Sentences with phrase «never done an exhibition»

After it happens, I can not say I've never done an exhibition in China.

Not exact matches

When I was younger and doing gallery exhibitions, I never wanted to explain my art.

This game is fun as hell, the exhibition mode is fun (with friends), classic fights are a good way to get someone who wasn't into MMA interested in it (e.g. me) Career mode is fun but the problem is that you don't age is kinda dumb to be honest, you're «CRED» has no real purpose other than to get you new equipment, sponsors, sparring partners and opportunities to increase your «CRED» the controls are confusing to someone who's never played a game like this A.K.A me but I'll give it credit for innovation, you can go to training camps which upgrade you're striking and grappling which gives you new moves, their is a few exploits in the game No. 1 if you manage to get all the sponsors you can use them in create a fighter (which by the way has a decent enough amount of options) you can put all of the sponors that give the most cred and get everything easily and I mean everything No. 2 when you go to a training camp all you have to do is watch two demonstrations by the camp fighter and you have full stamina No. 3 any fighter you can beat within a minute of the first round you can beat a few times and shoot up the ranks, the music is good but you'll soon get sick of it and turn it off cause it repeats itself soo often, they didn't add intro walks, music and cage entries which would've made you feel more like an actual UFC fighter, but overall its a fun game but there's a few missed opportunities and not many fighting styles to choose from but rent it if you are curious about the game.

Lesley Heller Workspace, New York, NY Claxons (four - person exhibition, curated by Walter Robinson), Haunch of Venison, New York, NY Grey Area, New York, NY The Queen's Feathers (one - person exhibition), John Tevis Gallery, Paris France 2011 Peacocks and Bottles (one - person exhibition) Organized by Nana Kipiani in conjunction with Artisterium, National Gallery of Georgia, Tbilisi, Georgia Forever and Never, One More Time (two - person exhibition), Season, Seattle, WA Color Theory, Storefront, Brooklyn, NY 2010 Birdbaths and Birdhouses (one person exhibition), Le Petit Versailles, New York, NY The Visible Vagina, Francis M. Naumann Fine Art & David Nolan Gallery, New York, NY 2009 Modern & Contemporary Ceramics, A.M. Richard Fine Art, Brooklyn, NY Bazvalon (one person exhibition), Rose Burlingham Living Room Gallery, New York, NY 2007 Momenta Art (one person exhibition), Brooklyn, NY French Kiss, organized by Rob Wynne, JGM Galerie, Paris The Demoiselles Revisited, Francis M. Naumann Fine Art, New York, NY NADA Art Fair, Miami, FL (Momenta Art booth) 2006 The Studio Visit, Exit Art, New York, NY 2005 Picture Window, (site specific, city organized), Baltimore, Maryland 2004 Hall of Portraits, Pinkard Gallery, Maryland College Institute of Art, Baltimore, MD 2003 The Recurrent, Haunting Ghost, Francis M. Naumann Fine Art, New York, NY Sleight of Hand, Salena Gallery, Brooklyn Campus, Long Island University, Brooklyn, NY 2002 Kismet, The Work Space, New York, NY 2001 Bad Touch, Lump gallery / projects, Raleigh, NC (also traveled to Keith Talent Gallery, London, Rose Museum, Brandeis University, Boston, Space (1026, Philidelphia & UIMA, Chicago) Beautiful You, curated by Larry Krone, Mark Pasek Gallery, New York, NY Your Humble Servant the Genius (two person exhibition with Rob Wynne), Rupert Goldsworthy Gallery, New York, NY Nijinsky, Rupert Goldsworthy Gallery, New York, NY 1999 The Fin - de-Siécle Salon, curated by J. A. Poisson, P.S. 122, New York, NY 1998 Re: Duchamp (organized by Mike Bidlo), Abraham Lubelski Gallery, New York, NY Bowie, Rupert Goldsworthy Gallery, New York, NY 1997 Galerie du Tableau, Marseille, France (one person exhibition) The Whole World in a Small Painting, Trans Hudson Gallery, New York, NY 1996 Cadmium Cathode, Sauce, Brooklyn, NY

This is simply a wonderful exhibition and Alice Neel an exceptional artist - a master painter with a sense of compostion and an empathetic, but never ingratiating view of humanity» (Dagens Nyheter); «This is such a show that I did not know how long in advance I longed for.

The solo exhibition If you never did you should by Sofia Hultén at the Konrad Fischer Galerie in Berlin shows...

This exhibition proposes what has never been done and that is to understand and re-examine the work of artists to whom vastly different philosophies have been ascribed and yet whose works resonate together in visual conversation.

Like many Americans, he had never seen a real painting, and when he did in a California exhibition, he was none too impressed: Reynolds's portrait of Mrs Siddons as the Tragic Muse was, he remarked, «an enormous brown thing».

To commemorate its thirtieth anniversary, in October 2014, the Fondation Cartier pour l'art contemporain asked Guillermo Kuitca to imagine a project, the likes of which had never been done before, building a network between his own work and the works of Tarsila do Amaral, Francis Bacon, Vija Celmins, David Lynch, Patti Smith, as well as the Armenian filmmaker Artavazd Pelechian, whose film Inhabitants (Les Habitants, in French) lent its name to the exhibition.

I Never Know What To Do was published in conjunction with Dave Sherry's exhibition that was held at Jack Hanley Gallery in San Francisco from February 3 - 28, 2005.

He is currently co-organizing the exhibition Judson Dance Theater: The Work is Never Done (2018) and is working with colleagues across the Museum on a major rehang of the collection in 2019.

The solo exhibition If you never did you should by Sofia Hultén at the Konrad Fischer Galerie in Berlin shows new sculptures together with two new video works.

The curators at the Baltic Centre in Gateshead, which overlooks the spectacular River Tyne, did a superb job in installing all four artists: the Turner Prize exhibition has never appeared as attractive as in the Baltic's small galleries.

It seems like the British artist never rests, and keeps on exhibiting extensively worldwide, having done more than 700 exhibitions to this date.

Kahnweiler did not put on one - man shows and never allowed a picture to be seen in the Paris salons, preferring to send Léger's paintings for inclusion in group exhibitions outside of the country.

I've never been able to come up with a top ten list of exhibitions; big, lasting ideas don't always take place in art on the wall.

I never felt like I was abandoning an artistic practice because organizing exhibitions felt inherently creative, though I hesitate to speak about what I do as art per se.

«Exaltations» features works from the «The Lost Exhibition,» calligraphic canvases that Sadequain made in Paris in the late - 1960s and left behind when he departed France with the intention to return, but never did.

Investigating the idea of an exhibition that never stops, exhibitions of do it have...

If that seems a flimsy pretext to bring the two together, as the O'Keeffe Museum does in its exhibition «Georgia O'Keeffe and Ansel Adams: The Hawai'i Pictures» — well, never mind.

Hilton Kramer, Editor, The New Criterion — They've never advertised and illustrated the contents of the exhibition on the scale they did this year.

Then for the catalogue, we decided we wanted the artists» own words, so we asked them for their own writings, and I realized how amazing that fragment of Richter was, so I became curious and I started to research and I saw that there were all these amazing writings he had done, and there was never a book, so the third project we did after the Nietzsche house and the group show in Vienna, The Broken Mirror, was I started to edit, over years, a book of his collected writings, which came out, and has now come out in an augmented edition, a second edition, co-edited together with Dietmar Elger, and is now double the size of the one from fifteen years ago, and then, so it's always been approached in working on another exhibition together.

Solo exhibitions 2018 «Lei Deg», Island Oslo (upcoming) 2017 «No Need for Good Luck», Gether Contemporary, Copenhagen 2017 «New Promises», c - o - m - p - o - s - i - t - e, Brussels 2016 «Well Received Lies», T293, Rome 2015 «This has nothing to do with this or Same as it never was», WARM, São Paulo 2014 «Pride», Galerie Catherine Bastide, Brussels 2014 «Aftershape», Il Crepaccio, Milan 2014 «Warm Embraces», Tidens Krav, Oslo 2013 «Mothers», T293, Naples 2013 «Isn't», Welcome Screen, London 2013 «Charmless», ReMap 4 (w / T293), Athens 2012 «Turning and Returning», T293, Rome

His paintings could never be called impressionist but he likes to capture the immediate present, which this series of UK exhibitions are certainly doing for him.

Investigating the idea of an exhibition that never stops, exhibitions of do it have taken place in over fifty different locations all over the world (including, in Copenhagen almost 25 years ago).

A solo exhibition in 1971, notoriously titled Niggers Ain't Gon na Never Ever Be Nothin» — All They Want to Do Is Drink and Fuck, was the last the art world would see of him for nearly 20 years.

«The strenuousness of an exhibition idea has never swayed us from doing anything before, so I don't know why it would now,» Knowles told me through laughter.

The blank pages, in contrast to the paintings and drawings on the other side of the wall, present a content - free, aestheticized Powhida — a change we'd never want to happen for real, but that demurral doesn't make these works any less of an elegiac coda to the exhibition.

The earliest paintings in the exhibition were done in 1969, two years after Murphy, who never went to grad school, graduated from Pratt Institute with a BFA.

«I think it's going to be quite different in the respect that it will be done on a larger scale, have fewer exhibitions and a combination of selling and non-selling exhibitions,» said Schimmel, who served as MOCA's chief curator from 1990 until his controversial resignation last summer and has never before worked in a commercial gallery setting.

The opening of the exhibition coincides with the performance by Vedovamazzei The End of a Job Never Done in the framework of the exhibition Non Basta Ricordare curated by Hou Hanru.

So, in short, that's how I ended up doing that exhibition — or those exhibitions — at APAC in Nevers, and soon thereafter the «French Kiss» exhibition in Geneva.

But he says he has never liked the glitzy aspect of the art world; even during his first exhibition he confided in Bacon that he didn't know what to make of it, to which Bacon responded, «I knew you would say that».

The answer to that remains to be seen but in the meantime exhibitions like Never Never Land are doing their part to find out when they «criticise the old world in content and advocate a new one in form».

Jamilah Sabur opens the exhibition with a series of still photographs from a performance she did called Bisecting Spiral Jetty in 2011, never before shown publicly.

«do it» is an exhibition that has happened in 150 cities so far, and villages all over the world, and it never stopped.

Jamilah Sabur opens the exhibition with a series of still photographs from a performance she did called Bisecting Spiral Jetty in 2011, never before...

2011 Air de Paris, Paris 2010 Paintings, Franco Noero Gallery, Torino, Italy Pattern and Degradation, Gavin Brown's enterprise & Maccarone, New York 2009 Look What I've Done: Rob Pruitt Works 1989 2009, Carlson, London, UK Franco Noero Gallery, Torino, Italy Rob Pruitt Presents the First Annual Art Awards, Guggenheim Museum, New York, NY 2008 Master Artist - in - Residence Exhibition, Atlantic Center for the Arts, New Smyrna Beach, Florida American Academy in Rome, Italy Power House, Memphis, TN American Academy in Rome, Italy œiPhotos, Gavin Brown's enterprise, New York 2007 Rob Pruitt's Flea Market, Frieze Art Fair, London, UK 2006 Gavin Brown's enterprise, New York 2004 Paris in Tokyo, Gallery Side 2, Tokyo 2004 Paris in Rome, Roma Roma Roma, Rome, Italy 2003 Surreal Estate, Gavin Brown's enterprise, New York (with Jonathan Horowitz) 2002 Air de Paris, Paris, France Consortium, Dijon, France 2001 Franco Noero Gallery, Torino, Italy 2001 Pandas and Bamboo, Gavin Brown's enterprise, Corp., NY 2001 101 Art Ideas You Can Do Yourselfï, Contemporary Art Center, Cincinnati, OH 2000 Flea Market, Gavin Brown's enterprise, New York, NY 2000 «Psychic Predictions For The New Millennium & Things To Do With Lemons», Cabinet Gallery, London, UK 1999 «101 Art Ideas You Can Do Yourself», Gavin Brown's enterprise, New York, NY 1993 Galleria Il Capricorno, Venice, Italy 1993 Mulier & Mulier, Knokke, Belgium 1992 Leo Casteli Gallery, New York, NY 1992 Galerie Rachel Lehmann, Lausanne, Switzerland 1991 APAC, Centre d'art Contemporian, Nevers, France 1991 Stuart Regen Gallery, Los Angeles, CA 1991 Esther Schipper, Koln, Germany 1991 Daniel Buchholz, Koln, Germany 1990 303 Gallery, New York, NY

Nash cited upcoming exhibitions of Picasso, focusing on the work he did during World War II - a subject never thoroughly explored before - and Francis Bacon as examples of modernist artists the museums were interested in.

«Never Built New York» Through 2/18 at the Queens Museum For the next few months, when you visit the Queens Museum's magnificent scale model of the city as it was in the 1960s, you'll be able to see this exhibition of the city that might have been: a catalogue of 150 years of the bizarre, misguided, and too - good - to - be-true architectural projects that never quite got Never Built New York» Through 2/18 at the Queens Museum For the next few months, when you visit the Queens Museum's magnificent scale model of the city as it was in the 1960s, you'll be able to see this exhibition of the city that might have been: a catalogue of 150 years of the bizarre, misguided, and too - good - to - be-true architectural projects that never quite got never quite got done.

Despite her resistance to the ideological implications of selection, Christov - Bakargiev does in fact have a method for assembling group shows, which she calls «30/30/30»: Thirty percent of the artists should come from the location of the exhibition, 30 percent should be «question marks» — «artists I've never worked with before or who I don't fully understand» — and 30 percent should be the «core,» which she describes as «people with whom I have a strong intellectual connection.»