Sentences with phrase «mounted exhibitions as»

He has mounted exhibitions as an independent curator at museums in Europe, Asia and the U.S., including the Bronx Museum of the Arts, Comune di Milano in Italy and the Museum Villa Stuck in Munich.

Not exact matches

The creator of the artifacts which appears to be an exhibition, Mr Faisal Dauda said although he applied for permit to mount his artifact at the disaster scene, he was yet to get permit from the AMA, adding he could not wait any longer as the event date was approaching hence his decision to go ahead without the permit.

Student work on picnic table tops under plexiglass, mounted on or hanging from the ceilings of pedestrian walkways, as pennants on flagpoles, or mosaics on the vertical parts of exterior stairs — these are just a few options that educators can consider as outdoor exhibition spaces.

The gallery program has mounted exhibitions of contemporary art featuring the work of Richard Prince, Jean Michel Basquiat and Christopher Wool as well as exhibitions dedicated to the history of The New York School, Abstract Expressionism and Pop Art showing the earlier work of Hans Hofmann, Roy Lichtenstein and Willem de Kooning.

This exhibition is mounted in collaboration with Henrique Faria Fine Art in the interest of re-invigorating Los Angeles as a dynamic platform for the interchange of ideas.

Her work has been recognized by one - person exhibitions at the Corcoran Gallery of Art, Washington, D.C.; the Whitney Museum of American Art; Delaware Art Museum, as well as a retrospective mounted at the Hirshhorn Museum, Washington, D.C., in 2009.

As is typical for the summer months, a lot of galleries have mounted ambitious group exhibitions, many of which focus on painting.

Egan mounted annual solo exhibitions of Tworkov's work between 1945 and 1954, and it was during this time frame that Tworkov developed his mature abstract expressionist voice, thereby establishing himself as one of the few true first - generation abstract - expressionists.

Permanent works and public projects include Streetcar Stop for Portland, Regional Arts and Culture Council, Portland (2014); Plat 99, Bar and Lounge designed for The Alexander Hotel, Indianapolis, (2013); Tecoh, private residence, Yucatán (2012); Untitled (reinstallation of the Latin American Galleries), LACMA Los Angeles County Museum of Art, Los Angeles, US (2008); Untitled (Guadalajara Light Piece), Solares Foundation, Guadalajara (2005); House for Cesar and Mimi Reyes, Old San Juan (2004); Project, a reimagining of the lobby and new bookshop for Dia Art Foundation Chelsea, New York, US (2000); 4166 Sea View Lane, a proposal as part of an exhibition for LA MoCA to build an artist's house on a hillside in Mount Washington, Los Angeles, for which Pardo designed every element of the building (completed 1998).

As examples, in 1976 the Museum mounted the exhibition 200 Years of American Sculpture, organized again by Marcia Tucker with a group of other curators.

But I have seen my colleagues start galleries in remote locations, such as Galleria Continua in San Gimignano, Italy, and create a global following and a reputation on the strength of the artists and the exhibitions they have mounted.

Using archival pigment print and processing techniques that isolate the aircraft in the image, Milstein focuses on color and design to achieve maximum clarity in his images, which the Smithsonian National Air and Space Museum mounted in a solo exhibition entitled AirCraft: The Jet as Art in 2011.

«It is especially fitting for the Greenwich Historical Society to organize and mount this anniversary exhibition as it is a key repository for archival material from the Armory Show as well as a major holder of works by MacRae,» Dr. Larkin said.

The exhibition, the artist's fourth show at the gallery, will include approximately 100 small paper mounted on canvas paintings as well as 25 collage constructions and a set of sketches in response to Francisco Goya's drawings including his Los Desastres de la Guerra series, all dating from 2009 to the present.

Cassel Oliver has also mounted numerous solo exhibitions including a major retrospective on Benjamin Patterson, Born in the State of Flux / us, as well as the surveys Donald Moffett: The Extravagant Vein (2011); Jennie C. Jones: Compilation (2015); Angel Otero: Everything and Nothing (2016) and most recently, Annabeth Rosen: Fired, Broken, Gathered, Heaped (2017).

As part of the Angels and Ancestors series the artist began in 2006 during her first solo exhibition with the gallery, Angels & Ancestors IX is a tree sculpture mounted horizontally, giving the viewer a bird's eye view of the tree top.

Curiously some of the commercial galleries that represent the apotheosis of the contemporary art industry and market, such as, here in NY, Gagosian and Zwirner, have been able to mount museum quality shows the past few years, including for example excellent Picasso and Frankenthaler exhibitions at Gagosian and the recent exhibition of Ad Reinhardt's work at Zwirner, in spaces that either are as beautiful as any museum or that are just functional in a good way, with few frills, just good walls and space.

Cameron Rowland, a young New York artist, has recently mounted several exhibitions whose everyday objects conceal vicious economic realities, such as compulsory inmate labor, at well below minimum wage, in New York prisons.

Traditionally, graduating seniors mount individual exhibitions throughout spring semester as part of the Fine Arts degree program, however due to the fire, most of these exhibitions were not possible.

He has mounted solo exhibitions in Los Angeles at LA > < ART and Annie Wharton Los Angeles as well as performances at L&M Arts in Venice, CA and MOCA (in collaboration with Kenneth Anger).

As the 240th anniversary of the Battle of Brooklyn approaches, museums are mounting exhibitions with Revolutionary War themes.

To speak more about the selection process for this show, it is also interesting to note that as we narrowed our focus there were a number of directions this exhibition could have taken and while it became clear that we could have, for instance, created an entire exhibition strictly of triangular shapes in corners (with pieces by Benglis, Morris, Smithson, and Turrell, for example), we chose to mount an exhibition where each work engages the corner in its own unique and distinctive way.

A group primarily active during the 1990s, although the label — which derives from a series of exhibitions mounted in the mid 1990s at London's Saatchi Gallery — is still applied to some of its major members, such as Damien Hirst, Tracey Emin, and Jake and Dinos Chapman.

Focusing its energies on the mounting of exhibitions onsite and off - space, and on the publishing of artist books, La Salle de Bains is working towards new exhibition formats and methods of mediation, such as the 2012 show Tell the Children / Abstraction pour Enfants (an echo of Andy Warhol's Painting for Children Pop art show at Galerie Bruno Bischofberger, Zürich, in 1983), which introduced children (and adults) to very contemporary abstract paintings by artists including Claudia Comte, Lisa Beck and Olivier Mosset — all hung at children's eye height, on vividly patterned wallpaper.

In 1982, Kim MacConnel mounted an exhibition called Luft Gesheften, in which the artist interpreted a Yiddish phrase meaning «Air Business,» as in made up, made of nothing, not real business.

We have mounted important exhibitions of the works of Ant Farm, Joe Brainard, Joan Brown, Theresa Hak Kyung Cha, Robert Colescott, Jay DeFeo, Juan Gris, Eva Hesse, Paul Kos, Robert Mapplethorpe, Barry McGee, Richard Misrach, Bruce Nauman, Peter Paul Rubens, Martin Puryear, Sebastião Salgado, William Wiley, and many others, as well as thematic exhibitions such as Made in U.S.A.: An Americanization in Modern Art, the «50s & «60s; State of Mind: New California Art Circa 1970; In a Different Light: Visual Culture, Sexual Identity, Queer Practice; Human / Nature: Artists Respond to a Changing Planet; and Masterworks of Chinese Painting: In Pursuit of Mists and Clouds.

An exhibition of his post-Automatiste work from the late 1950s and early 1960s was mounted in Paris in 1971, contributing substantially to his stature as a major artist and establishing his international reputation.

Presented publicly for the first time in an accompanying special exhibition at the Deutsche Guggenheim in Berlin, this new work is shown alongside earlier pieces — both black - and - white photographs as well as transparencies mounted in light boxes — to create an ensemble that resonates formally and thematically.

The gallery's expertise in mounting special exhibitions of modern and contemporary art has allowed it to tour events to the US, Korea and Japan, as well as across Europe.

Meanwhile, the gallery's Geneva outpost is preparing to mount a Penone exhibition as well, and both the show as well as the installation are on view until March.

As a curator, Nadel has mounted exhibitions including: «What Nerve!

The annual student exhibition at the end of the school year — referred to colloquially as the End of the Year Show — is mounted throughout the school's exhibition, studio and classroom spaces and features the work of art, architecture and engineering students at all levels.

Dan Nadel is the author of books including The Collected Hairy Who Publications, Art Out of Time: Unknown Comic Visionaries, 1900 - 1969, and Gary Panter, as a curator, he has mounted exhibitions including: «What Nerve!

1985 37th Annual Purchase Exhibition - Hassam and Speicher Fund, American Academy and Institute of Arts and Letters, New York, NY Through a Master Printer: Robert Blackburn and The Printmaking Workshop, The Columbia Museum, Columbia, SC; The Arkansas Art Center, Little Rock, AR; Mississippi Museum of Art, Jackson, MI New Color Abstraction: Sam Gilliam, Al Loving, William T. Williams, Cleveland State University Art Gallery, Cleveland, OH Artists as Mentors: A Special Exhibition of Works by its Artistic Committee and Selected Emerging Artists, The Cinque Gallery, New York, NY Tribute — Robert Blackburn, Association of Community - Based Artists of Westchester, Mount Vernon, NY

As a 1969 architecture graduate from Melli University (National University), Mousavi mounted his first painting exhibition in the late nineteen - sixties, and he expressed his opinions on art in forms of writing and open discussions mostly held at the avant - garde artist - run Ghandriz Gallery in Tehran.

Emily Roysdon opens the exhibition with the nearly invisible wallpaper print saying Who Am I To Feel So Free to give the exhibition a thoughtful and nearly ironic starting point entering as visitors enter the MoMA PS1 lobby, where Xaviera Simmons has mounted a photo installation for Greater New York that visualizes fugitives onboard boats out in the open ocean, after having left, but before arriving.

In 1955, the Poindexter Gallery mounted his debut exhibition, but as a result of this six - year delay, Resnick has often been mislabeled a second - generation abstract expressionist.

O'Doherty has mounted over forty solo exhibitions in Europe and the U.S. and has been the subject of several museum retrospectives, as well as gallery exhibitions, including Connecting the... (P!

This Biennial exhibition will be large in scale — mounted at the Hammer and LAXART as well as additional sites throughout the city — and will leverage LAXART's experience with public art projects.

In 1966, the Cleveland Institute of Art mounted his first retrospective exhibition, and in 1969 - 70, he spent a year at Amherst College as a teaching artist - in - residence.

As well as acquiring a new studio in Hawaii and mounting his first solo museum exhibition at the Fruitmarket Gallery in Edinburgh, Basquiat also began a significant working relationship with New York dealer Mary Boone, who represented established figures such as Julian Schnabel and Eric FischAs well as acquiring a new studio in Hawaii and mounting his first solo museum exhibition at the Fruitmarket Gallery in Edinburgh, Basquiat also began a significant working relationship with New York dealer Mary Boone, who represented established figures such as Julian Schnabel and Eric Fischas acquiring a new studio in Hawaii and mounting his first solo museum exhibition at the Fruitmarket Gallery in Edinburgh, Basquiat also began a significant working relationship with New York dealer Mary Boone, who represented established figures such as Julian Schnabel and Eric Fischas Julian Schnabel and Eric Fischl.

Among the seminal exhibitions he organized as curator and director of the Pasadena Art Museum were the first retrospectives of Marcel Duchamp and Joseph Cornell; he also mounted the first exhibition devoted to Pop Art, New Painting of Common Objects (1962).

As the leader in its field, Public Art Fund brings dynamic contemporary art to a broad audience in New York City and beyond by mounting ambitious free exhibitions of international scope and impact that offer the public powerful experiences with art and the urban environment.

In 1954, Robertson saw the great Diaghilev exhibition in London mounted as a totality, an environment, by the dance critic Richard Buckle.

Museums in Los Angeles, as well as in other major cities in the United States in recognition of the Centennial of the Mexican Revolution and the Bi-Centennial of Independence are mounting major exhibitions.

This exhibition will feature new wall - mounted resin works, as well as a recent series of related drawings.

When he managed to borrow it in 2011 and mounted a special exhibition around it, he described it as «a once - in - a-lifetime experience».

This is a bold political stance, and one that seems particularly relevant this spring as, elsewhere in London, Tate Britain mounts an exhibition investigating the importance of sculpture in British imperial territories in the 19th century.

Richard Parrish draws from his experience as an architect to develop his landscape - based works in kiln - formed glass for Aerial Perspectives, a traveling exhibition previously mounted at The Rockwell Museum in Corning, New York; the Bullseye Resource Center New York in Mamaroneck; and the Bullseye Resource Center Bay Area in Emeryville, California.

The Amon Carter Museum of American Art typically strikes a nice balance by including a few works by Texans as part of the national story it tells of 19th — and early 20th - century painting and sculpture in its main collection galleries — Julian Onderdonk hangs with fellow American Impressionists; Jerry Bywaters and Everett Spruce serve as Texan exemplars of Depression - era regionalism — and mounting annual exhibitions of about a half - dozen works in a small gallery set aside for Texas art.