Sentences with phrase «mounting exhibitions for»

Then Krugier details the evolving path of his postwar career in art, beginning with his own paintings and moving on to the opening of his own galleries in Geneva in 1962 and New York in 1966, and his subsequent work mounting exhibitions for such artists as Alberto Giacometti, Giorgio Morandi, and Oscar Schlemmer.

It is rare nowadays to see commercial galleries mounting exhibitions for single artists or a coherent group of artists from the 18th and 19th centuries.

ST: There are many great curators who have mounted exhibitions for the US Pavilion, including giants of the field like Sam Hunter, Rosalind Krauss, Robert Hobbs, Nancy Spector, Linda Norden.

Not exact matches

Last year Paley was also dabbling in mounting private exhibitions and producing a bombproof case for transporting art.

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.

The week - long celebration and the year - long Golden Jubilee anniversary celebration are proudly supported by Tullow Oil, VRA, G&J Technical Services Ltd, Bui Power Authority, Ghana Gas, Ghacem and other sponsors which mounted state - of - the - art exhibition stands for the participants.

«There is no formula for mounting an exhibition,» the curator told BoF.

In 1947, at the height of the Abstract Expressionist era, the Museum of Modern Art mounted an exhibition called Large - Scale Modern Paintings; to qualify for inclusion, paintings had to measure at least six feet in one direction.

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.

< EXHIBITION Paying homage to Ebony and Jet magazines — cultural barometers, vital news resources and bibles of aspirational imagery in the African American community for more than half a century — the Studio Museum in Harlem mounts «Speaking of People: Ebony, Jet and Contemporary Art» on Nov. 13.

In 1990, Dennis Barrie, the then director of the Cincinnati Contemporary Arts Center, was charged with obscenity by Hamilton County for mounting an exhibition of Robert Mapplethorpe photographs.

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

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

«The Armory provides a unique space for artists and curators to mount exhibitions that could not be done anywhere else in New York City.

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).

The theme for its group exhibition «Dutch Masters» is delivered, appropriately enough, with an oversize histrionic wink: Caroline Wells Chandler's «Green Goddess,» a four - foot - high, wall - mounted fake marijuana leaf.

We are reminded also of Mondrian's search for a harmonious whole, each time he set up a new studio - home, an endeavour brilliantly illustrated and analysed in last year's exhibition Mondrian and his Studios, mounted by Tate Liverpool in collaboration with Michael White.

His 1945 exhibition Artists Look Like This at the Philadelphia Museum of Art, mounted while still in his twenties, paved the way for his lifetime entrée to the great minds of his day.

The Dedalus Foundation, Jamestown Charitable Foundation, and Brooklyn Rail mount a benefit exhibition for Sandy at a location in which artists are being forced out due to rent increases.

Kertész had some photographs made specifically for the exhibition, but he also brought prints from home, and hung several dozens of them salon style, with a variety of mats, mounts and frames.

When I first came to New York, Feature Inc. was one of the galleries that stood out for me and I remember when Hudson mounted the «Power to the People» exhibition — it felt really radical compared to what was happening in Chelsea.

From the late 1940s until 1965 the association sponsored the Local Artists Show, an annual event that fostered support for the Fort Worth School of artists; solo exhibitions of local artists» work were also mounted annually.

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.

«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.

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.

The Kasmin exhibition is a sequel to Feel Good Paintings for Feel Bad Times, mounted at the same venue three years back.

In particular he seems to have sought specific settings for exhibitions of his early wall - mounted sculptures, which, seen together, gave the impression of amply spaced pops of primary color in otherwise white rooms.6 Following the precisely scaled galleries he created for his 1984 exhibition at MoCA's Temporary Contemporary, he made a rotating exhibition of such works at Leo Castelli's New York gallery in 1986 — 87, sometimes forgoing the main gallery spaces for a more intimate basement.7

Freedom From The Known is Wolfgang Tillmans» first exhibition for an American museum and unlike any he has ever previously mounted.

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.

June 8 — Sept 9, 2018 The ImperialCentre 270 Gay St, Rocky Mount, NC 27804 Margaret Morrison's Sweet Surrender was selected for a summer exhibition because her realistic paintings of desserts will satisfy any sweet tooth!

«The attention to detail, historical accuracy and physical nature of Mike Nelson's sculptural practice guarantee that his new installation for the British Pavilion will be one of the most challenging solo presentations ever mounted in over 70 years of exhibitions organised by the British Council in Venice.»

Recent solo exhibitions have been mounted at KW Institute for Contemporary Art, Berlin (2017 - 2018; travelled to Salzburger Kunstverein, 2018), Museo Tamayo, México City (2017), MRAC Serignan, France (2017), Musees Gallo Romains, Lyon (2016), Tramway, Glasgow (2013), Yale Union, Portland (2013), Kunsthalle Wien (2012), Kunsthalle Basel (2009), Chisenhale Gallery, London (2008) and Fruitmarket Gallery, Edinburgh (2008).

Ms. Imhof was awarded the Golden Lion for best national participation, which is given to the strongest of the 85 exhibitions mounted in pavilions in the Giardini della Biennale and across Venice.

He mounted an inaugural exhibition in September, bypassing art magnets, like New York City and Los Angeles, for a market with a strong collector base that the gallery tested through participation in the Dallas Art Fair, where both sales were made and contacts established.

EXHIBIT PRINTS: All images accepted for exhibition must be printed and framed or mounted professionally.

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.

MASS MOCA, the small - town super-museum, has been slouching toward completion for years now, but it needn't have waited for the opening of its buildings (on May 30) to mount «Billboard,» an exhibition of signs scattered throughout Berkshire County.

A FEAST OF ASTONISHMENTS: CHARLOTTE MOORMAN AND THE AVANT - GARDE, 1960s - 1980s Best known for her collaborations with artists like Nam June Paik, this exhibition looks closer at the artist who mounted «Avant Garde festivals» in public sites like Shea Stadium and Central Park.

In early 2010, the Gallery opened a second location in an old - world townhouse on the Upper East Side of Manhattan dedicated to mounting a series of curated exhibitions that provide deeper historic context for the Gallery's artists.

For her exhibitions, the artist arranges wall - mounted and freestanding objects, drawings and collages, glass display cases and book series, films, videos and slide projections.

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.

In 2014, the Queens Museum of Art in New York City mounted the first retrospective gallery exhibition on the work of the LAPD, which traveled to the Armory Center for the Arts in Pasadena in 2016.

Maurice would mount impromptu exhibitions for his two children in the family's apartment near Central Park, covering the walls with posters and reproductions cut from books and magazines.

We were at a dinner for his exhibition «Concentricity Per Se», which we had just mounted at a gallery in Berlin.

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 more information, please see www.damelioterras.com Designed to highlight the prevalence of contemporary artists who are fascinated with the ephemeral, the transitory, and the temporary, miniMATRIX is a series of exhibitions comprising a single work of art, mounted not in the MATRIX Gallery but in atypical viewing spaces.

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

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.