Sentences with phrase «much smaller exhibition»

Hardy had a much smaller exhibition with about 12 cohesive works.

Not exact matches

Jan. 6, 2006 — While much of the buzz about this year's International Consumer Electronics Show in Las Vegas has centered on personal entertainment such as video - on - demand, portable media players, and giant television monitors, the four - day exhibition is also providing glimpses of the future of small business technology.

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.

Whether you are looking for a small, intimate retreat for your top management or a dedicated conference and exhibition venue to host your entire national sales team, this NZ bureau offers you that one point of contact to make your planning that much easier.

Having been immediately hailed by European critics as one of his era's greatest painters, Soutine, who was based in France for much of his career, was largely ignored in America until the Museum of Modern Art in New York hosted a small exhibition of his work in 1950.

They might easily have rubbed shoulders with each other at exhibitions and in the bars and cafes favoured by artists at a time when the art world was much smaller.

Despite PrintMatters» launching during the worst recession since the Great Depression, what started with a small exhibition of work by the five founding artists has grown so much that in 2014, members voted to seek 501 (c)(3) nonprofit status so they could pursue grants and expand programming.

Within the sprawling totality of the Getty exhibition, this small installation effectively encapsulates the details of the scandal without giving it too much attention.

At Volta, the small art fair affiliated with the much larger annual Armory Show, galleries presented a curated exhibition featuring a single artist.

Hot on the heels of the Princess Zeid show at Tate Modern, which runs until October 8th, is a much smaller and shorter - lived exhibition at the Saatchi Gallery, by an artist also Middle Eastern, royal, and female, which runs only until August 18th.

The patterns which emerge through tearing, pasting and scraping are as much reminiscent of works by Kurt Schwitters or Robert Rauschenberg as they are evocative of Francis Rose's predilection for minor vandalism when surreptitiously removing small samples of particularly attractive wallpapers from French chateaux and English country houses to fashion his very own take on the livre d'or in the 1930s: a scrapbook of wallpaper fragments (acquired by the Whitworth Art Gallery after Rose's 1988 retrospective exhibition at England & Co).

Intriguingly, the curators include a small detail towards the end of the show about Houghton's immaterialised ambition of organising a group exhibition of Spiritualist artists, which very much leaves the metaphorical door open to ensure this work is neither forgotten nor left dormant in archives.

One of the main works in the exhibition is Much Ado About Nothing (2003), a piece that consists of two trucks with a big electric generator and a huge water tank that power and water a small potted plant.

I do think this exhibition starts to do that... These are not small things and we should continue to focus on the work of women as much as we can,» Sanroman explains to Creators.

What we're dealing with [in the exhibition] is a much, much smaller world with many fewer voices.

Much of the smaller works in this exhibition act as brief, bright moments of clarity.

But for the first exhibition at Lehmann Maupin's new Hong Kong outpost, she is focusing on lesser - known work, much of it smaller and one - dimensional.

All of the paintings in the exhibition began as small collage studies, which were utilized as maquettes for much larger works that were transferred onto canvas as a blueprint of the original, and then heavily embellished with multiple layers of paint.

A much smaller show but of great interest is the archival display contextualising the seminal exhibition «Art into Society — Society into Art» at the ICA (19 January — 6 March 2016).

The exhibition uptown at Michael Werner Gallery was much smaller, its mood more subdued though just as moving.

Within the larger scope of Gates» output, this building, alongside the others he has restored, is an integral part of his work: the buildings themselves can be, and are often, categorized as falling within his oeuvre as much as the smaller pieces he will sell in gallery exhibitions or art fairs to fund architectural projects such as the Bank.

Since our exhibition will be much smaller in scope, we thought it would be appropriate to create a 45 - rpm single rather than a full twelve - inch album.

Smaller exhibitions, at the Gladstone Gallery, in recent years, have hinted as much, but here was a floor - filling accumulation of marvels by a woman who spun the humdrum — paraffin, cardboard, aluminum — into the sublime.

«The first North American solo exhibition of Ernest Mancoba included four small paintings ranging in date from 1958 to 1985 (one is undated) and some twenty works on paper (many of them likewise undated, but the others are mostly from the early 1990s), giving art lovers on this side of the Atlantic at least a nodding acquaintance with an oeuvre I suspect we are going to get to know much better in coming years.»

The NPG's small exhibitions are often good, and rooms 41 - 41a currently combine the unflinching focus of Ishbel Myerscough's precise delineations with the enlivening awkwardness of Chantal Joffe's more casually - styled depictions of each other, themselves and their daughters — cue uninhibited nakedness (up to ten feet high) and heavy pregnancy (much smaller).

Reviewing the latter exhibition in Artforum's October 2003 issue, art historian Michael Lobel noted that «the large scale of much of Rosenquist's work was initially intended to offer the viewer some critical perspective on commercial imagery by calling attention to its numbing blankness,» and that «the hallmarks of Rosenquist's mature style — the slick rendering, the vibrant Pop colors, the sustained attention to the surfaces of commodity objects ---- are brought together to imbue [his smaller] works with an uncanny psychological resonance.»

Originally conceived in 1995 by curators Hans Ulrich Obrist and artist Christian Boltanski for London's Serpentine Gallery (but on a much smaller scale), the exhibition «Take Me (I «m Yours)» touches on themes of ownership and consumer culture and encourages viewers to engage with artworks by giving them away.

Sophie von Hellermann's fifth solo exhibition with the gallery After a Fashion — A Play with Fire comprises a new series of paintings, both large wall mounted works and a sculptural installation of much smaller paintings.

Since January, the L.A. artist has hosted a series of small shows featuring work by himself and friends and collaborators, much of it orchestrated with the help of independent curator Yael Lipschutz (who helped organize the exhibition devoted to assemblage artist Noah Purifoy at the L.A. County Museum of Art last year).

After many difficulties and the refusal of some leading British abstract artists to join (including Victor Pasmore), she was successful in forming a small group of painters, sculptors and architects who held an exhibition in the Royal Festival Hall in 1955 which anticipated many elements of the much better known 1956 Whitechapel Gallery exhibition, «This is Tomorrow».

The exhibition is a testament to friendships and a much smaller art world.