Sentences with phrase «mounted exhibitions including»

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!

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

Not exact matches

Oursler has mounted solo exhibitions at prestigious exhibitions including PinchukArtCentre, Kiev, Ukraine; Tate Modern, London; ARoS Aarhus Kunstmuseum, Denmark; Kunsthaus Bregenz, Austria; Metropolitan Museum of Art, New York; Whitney Museum of American Art, New York; Centre Georges Pompidou, Paris; Institute of Contemporary Art, Philadelphia; MASS MoCA, Massachusetts; Kunstverein Hannover, Germany; Aspen Art Museum, Colorado; Museum of Contemporary Art San Diego, California; Centre d'Art Contemporain, Geneva, Switzerland; Honolulu Museum of Art, Hawaii; Museum fur Gegenwartskunst, Basel, Switzerland; P.S. 1, New York; Musée d'Art Contemporain de Bordeaux, France; Museo D'Arte Contemporanea Rome, Italy; Sao Paulo Museum of Modern Art, Brazil; Jeu de Paume, Paris; Musee d'Orsay, Paris; Kunstforeningen GL Strand, Kobenhavn, Denmark; Helsinki City Art Museum, Finland; Institut Valencia D'Art Modern, Valencia, Spain; Fridericianum, Kassel, Germany.

Pace has mounted more than 700 exhibitions, including scholarly exhibitions that have subsequently travelled to museums, and published nearly 400 exhibition catalogues.

Three works on paper from the 2008 series, Suite for Mount Washington, will also be included in the exhibition.

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.

Geng's solo exhibitions include Mount Sumeru, Klein Sun Gallery, New York, NY (2017); Poetics of the Body — The Sculpture & Video Art of Geng Xue, Fengmian Art Space, Yuexiu District, Guangzhou, China (2016); Borrowing an Easterly Wind, Klein Sun Gallery, New York, NY (2015); Mr Sea, ZERO Art Center, Beijing, China (2014); and The Other Side, National Museum of Wales, Cardiff, UK (2009).

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).

Recent exhibitions include UNTITLED: Art on the Conditions of Our Time, New Art Exchange, Nottingham, UK (2017); In This Soup We Swim, Kingsgate Project Space, London, UK (2016); Changing City: Shifting Places, CCA Lagos, Lagos, Nigeria (2016); Arena, Center of Contemporary Art, Torun, Poland (2014) and a number of screenings including at Akademie der Künst, Cologne, Germany (2016); Mount Florida Studios, Glasgow, UK (2016); Kunstmuseum Bonn, Bonn, Germany (2015); Atomic Pictures, Paris, France (2015).

Jacob has mounted exhibitions, and created public art opportunities that have featured the work of some of the most influential artists in contemporary art including Mark Dion, Suzanne Lacy, Ernesto Pujol, J. Morgan Puett, Pablo Helguera, Marina Abramovic, and Alfredo Jaar.

Solo exhibitions of Renaldi's photographs have been mounted in galleries and museums throughout the United States including the Nicolaysen Art Museum and Discovery Center in Casper, Wyoming.

W.A.G.E. recognizes that the TAOE of large collecting museums like MoMA, The Guggenheim or The Whitney are higher because they include expenses associated with acquisitions, collection maintenance, and the management of retail outlets, and that these expenses seem unrelated to the cost of mounting exhibitions by living artists.

McDowell has held curatorial appointments at the CCA Wattis Institute for Contemporary Arts, San Francisco, the San Francisco Museum of Modern Art, and the Massachusetts Museum of Contemporary Art, where she mounted many solo and group exhibitions, including projects on Minimalism, Fluxus, assemblage, and avant - garde cinema.

This booklet details everything you need to know to mount your solo show including a week - by - week timetable for planning your exhibition.

Over the past five decades, the gallery has mounted more than 700 exhibitions, including scholarly shows that have subsequently travelled to museums, and has published nearly 400 exhibition catalogues.

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.

That same year, Michael Rosenfeld Gallery mounted a solo exhibition focused on a selection of Falkenstein's work from the years 1955 to 1975 and she was also included in the group exhibition Impact: The Legacy of the Women's Caucus for Art at the American University Museum of the Katzen Arts Center at American University in Washington, DC.

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).

Frank has also organized numerous theme and survey shows, including «Driven to Abstraction: Southern California and the Non-Objective World, 1950 - 1980,» for the Riverside Art Museum; «Artists» Books U.S.A.», «Mapped Art: Charts, Routes, Regions» and «Line and Image: The Northern Sensibility in Recent European Drawing», all for Independent Curators Inc.; «Fluxus Film and Video» for the Museo Reina Sofia in Madrid; «Young Fluxus» for Artists» Space in New York; «To the Astonishing Horizon» for Los Angeles Visual Arts; «Southern Abstraction» for the Raleigh (NC) City Gallery of Contemporary Art; «The Theater of the Object, 1958 ‑ 1972» for New York's Alternative Museum; «Visual Poetry» for the Otis / Parsons Art Institute in Los Angeles; «Multiple World» for the Atlanta College of Art; and, most notably, «19 Artists — Emergent Americans,» the 1981 Exxon National Exhibition mounted at the Guggenheim Museum.

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.

Matta's first one - artist exhibition was held at the Julian Levy Gallery, New York in 1940, and since that time, nearly 400 solo exhibitions of his work have been mounted, including MoMA's 1957 retrospective, which traveled to the Walker Art Center, Minneapolis (1957) and the Institute of Contemporary Art, Boston (1958).

He also participated in many international exhibitions, including the Venice Biennale (1958, 1988 and 1990); the Pittsburgh International, where he received the Carnegie Prize for sculpture in 1964 and, in 1978, shared the Andrew W. Mellon Prize with Willem de Kooning; and Documenta His first comprehensive retrospective in the United States was mounted by the Museum of Fine Arts, Houston, in 1966.

In 2013, the Los Angeles County Museum of Art presented two exhibitions of the artist's multichannel videos, and the de Young Museum, San Francisco, mounted David Hockney: A Bigger Exhibition, which included work from The Arrival of Spring, Pace's 2014 exhibition of his videos and iPadExhibition, which included work from The Arrival of Spring, Pace's 2014 exhibition of his videos and iPadexhibition of his videos and iPad drawings.

The FAA gallery has seen several significant exhibitions mounted since the School's opening in 2015, including their two most recent, Dean Cornwell: A Lasting Influence and 12x12, A Portrait Exhibition.

In 1968, he created the «V» series of lithographs, which included the print Quathlamba I. Following a solo exhibition at the Museum of Modern Art in 1970, Stella began working in three dimensions, adding relief elements to paintings, which could almost be considered wall - mounted sculptures.

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.

artnet News includes Geng Xue's solo exhibition, «Mount Sumeru» in their go - to guide for Frieze Week.

Exhibitions of critical acclaim mounted over the past forty years include Sean Scully, Antoni Tapies, Bill Woodrow, Sol le Witt, Brian Maguire, Tony O'Malley, Tony Cragg, Petah Coyne, Paul McCarthy, Eve Sussman, Jeanne Silverthorne, Louise Bourgeois, David Sandlin and Barry McGee.

The range of the German artist's practice goes on view in this exhibition of new and recent pieces, which includes a selection of concrete sculptures, wall - mounted paintings and assemblages, and examples of her ongoing «Schauspieler (Actors)» series.

The more than 150 prints in this exhibition, mounted on the occasion of the National Gallery's 75th anniversary, are drawn entirely from the Gallery's collection, including promised gifts.

The second solo exhibition of Norman's art mounted by Michael Rosenfeld Gallery, Irving Norman: War & Peace takes its title from a masterwork (included in the exhibition) that marks a pivotal moment in Norman's development.

In addition to being the producing sponsor of the dance production, the Berkeley Art Museum and Pacific Film Archive, under the direction of Assistant Curator Dena Beard, has mounted an exhibition of visual materials relating to Parades and Changes, including photography, newspaper clippings, video (the Swedish television production) obtained from the Halprin Archive at the Performaing Arts Library and Museum in San Francisco.

He has exhibited throughout the United States, mounting solo and group exhibitions at venues including the San Diego Art Institute, Helmuth Projects, City Gallery, Southwestern College and many other San Diego exhibition spaces, Noysky Projects in Los Angeles, Brazzos Gallery and Circuit 12 Contemporary in Dallas, Winkleman Gallery and Dumbo Arts Center in New York City, Janus Project in Brooklyn, Hartell Gallery in Ithaca, University of Notre Dame in South Bend and MVSEVM in Chicago, among others.

In addition to mounting five institutional - quality exhibitions in its first year, Mr. Moskowitz has coordinated over twenty events including artist interviews, lectures, curatorial walkthroughs, dance and musical performances, and a classical concert series sponsored by Steinway & Sons.

Belott has mounted several major solo and two - person exhibitions including The Journal, New York; LOYAL, Malmö, Sweden (with Jesse Greenberg); CANADA, New York; Galerie Zurcher, Paris; Zurcher Studio, New York; Kenny Schacter Contemporary, New York.

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!

ICA (The Institute of Contemporary Art / Boston) has lately been consistent in mounting brilliant and thoughtful exhibitions one after another, including must - see shows by Amy Sillman, Nick Cave and, opening November 19, the first solo museum show of the complex Brazilian artist Adriana Varejão.

Since then, several museums have mounted solo exhibitions including the Los Angeles County Museum of Art (2006), Guggenheim Collection in Venice, Italy (2007), and Phillips Collection in Washington, DC (2010).

In the 1960s Buren, along with Hans Haacke and Michael Asher most notably, expanded the institutions under consideration to include a constellation of other components of the art world, from the artist's studio to the corporate sponsorship that helps pay for the mounting of an exhibition.

Several works here are by artists included in the historic Ninth Street Exhibition of 1951, mounted by Vicente and other Club members in a building that was slated for demolition — a kind of proto - alternative space that shifted attention away from the commercial galleries of 57th Street to the downtown artists» scene.

The survey exhibition will include a selection of Cave's (b. 1959) signature «soundsuits,» video projections, a multimedia installation, and wall - mounted sculptures.

Spanning three years — a frame that seems arbitrary — the exhibition includes nine wall - mounted works along with six drawings.

Her work was included in the landmark exhibition The Edge of Vision (2009), mounted by the Aperture Foundation and in the Museum of Art and Design's Multiple Exposures (2014).

To identify the artists and works to be included in the exhibition, Tom Finkelpearl, then director of the gallery, invited Hammons, and a couple of others involved with the show, on a 1987 trip to Rocky Mount, N.C..

Mounting over 50 solo exhibitions during his life, including numerous museum shows in the USA, Europe and Japan, he has, since his death, continued to be the subject of important retrospectives.

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.

Over the decades, the gallery has mounted tens of exhibitions dedicated to the work by the renowned painter; their first collaboration in New York includes a new body of work that manifests his interest in looser and freer forms.

Her works have been the subject of solo museum exhibitions at institutions including the Museum of Contemporary Art San Diego, California; Mount Holyoke College Art Museum, Massachusetts; deYoung Museum, California; Museum of Contemporary Art Denver, Colorado; Detroit Institute of Arts, Michigan; and FLAG Art Foundation, New York.

Since the late 1960s, Allen has mounted more than two dozen solo exhibitions, including two at MoMA / PS1 and four at the legendary John Weber Gallery (both NYC), where she was represented during the 1970s and early 1980s.

Pace has also published nearly 350 exhibition catalogues and mounted more than 700 exhibitions, including scholarly exhibitions that have subsequently travelled to museums.