting, along with Mike Leigh's signature style of organic writing and seamless directing, it was a fairly major highlight of the festival.
Shore, who is considered one of the most significant photographers of our times by the museum, has explored working with cheap automatic cameras, large - format cameras, digital photography, digital painting and social media, working both in black - and - white and in color.
The exhibition focuses on this most saccharine hue in various media including: painting, sculpture, photography, video, drawing and assemblage by both established and emerging artists.
Published on the occasion of her first exhibition at David Zwirner in fall of 2010, this beautifully designed and produced catalogue — with a text by noted curator and art historian Joachim Pissarro — features Suzan Frecon's most recent large - scale oil paintings, along with newly commissioned color photography of exhibition and studio installation views, as well as the artist's notebooks and sketches.
Hockney has produced work in almost every media, from painting and drawing to photography and printmaking, working with such cutting - edge technology as fax machines, laser photocopiers, computers, and, most recently, video, iPhone and iPad.
His most recent works come in a variety of mediums, including a mix of calligraphic and abstract paintings, as well as landscape photography.
The exhibition looks at Hockney's 60 year, multi-disciplinary career highlighting his most iconic works in painting, drawing, photography, and video, and key moments from 1960 to the present.
Paintings, sculpture, mixed media works and installations dominate the exhibition, which also includes some of the period's most compelling photography.
[2017-11-08] «Dada is Dada» presents paintings, drawings, documents, photography, collages, objects, sound recordings, and films from one of the most influential art movements of the 20th century.
Their artistic practice spans diverse media including film, photography, painting, performance, and site - specific projects.Vătămanu and Tudor's broad - reaching practice has positioned them among the most compelling and literate interpreters of our contemporary post-communist condition, which extends far beyond their native Romania.
«Dada is Dada» presents paintings, drawings, documents, photography, collages, objects, sound recordings, and films from one of the most influential art movements of the 20th century.
From his portraits and images of Los Angeles swimming pools, through to his drawings and photography, Yorkshire landscapes and most recent paintings — some of which have never been seen before in public — this exhibition shows how the roots of each new direction lay in the work that came before.
With fifty years of experience in the New York gallery world, his interests and expertise extend from established post-war artists through the most contemporary emerging careers and ranges through all media from painting, works on paper, sculpture and installation to photography and digital media.
A little - recognized aspect of the work of Winslow Homer — one of America's most iconic artists — is the relationship between his painting and photography, and the role of the relatively new medium on his approach to image making.
«Painting with Light» offers new insights into Britain's most popular artists and reveals just how vital painting and photography were to one another,» explains Carol Jacobi, Tate Britain's curator of British Art 1850 &mdasPainting with Light» offers new insights into Britain's most popular artists and reveals just how vital painting and photography were to one another,» explains Carol Jacobi, Tate Britain's curator of British Art 1850 &mdaspainting and photography were to one another,» explains Carol Jacobi, Tate Britain's curator of British Art 1850 — 1915.
Painting, photography, construction and most especially all the hybrids in between conventional genres are pursued in this collage survey, with artistic intentions from the narrative to the minimal and modernist, landscape, portrait, cultural motif, abstract expressionism, formal poetics, nostalgia, emotion, and technical bravado.
Qiao is most interested in contemporary art that relates to personal experience, but his collection is informative and comprehensive, including all media: painting, sculpture, installation, photography, video and so on.
Since its establishment more than fifteen years ago, Lehmann Maupin has organized and curated hundreds of exhibitions for some of the world's most celebrated contemporary artists working in painting, sculpture, photography, video and new media.
The body of work ranges from his early portraits of Los Angeles swimming pools up to drawings and photography of Yorkshire landscapes and most recent paintings.
Arguably the most famous member of the Young British Artists (YBAs) due to his untimely and shocking death, Angus Fairhurst was an English artist active in the fields of painting, sculpture, installation, photography and video.
A multidisciplinary artist whose work encompasses sculpture, painting, photography, and installation art, Matthew Day Jackson has created a varied body of work that explores the duality implicit in most major historical moments.
Skowhegan is one of the only educational art institutions that teaches the traditional handling of fresco — the Renaissance technique of painting murals on plaster — if that's your thing; but video, new media, sculpture, and photography are the most popular media among participants.
I learned early on that while most people know Barkley for his figurative paintings, he considered his practice much wider - ranging in nature, including landscapes and photography.
One of the most persistent themes in contemporary art since the early 1990s has been the proliferation of work that addresses «ruined modernity» and «failed utopias»: in other words, a type of art that reformats iconic examples of 20th - century architecture and design into painting, sculpture, photography, video, slide shows, archival installations, etc..
His interest in how images are constructed in painting and its relatives, photography and the media, continued in subsequent series: the «stripe» paintings, the «half - tone and stripe» paintings; and most recently, the «abstract» paintings, which rely on the play of light over ridges of paint.
The group exhibition Fleeing away from what bothers you most presents photography, film, sculpture and painting.
Morgan Falconer tells the story beginning with Jackson Pollock and the Abstract Expressionists on both sides of the Atlantic, proceeds through postwar abstraction in France, social realism in East Germany, the end of geometric abstraction in Europe, American post-painterly abstraction, the handmade ready - mades of Rauschenberg and Johns, Pop's rise in Britain and the US, painting's confrontations with photography in the 1960s and beyond, the return of expressionism in the 1980s, new approaches to Pop in the 1990s and 2000s, and the continued variety of some of the most recent paintings to be made by a younger, «post-medium» generation of artists.
Over the past half century, Gerhard Richter (born 1932) has built up a stylistically heterogeneous and conceptually complex body of painting, photography, sculpture and artist's books that firmly establishes his status as the most important living artist of our time: today, this diverse oeuvre totals in excess of 3,000 individual works.
The exhibition marked Hockney's 80th year and gathered together «an extensive selection of David Hockney's most famous works celebrating his achievements in painting, drawing, print, photography and video across six decades».
Henri Matisse painting Bathers by a River, May 13, 1913 Photograph by Alvin Langdon Coburn Courtesy of George Eastman House, International Museum of Photography and Film, Rochester July 18 — October 11, 2010 In the time between Henri Matisse's (1869 — 1954) return from Morocco in 1913 and his departure for Nice in 1917, the artist produced some of the most demanding, experimental, and enigmatic works of his career — paintings that are abstracted and rigorously purged of descriptive -LSB-...]
The complexity and the diversity of artistic expression becomes even more accentuated in the 1980s and 1990s, and the artists whom we have selected are among the most important of those researching new possibilities within photography (John Divola, Catherine Opie), paintings and sculpture (Paul McCarthy, Henry Taylor, Charles Ray, Meg Cranston, Laura Owens) and installations (William Leavitt, Alexis Smith).
Marcos Martín Blanco and Elena Rued began acquiring new European and American figurative painting and photography in 1979, building the collection MER into one of Spain's most important private collections.
Two books of my photography have been published: «Ribbons Of Time: The Dalquest Research Site,» in the Big Bend area of Texas; and «The Black Place: Two Seasons,» focused on the area in New Mexico where Georgia O'Keeffe painted and produced one of her most beautiful abstract paintings called «Black Place II».
The Brooklyn Museum presents the most comprehensive exhibition of Buchanan's work to date through approximately 200 objects, including sculpture, painting, photography, drawing, notebooks of the artist's writings, and documentation of private performances.
Paper September 2011 The Last Look: Mickalene Thomas By Carlo McCormick Most widely known for her lavishly rhinestone bejeweled paintings, Mlckalene Thomas will be unleashing her formidable preparatory work of photography, collage and photomontage this month al Lehmann Maupin Gallery's downtown space.
Working through photography, painting and mixed media assemblages, his highly embellished works have made their way into some of the most important collections in the world.
With a practice spanning painting and photography and landscapes and figuration, he was most recognized for his powerful images of 1970s subjects whose cool poses and confident style of dress conveyed a certain attitude and hipness.
Of the various acolytes of Bernd and Hilla Becher — Thomas Demand, Andreas Gursky and Thomas Ruff among them — Thomas Struth has developed the most nuanced and broad argument for large - scale photography as contemporary History Painting.
Interweaving highlights from the Museum's seven curatorial departments — Painting and Sculpture, Drawings, Prints and Illustrated Books, Photography, Architecture and Design, Film and Media — this volume presents a broadly chronological overview of the most innovative, provocative and fascinating art of the past quarter century.
Collectors since 1967, the family owns some 6,000 works of art - from paintings to sculptures, photography, videos and installations - all by the most significant artists working during the last three decades.
David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chriphotography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, ChriPhotography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chriphotography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.
Baldessari, 84, was cited on Thursday by the NEA for his «ambitious work [that] combines photography, painting and text to push the boundaries of image, making him one of the most influential conceptual artists of our time.»
This extensive retrospective will be the most comprehensive view of the multimedia artist's work to date and will include film, photography, photograms, prints, drawings and paintings.
Opening: David Salle at Skarstedt Known for works that combine photography, painting, and collage techniques, David Salle is often considered one of the most important figurative artists working today.
Over the past two decades, the British artist Yinka Shonibare has used film, dance, installation, painting, photography, and most notably sculpture to mine the historical and political identities of his African and European roots.
The almost overwhelming amount of painting, photography, print, sculpture, video, and archival material include some of Latin America's most well known female artists, such as Marta Minujín (Argentina), Lygia Clark (Brazil), Damiel Eltit and Paz Errázuriz (Chile), Graciela Iturbide (Mexico), and Ana Mendieta (Cuba).
While Lins refers to her work primarily as sculpture, she consistently questions traditional notions of the medium through its relationship to other forms of representation, most notably photography and painting.
The exhibition features a range of media, including painting, sculpture, drawing, photography, installation and video; never - before - seen works from the 1980s; new large - scale sculptures; and the artist's most ambitious architectural installation to date: a vast and immersive mirrored labyrinth that will go on view in ICA Miami's Atrium Gallery.