Sentences with phrase «museumgoers in»

The Legion of Honor exhibition may be less revealing to regular museumgoers in that all the graphic works shown there will be drawn from the Andersons» 1996 gift of 655 objects.

Not exact matches

Museumgoers can also check out oddities like a boot used in lunar training exercises and a state - of - the - art fecal collection bag.

In one of the most compelling interactive simulations, museumgoers adjust the size and speed of a 40 - foot tornado and then stand inside the vortex.

His bold spirit is captured in the exhibit's unusual displays: Museumgoers can browse through cases filled with Darwin's microscopes and handwritten letters as well as view live Galápagos tortoises, an iguana, and a clutch of ornate horned frogs — a sampling of the animals that the young naturalist sent back to England during his 1830s voyage on the Beagle.

While working in London's Tate Gallery, Cumming learned that museumgoers want answers to three questions: «What should I look for?»

In the 1970s he pioneered the use of new video technology, which attracted artists because of its portability, low cost and instant feedback, and I think he would have enjoyed that museumgoers can now read his handwritten notebooks on an iPad.

And, not coincidentally, the sambistas were predominantly Afro - Brazilian and working class, in contrast to the wealthier, predominantly white Brazilian museumgoers inside.

These exhibitions were significant in that they demonstrated the role that art had during that time to a new generation of museumgoers and artists.

Other artists looking at economic matters include Irena Haiduk, who has created a digital apparatus for museumgoers to purchase public land in Serbia, after a privatization measure recently adopted in that country.

Museumgoers may be accustomed to these sorts of things made in shiny gold and silver.

Thanks to developments in conceptual art in the 1970s, wherein artists, in the lineage of Joseph Kosuth, attempted to distill the artwork into the presentation of words and ideas rather than crafted objects — not to mention the recent vogue for archival ephemera as exhibition material — artists, curators, and museumgoers are well - acclimated to seeing pieces of text on display in museum galleries.

In addition to the more than 4,000 items in the Egyptian holdings, museumgoers can scope pieces by masters such as Cézanne, Monet and Degas, plus an entire center devoted to feminist arIn addition to the more than 4,000 items in the Egyptian holdings, museumgoers can scope pieces by masters such as Cézanne, Monet and Degas, plus an entire center devoted to feminist arin the Egyptian holdings, museumgoers can scope pieces by masters such as Cézanne, Monet and Degas, plus an entire center devoted to feminist art.

A traveling exhibition of her work, «Subversion and Surrealism in the Art of Honoré Sharrer,» gives museumgoers an opportunity to take that close look.

Complaints by museumgoers that they get lost in museums raise another major concern for many institutions: flow.

«The Sons of God Saw the Daughters of Men That They Were Fair,» a 1923 marble sculpture by Daniel Chester French, greets museumgoers on the grand staircase of the Corcoran Gallery of Art building, on 17th Street NW in Washington.

In addition, the institution awarded artist Wesley Stringer the People's Choice award, which was determined by museumgoers votes.

Museumgoers who expect the 1995 biennial to be all of a piece will likely be as disappointed as those who came to the 1993 exhibition in search of abstract painting.

Here in Austin, Texas, under the direction of Louis Grachos, The Contemporary Austin has equipped staff to register museumgoers to vote over the course of an exhibition of work by Los - Angeles - based artist Rodney McMillian.

Jazz musician Cecil Taylor will perform in the gallery April 15 thru 24 while museumgoers view a retrospective of his career via photos, audio and more.

The Whitney Museum of American Art has had a few months to settle in to its brand new location in downtown Manhattan's Meatpacking District — it opened in the trendy locale in May — and museumgoers still have time to check out its inaugural exhibition in the sleek, new space.

Take «This Is New,» in which an attendant quotes a museumgoer a headline from that day's papers: only the visitor's response can trigger an interaction that concludes with the work's title being spoken.

Mr. Ofili's first one - man show in New York may surprise museumgoers who have not seen his work since 1999, when a painting of a black Madonna with a clump of elephant dung on one breast caused an uproar.

Here he casts museumgoers to move in a carefully staged gallery space.

Coetzee explained that his decision was influenced by two key factors: the fetish value of «selfies and the photographic image» among millennials, and the still - pressing need, in postapartheid South Africa, to offer black museumgoers work that they might identify with.

An exhibition of 30 of his 50 extant paintings, along with 10 sculptures, introduces this self - taught Jamaican artist, born in 1891, to American museumgoers.

Throughout the performance, museumgoers will be invited to record all ancestral memories — «everything you have not forgotten but have forgotten how to remember» — and to re-establish the presence of magic in their lives at specific kiosks inside the Lobby.