Sentences with phrase «most such exhibitions»

Not exact matches

The magazine «Country Life», in the 29 April 1899 takes up the story: «Some five - and - thirty years ago in fact, [i.e. about 1865], the small - sized or light - weight Bulldog was common in this country; so much so that dogs of the breed that scaled over 28 lbs were not encouraged at such shows as Birmingham, which was at that period the most important exhibition of its kind in England.

Such performative excess has been integral to Madere's practice, and the most successful works in the gallery exhibition tapped into that impulse within the artist's new, more restrained parameters.

A visual and aural experience, the exhibition feature's some of the artist's most celebrated and innovative creations, including Aviarium works that explore wave vectors of bird vocalizations; and examples from his sculptural Recital series paying homage to overlooked figures such as blues legend Bessie Smith and Arctic explorer Matthew Henson.

His work has been exhibited in key historical exhibitions such as John Szarkowski's Mirrors and Windows: American Photography since 1960 at The Museum of Modern Art (1978), The Whitney Biennial at the Whitney Museum of American Art (1981) and most recently, Under the Big Black Sun: California Art 1974 - 1981 at the Museum of Contemporary Art, Los Angeles (2010).

The exhibition will feature images Penn took while working «on assignment» for publications such as The New Yorker, Vogue, Look and Vanity Fair and advertising campaigns for Clinique and De Beers, among others, for which he produced some of the most compelling fashion photographs, portraits and still lifes of our time.

As many of our longtime VIPs do, I would invest in one of the many talented «up - and - comers» who have shown at VOLTA throughout the years, most recently such as Lavar Munroe (VOLTA NY 2015 with NOMAD Gallery, Brussels), who is participating in the Main Pavilion «All the World's Futures» at this year's Venice Biennale, or Tiffany Chung (VOLTA11 with Tyler Rollins Fine Art, New York) who joins Lavar in the Main Pavilion group exhibition.

Through its work, Iniva has continued to encourage the study and interrogation of cultural identity and difference, most recently in its 2011 exhibition Entanglement: the ambivalence of identity, but also previously in exhibitions such as Alien Nation (2007), which explored science - fiction, race and contemporary art and Veil (2003), which addressed the veneration and vilification of the veil in contemporary culture.

We know that any contemporary art exhibition entitled «The Ascent of Man» is not really going to be about the ascent of man, not in any classical sense, and in fact, we know that it will most likely be a critique of such a concept.

Bringing together more than 100 of the most iconic movie costumes from across a century of filmmaking, the exhibition is a once - in - a-lifetime opportunity to see the clothes worn by unforgettable and beloved characters in films such as The Wizard of Oz, The Birds, My Fair Lady, Superman, Titanic, Harry Potter and the Half Blood Prince, and The Dark Knight Rises.

The exhibition will feature paintings, mixed media sculptures, and interactive installations by 50 of the most dynamic artists and will emphasize Los Angeles's role in the evolution of graffiti and street art, with special sections dedicated to seminal local movements such as cholo graffiti and Dogtown skateboard culture.

Most recently, New Commissions artists have gone on to be included in the Whitney Biennial, documenta, Istanbul Biennial, and the Venice Biennale, among others, as well as in exhibitions at major institutions in New York abroad, such as MoMA, the New Museum, and the Tate Modern.

He has also participated in important group exhibitions such as The Painting Factory: Abstraction after Warhol at the Museum of Contemporary Art, Los Angeles, Le Printemps de Septembre in Toulouse, ILLUMInations in the 2011 Venice Biennale, The Generational: Younger Than Jesus at the New Museum in New York, MoMA's The Forever Now: Contemporary Painting in an Atemporal World, and most recently, Painting 2.0: Expression in the Information Age, which showed at the Museum Brandhorst, Munich, and traveled to MUMOK, Vienna.

It has a reputation for curating the most ambitious projects of many artist's careers, including Andy Goldsworthy and Jaume Plensa, as well as highly significant historical exhibitions, such as Isamu Noguchi, Barbara Hepworth and Eduardo Chillida.

He has also participated in important group exhibitions such as «The Painting Factory: Abstraction after Warhol» at the Museum of Contemporary Art, Los Angeles; «Le Printemps de Septembre» in Toulouse, France; «ILLUMInations» in the 2011 Venice Biennale; «The Generational: Younger Than Jesus» at the New Museum, New York; and, most recently, «The Forever Now: Contemporary Painting in an Atemporal World» at the Museum of Modern Art, New York.

This multimedia exhibition will also include some of Ruscha's most iconic paintings, such as the Standard Stations and the Hollywood Signs, as well as paintings inspired by street names and road signs.

The exhibition forms part of a recent acceleration in the artist's exhibiting CV, catalysed by her retirement from a 40 - odd - year teaching career, during which she proved an enduring influence on a generation of practitioners (most directly Rachel Whiteread and Angela de la Cruz, but also artists such as Douglas Gordon, Tacita Dean, Conrad Shawcross and Tomoko Takahashi).

The exhibition features renderings, models, photographs, and video footage tracing the creation of some of New York's most loved public artworks from the last 5 decades by such artists as Red Grooms, Christo and Jeanne - Claude, and Kara Walker.

Previous exhibitions have centred on many of the most notable artists of the last 50 years, such as Richard Long, Sol Le Witt, Joseph Beuys, Marina Abramovic, Carl Andre, Yoko Ono, Tracey Emin, Gary Hume, Howard Hodgkin and Graham Sutherland.

Critical comparisons have been drawn between Yiadom - Boakye and painters such as Walter Sickert, John Singer Sargeant and Diego Velazquez, most recently in Okwui Enwezor's illuminating essay accompanying her solo exhibition at the Studio Museum in Harlem, «Any Number of Preoccupations.»

While this epic exhibition makes much of its lesser - known discoveries, such as the early prodigy Richard Pousette - Dart and the later painter Joan Mitchell, it's the big boys (and they are all boys) who we're most interested in.

Taking selected works from the Collection as its point of departure, including seminal pieces by some of the most prominent artists from Central, Eastern and South - East Europe since the 1960s, including historical works by Mladen Stilinović, Július Koller, Valie Export, Geta Brătescu, Edward Krasiński and Sanja Iveković, the exhibition stages an interplay between these and other historical, contemporary and newly produced works that interpret and critically examine the collection by artists such as Nika Dubrovsky, Tim Etchells, Marcus Geiger, Ashley Hans Scheirl, Vlatka Horvat, David Maljković, Oscar Murillo, Manuel Pelmus and Stephen Willats.

Organized by the Brooklyn Museum and the Museum of Fine Arts, Boston, the exhibition unites, for the first time, their holdings of his watercolor paintings — the two most significant such collections.

In the early 1990s, Necrorealism reaches international acclaim, and the works by group members take part in the most prominent exhibitions of Perestroika era, such as «In the USSR and Beyond» (1990; Stedelijk Museum, Amsterdam), «Binazionale: Soviet Art around 1990» (1991; Kunsthalle, Düsseldorf; Central House of Artists, Moscow; Israel Museum, Jerusalem), «Kunst Europa» (1991; Kunstverein, Hannover), and others.

McNeil doesn't have half of de Kooning's cachet, and such an exhibition would require more bravery (and independence) than most curators can muster.

They were the most admired works at the annual exhibitions and as such offered a valuable glimpse into the early life of the Dallas art community.

This Gallery allowed for an expanded exhibition schedule and provided facilities for large - scale works and dramatic installations, such as Peter Halley's explosive hanging of paintings and wallpaper, Marc Quinn's complete series of carved marble statues of persons with missing limbs, monumental sculpture by James Lee Byars, and, most importantly, a four - channel DVD installation by Barbara Kruger.

Smith had a retrospective exhibition at the Whitechapel Gallery in 1966, while still in his thirties, and participated in some of the most important exhibitions of his time, such as Place at the ICA in 1959; Situation at RBA Galleries in 1960; and Painting and Sculpture of a Decade at Tate in 1964.

At a time when most young American artists were unaware of their European counterparts, Winters met and was influenced by such artists as Sigmar Polke and Marcel Broodthaers (with whom Winters worked on an installation) and also had a one - person exhibition, at the Konrad Fischer Gallery in Dusseldorf.

Since its inception, the Hong Kong gallery has hosted exhibitions of gallery artists such as Ron Arad, Miquel Barceló, Candida Höfer, Claude & François - Xavier Lalanne, Heinz Mack and Vik Muniz as well as presented exhibitions of important modern artists, most notably Alighiero Boetti and Pablo Picasso.

Since 2006 Liversidge has worked in this peculiarly generous way with institutions across Europe, including the Tate Gallery, Liverpool; The Scottish National Gallery of Modern Art; the National Gallery of Finland and most recently the Whitechapel Art Gallery in London, whose summer 2013 exhibition includes 68 such proposals tailored to the theme of Utopia.

This exhibition of fifty - six lacquer boxes — ranging in date from the Muromachi (1392 — 1568) and Momoyama (1568 — 1615) to Edo (1615 — 1868) periods — featured one of the most elegant and diverse assemblages of such pieces outside Japan.

Although some of her most iconic large - scale works aren't in this exhibition, such as her commission for the fourth plinth in Trafalgar Square «Monument» (2001), and her haunting «Holocaust Memorial» (2000) which has a permanent location in Vienna, some smaller and equally iconic works are featured at the Tate Britain including «Untitled» (One Hundred Spaces)(1995), a composed of 100 casts of the negative space beneath a chair, arranged like sentinels guarding the imposing sweep of the Duveen Galleries, beyond the classical columns of the entrance.

Tinterow also pointed out that most free art museums — even those with extraordinary collections such as the Cleveland Museum of Art, the Nelson - Atkins Museum of Art in Kansas City, the Saint Louis Museum of Art, and Houston's own Menil Collection, «do not run the ambitious exhibition schedule that we do.»

Over the years he has held several solo exhibitions, most recently, his solo shows such as Extreme Makeover and Derek Boshier: Works on Paper, have been held in New York, London and San Francisco.

But such was the case, as art lore will tell you: his 1975 show at the Whitney Museum drew outrage, most famously from New York Times critic Hilton Kramer, and the exhibition's curator, Marcia Tucker, was fired.

In gallery news: David Zwirner now represents the Joan Mitchell Foundation, with an exhibition planned for next year in the gallery's New York space — «The gallery is proud to be entrusted to help with the extraordinary legacy of Joan Mitchell, one of the most important and original American painters to emerge in the second half of the twentieth century», Zwirner commented; Lehmann Maupin have announced representation of the Estate of Heidi Bucher — «Her exploration of spaces — often designated as feminine, particularly domestic environments and objects — is very much in line with Lehmann Maupin's programming and closely ties into the work of artists such as Do Ho Suh and Liza Lou,» director Anna Stothart said; New York's James Cohan Gallery represents Matthew Ritchie; LA's Kayne Griffin Corcoran now represents painter Mary Obering (her work is on show at their booth at Frieze New York); London's White Cube have opened an office on New York's Upper East Side; and Mexico City gallery kurimanzutto also opened a space in New York's Upper East Side yesterday, inaugurated with new work by Abraham Cruzvillegas.

Since it first opened its doors in Copenhagen's North Harbour with an explosive solo exhibition of Cai Guo - Qiang in September 2012, Faurschou Foundation has presented both group and solo exhibitions to Copenhagen, with works by some of the most important artists of our time, such as Louise Bourgeois, Ai Weiwei, Liu Xiaodong, Shirin Neshat, Christian Lemmerz, Mona Hatoum and Santiago Sierra.

With an emphasis on the «now» and the most recent exhibitions, this book examines the variety and richness of curating practices today, from public commissions by Art Angel to experimental projects such as the «Ghetto Biennale» in Haiti or the Rhizome digital archive.

Its first two years of programming included solo shows by some of the most influential artists of the 20th century, including Ellsworth Kelly and Donald Judd, as well as important contemporary artists, such as El Anatsui, and thematic exhibitions, such as Casting Modernity: Bronze in the XXth Century.

The exhibition includes iconic historical works by artists such as Joane Cardinal - Schubert, Alex Janvier and Norval Morrisseau, as well as more recent work and special commissions by some of Canada's most respected contemporary artists.

The exhibition will include some of the artist's most iconic imagery, including portraits of Muhammad Ali and Marilyn Monroe, the artist's self - portrait, still - lifes, and mythical or heroic figures such as Superman.

In interacting with the work over a significant period of time, we felt that that the most compelling way to structure the exhibition was to expose the common threads that run throughout this material: formal constructs such as grids / fields, verticality, pictorial imagery, and repetitive sequences; content such as color as subject, element as subject, interest in early American history (particularly that of Massachusetts), discourse about other artists and art; and relationships to the history of poetry.

This curated exhibition of new work by our current 3D Design students will explore how today's most pressing challenges — such as social and economic inequalities, rampant material consumption, and environmental degradation — can become subjects for critical and poetic reflection in design objects.

At Apollo, we also like to celebrate focused exhibitions that enlighten us with the exceptional intelligence of their curation on a smaller scale: «Piero della Francesca in America» at the Frick Collection brought together most of the panels of the Sant» Agostino altarpiece, while the Ashmolean Museum's «Francis Bacon / Henry Moore: Flesh and Bone» tuned into a conversation between two artists that few had previously heard with such clarity.

A: What strikes me most about this exhibition is the focus on a multicultural London, incorporating international artists such as Bouke de Vries and Kelly McCallum who have chosen London to live and work.

[8] An important Realist movement beyond France was the Peredvizhniki or Wanderers group in Russia who formed in the 1860s and organized exhibitions from 1871 included many realists such as genre artist Vasily Perov, landscape artists Ivan Shishkin, Alexei Savrasov, and Arkhip Kuindzhi, portraitist Ivan Kramskoy, war artist Vasily Vereshchagin, historical artist Vasily Surikov and, especially, Ilya Repin, who is considered by many to be the most renowned Russian artist of the 19th century.

He has participated in dozens of collective exhibitions, including the most important biennials such as Venice (four times), Lyon, Seville, Lüttich, Bucharest, Taipei, Liverpool, Montreal, Sydney and São Paulo, among others.

Displaying over 280 prints from the Condé Nast archive and international collections by key photographers such as Cecil Beaton, Tim Walker and Mario Testino, this exhibition will tell the remarkable story of one of the most influential fashion magazines in the world, and highlight its central role on the cultural stage.

Taking Picasso's «Nature morte au crâne et au pot» (1943) as its starting point, the exhibition included the work of some of the twentieth century's most significant artists including Francis Bacon, Andy Warhol and Bruce Nauman, alongside contemporaries of Hirst such as Tracy Emin and Sarah Lucas.

Most seeking further career advancement have gone on to be awarded professional opportunities such as acceptance to graduate school, participations in group or solo exhibitions at other galleries, and / or have acquired artist visas.