Sentences with phrase «mounting an exhibition focusing»

Garis & Hahn is a gallery - cum - Kunsthalle that mounts exhibitions focused on conceptual narratives and relevant conversations in contemporary art.

The challenges an institution would face when mounting an exhibition focusing on institutional critique are self - evident, but there is value in presenting an archive of some of those procedures.

Not exact matches

I asked the museum what prompted the mounting simultaneously of four exhibitions all focusing on African American art and artists.

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

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.

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.

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.

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.

For the first time in the gallery's history, we will mount an exhibition that will focus on a collaborative project between an artist and a writer.

In addition to mounting focused monographic presentations of the pillars of 20th - century art such as Peter Halley, Donald Baechler, Andy Warhol, Robert Motherwell, and Julian Schnabel, the gallery explores current themes in contemporary art through thematic exhibitions that place living artists in the historic context of their predecessors.

The exhibition was created by Ulf Küster, curator at the Fondation Beyeler, and is part of the «Courbet Season», a joint venture with the Musées d'art et d'histoire in Geneva, which is mounting a concurrent show in the Musée Rath that focuses upon Courbet's years in Switzerland.

[10] However, no more than 800 or 900 of those pieces are on display at any one time.The museum also mounts temporary exhibitions that focus on a particular artist, an art movement or artistic period, or art that was created in a specific region or country.

That exhibition marked the first time Judd used colored anodized aluminum in such a large, floor - mounted format — thus comprising one of his few explorations of color on a large scale and providing a focused investigation of one of the key concerns within his practice.

During this interim period, the NAG has been mounting exhibitions at the Singapore Art Museum (SAM), which focuses mostly on modern and contemporary art from Singapore and the region.

The gallery focuses on solo exhibitions and tightly curated shows often mounted in collaboration with outside curators.

In conjunction with mounting exhibitions inside the gallery space, Erin Cluley Gallery will maintain a focus on presenting public projects conceptualized by the gallery's artists.

His work was the focus of several exhibitions and retrospectives during the early 2000s, including the 2006 exhibition «Ettore Sottsass» organized by the Los Angeles County Museum of Art, which was the first major retrospective on Sottsass» work presented in the United States, and the 2007 «Ettore Sottsass — Work in Progress» exhibition mounted at the Design Museum.

The focus of the gallery since its inception has been to exhibit, represent and champion artists from around the world, in particular artists from Africa, East Asia, and North America, by mounting major exhibitions of their work in the gallery, presenting artworks at important fairs, securing museum exhibitions and publishing major catalogues and scholarly essays.

In its first two years, the Gallery focused on mounting first solo exhibitions for its roster artists, contextualizing its artists within contemporary and historical work, and presenting international artists who have not previously shown in the USA despite thriving international carers.

Ukrainian billionaire Victor Pinchuk will mount an exhibition titled «China China» at his Kiev art center next month that focuses on both younger and older artists.

After exhibit organizer Don Baum mounted his last imagist show at the art center in 1971, the so - called movement became the focus of national and international exhibitions such as «Made in Chicago,» which became the U.S. entry in the Sao Paulo Bienal of 1973.

The Kemper Museum of Contemporary Art in Kansas City is mounting «Magnetic Fields,» a groundbreaking exhibition focusing on women of color who work in abstraction.

DC Moore Gallery maintains a robust exhibition schedule mounting fifteen to twenty museum - quality exhibitions annually, ranging from historical presentations, to focused one - person shows and major career retrospectives.

In 1959 New York's Museum of Modern Art mounted an exhibition called «New Images of Man,» focusing on the figurative expressionism that was an important part of the postwar scene, thanks in part to the work of Francis Bacon, Jean Dubuffet and Alberto Giacometti.

Edited by Lynne Cooke and Karen Kelly, together with Bettina Funcke, this second volume of collected theoretical and critical essays are by a multidisciplinary group of lecturers, and are focused on the exhibitions mounted at Dia from 1995 through 1998.

At Eric Firestone Gallery, Schoultz will mount an exhibition that combines his signature mural painting in a unique installation as well as multiple works focused on the nature of, and visual commentary on the American flag.