This new exhibition forms a sequel to the famous project called Womanhouse, developed in 1972 by Judy Chicago and Miriam Schapiro.
Not exact matches
The work at Happisburgh
forms part of a
new major
exhibition at the Natural History Museum Britain: One Million Years of the Human Story opening on February 13.
A selection of Bentley's photos
form part of the Sixfold Symmetry
exhibition, currently on at the Tang Museum in Saratoga Springs,
New York.
It is a brand
new exhibition space that captures the
forms and meets the requirements of contemporary design.
The HATSUNE MIKU x TETSUYA NOMURA collaboration that was screened at Hatsune Miku art
exhibition «Universal Positivity» @Wallplay last fall as a part of HATSUNE MIKU EXPO 2014 in
New York is taking 3D
form as the Square Enix Variant Play Arts Kai figure lines adapts the work of their noted designer.
The
exhibition features a signature work from each major phase of Stamm's oeuvre including the «Dodger» and «Zephyr» series, a «Tag» drawing, and polaroids of Stamm's abstract graffitti «Designators» - black
forms from his paintings that he spray painted onto buildings in
New York.
This newly
formed institution had a goal to present and document
new art and its role in modern life through
exhibitions, lectures, and other activities.
Notable group
exhibitions include L'usage des
forms, Palais de Tokyo, Paris (2015); Triennial: Surround Audience,
New Museum,
New York (2015); and Art Post-Internet, Ullens Center for Contemporary Art, Beijing (2014).
A major
new exhibition of works on paper by Howard Hodgkin, one of Britain's most celebrated living artists,
form the basis of a
new show honouring the artist's 80th birthday.
A solo
exhibition featuring Laura Letinsky's
newest series, Ill
Form & Void Full, will open at the Museum of Contemporary Art, Chicago on February 7.
Top image: Philip Guston, Untitled 1971, oil on paper, mounted on canvas, 29 x 40 inches (Private Collection) Bottom Image: Ron Milewicz, Covered Bricks, 2013, oil on linen, 36 x 48 inches Presence of
Form Exhibition dates: October 8 — November 10, 2015 In honor of the
New York Studio School's 50th anniversary, comes Part II of work by artists who are -LSB-...]
In his review of the
exhibition in The
New York Times, Holland Cotter writes, «the grid as a
form gets an impressive pre-Minimalist workout in 1940s room dividers made of cellophane and horsehair by the incomparable weaver, printmaker, art historian, philosopher, teacher, theorist and life - student Anni Albers.»
1999 AC Project Room,
New York, N.Y. Staff USA Gallery «Goldberg, Kamitaki, Beckett»
New York, N.Y. Galerie Albrecht Minimal.Emotional» (Goldberg, Hofmann, Mills, Su) Munich, Germany Parsons School of Design Galleries «Drawing in The Present Tense» curated by Roger Shepherd and George Negroponte (catalogue)
New York, N.Y. Zeitgeist «Monotypes» (Glenn Goldberg, Will Berry) Nashville, TN 1998 Hill Gallery Birmingham, MI 20th Century Art L.I.C., N.Y. 1997 20th Century Art L.I.C., N.Y. Galerie Albrecht Munich, Germany Rose Art Museum «Works From The Collection» Waltham, MA 1996 Knoedler & Co.,
New York, N.Y. Hill Gallery, Birmingham, MI 1995 Hill Gallery, Birmingham, MI The Work Space «Wacko»
New York, N.Y. Galerie Albrecht «Gosewitz / Goldberg» Munich, Germany Edward Hopper House «Goldberg / Wiley» (videotape) Nyack, N.Y. 1994 Hill Gallery Birmingham, MI The Academy of Arts & Letters «46th Annual Academy Purchase
Exhibition»
New York, N.Y. Baxter Gallery of Art «Intimate Observation» curated by Jennifer Gross Portland, ME Castle Gallery «Toys / Art / Us» curated by Lori Friedman
New Rochelle, N.Y. 1993
New York Studio School «Formative Past: Present
Form»
New York, N.Y. Galerie Albrecht «Baechler, Goldberg, Hofer, Roiter» Munich, Germany Robert Morrison Gallery «Goldberg, Humphrey, Koorland»
New York, N.Y Castelli Gallery «Drawings: Foundation of Contemporary Performance Arts»
New York, N.Y. 1992 Germans Van Eyck Gallery «Play Between Fear And Desire» curated by Jennifer Gross
New York, N.Y. Rosenthal Fine Art «Glenn Goldberg - Josef Ramaseder» Chicago, IL Angles Gallery «Numbers» Santa Monica, CA David Beitzel Gallery «Paper Houses»
New York, N.Y. Betsy Senior Gallery «Goldberg, Mangold, Row, T. Winters»
New York, N.Y. Galerie Theuretzbacher «Against The Grain» (catalogue) Vienna, Austria 1991 Bellas Artes Gallery «Masterworks of Contemporary Painting, Sculpture and Drawing: The 1930's to the 1990's» Santa Fe,
New Mexico Hill Gallery Birmingham, MI Museum of Contemporary Art «The Scott Spiegel Collection» Los Angeles, CA 1990 Wetterling Gallery (catalogue) Stockholm, Sweden Madison Art Center «Intimate Inventions / Gestural Abstractions» Madison, WI.
Our programme focuses on solo
exhibitions to give artists the opportunity of developing projects and presenting
new approaches to a medium that is too often seen as preparatory to other
forms of art.
The
exhibition, the artist's first solo show of paintings in
New York in six years, continues to reveal Taaffe as a philosopher of painting, offering compelling meditations on art and culture, both contemporary and historical, and visual ruminations on the interrelated families of
forms and images in art, architecture, and archaeology.
The year - long
exhibition opens on 7 June 2018 and
forms part of #Behind EveryGreatCity — a major
new campaign by the Mayor of London.
LARA FAVARETTO Born 1973 (Treviso, Italy) Lives and works in Torino, Italy EDUCATION 1994 - 1999 Accademia di Belle Arti di Brera, Milano, Italy 1998 Advanced Course in Visual Arts, Visiting Professor Hacmilton Fulton, Fondazione Antonio Ratti, Como, Italy Scholarship at Kingston University, London, UK SOLO
EXHIBITIONS 2019 Castello di Rivoli Museo d'Arte Contemporanea (forthcoming) Aspen Art Museum (forthcoming) 2018 «SUCKING MUD» Galleria Franco Noero, Piazza Carignano, Turin, Italy 2017 «Absolutely Nothing», Nottingham Contemporary, Nottingham, UK 2015 «Good Luck», MAXXI, Rome, Italy «Lara Favaretto: Collected Works», Rennie Collection, Vancouver, Canada «REDEFINE», Galleria Franco Noero, Turin, Italy 2013 «The 2013 Carnegie International», Carnegie Museum of Art, Pittsburgh, USA 2012 «Just Knocked Out», Sharjah Art Foundation, Sharjah, UAE and MOMA PS1,
New York, USA 2009 «Absolutely no Donations» Tramway, Glasgow, UK SELECTED GROUP
EXHIBITIONS 2018 «Reichtum: Schwarz ist Gold / Black is Gold», Lehmbruck Museum, Duisburg, Germany «Sexy and Cool», Kunsthalle Tübingen, Tübingen, Germany «Playtime», Peabody Essex Museum, Salem, USA «Stories of Almost Everyone», Hammer Museum, Los Angeles, USA 2017 «I am you, you are too», Walker Art Center, Minneapolis, USA «A Poet * hical Wager», MOCA Cleveland, USA Skulptur Projekte Münster, Münster and Marl, Germany 2016 Liverpool Biennial 2016, Liverpool, UK 2015 «The Event Sculpture», The Henry Moore Foundation, Leeds, UK 2014 «Manifesta 10», The State Hermitage Museum, Saint Petersburg, Russia «Infinte Jest», Schrin Kunsthalle, Frankfurt, Germany 2013 «The 2013 Carnegie International», Carnegie Museum of Art, Pittsburgh, USA 2012 «When Attitudes Became
Form Become Attitudes», CCA Wattis Institute for Contemporary Arts, San Francisco, USA «dOCUMENTA (13)», Kassel, Germany and Kabul, Afghanistan 2011 12th International Istanbul Biennial, cur.
Beginning with significant historical works from artists such as Richard Long, who was one of the first artists to make walking his art
form, to Ana Mendieta, who carved and shaped her own figure into the earth and documented these private sculptural performances, to Michelangelo Pistoletto's performance, Walking Sculpture, in which he and a group of people walked a large newspaper ball down the streets of Turin, the
exhibition will include works from all decades since the 60s and commission artists to create
new work for 2017.
The
exhibition features site - specific installations by Nicola López and Lisa Sigal, both of whom deconstruct objects and images to
form new worlds and visions.
Indeed, Liu, who will open a
new solo
exhibition on November 2 at the Lehmann Maupin gallery, in Manhattan, is known for working within a variety of mediums — painting, photography, video, sculpture, installation — and experimenting with all manner of materials, letting the concept dictate the
form a piece will ultimately take.
2012 Dark Flow Lurking, David Castillo Gallery, Miami, FL a small world... (installation on view from the permanent collection), The Jewish Museum,
New York, NY Transmission LA: AV Club, Geffen Contemporary at MoCA, Los Angeles, CA African American Art Since 1950: Perspectives from the David C. Driskell Center, David C. Driskell Center, College Park, MD Contemporary Mandala:
New Audiences,
New Forms, Emory University Visual Art Gallery, Atlanta, GA US Embassy in Tokyo
Exhibition for Ambassador John V. Roos, Tokyo, Japan
Experimental People is a group
exhibition featuring four artists exploring
new forms of communication in the digital age.
The result was an
exhibition entitled Encounters —
New Art from Old (14 June — 17 September 2000), which
formed part of the gallery's millennium celebrations.
Adventures of the Black Square, Abstract Art and Society 1915 — 2015 at Whitechapel Gallery until 6 April clearly and alternatively positions the work's reductive
form (in this
exhibition it is Malevich's diminutive undated Black Quadrilateral that is featured) as the beginning of a
new art...
1960 Neue Malerei:
Form, Struktur, Bedeutung, Städtische Galerie in Lenbachpalais, Munich (June 10 — August 28) 16 Salon de Mai, Musée d'Art Moderne de la Ville de Paris (May 8 — 20) Sixty American Painters, 1960: Abstract Expressionist Painting of the Fifties, Walker Art Center, Minneapolis, Minnesota (April 3 — May 8) Business Buys American Art: Third Loan
Exhibition by the Friends of the Whitney Museum of American Art, Whitney Museum of American Art,
New York (March 17 — April 24) Some Younger American Artists, Southern Illinois University, Carbondale, Illinois (February 1 - 28, 1960).
Bad at Sports, (weekend picks, March 2013)
New American Paintings (Must see painting shows March 2013) Bad at Sports, 2011 Chicago Gallery News, 2011 Chicago Life Magazine, 2011 The Café Review, Portland, Maine, 2011 The Sag Harbor Express, 2010 Art Chicago Catalogue, 2010 The Art Auction at The Museum of Contemporary Art, Chicago, Art Chicago Catalog, 2010
New American Paintings, Midwest Edition, 2010 Jaroslav Malina Paintings and Designs, Catalogue for the traveling
exhibition, 2008 The Readerville Journal, January / February 2003 Ed Valentine, Elementary Principles, Selected Work 1990 - 2001 A Catalogue for Two
Exhibitions in The Czech Republic, By Mila Malina, 2002 Milton Caniff Catalogue, 1998 Drawing: Space,
Form and Expression, By Wayne Entice, Prentice Hall, 1995 Galleries Magazine, 1988 Happy Happy, Egret Press, 1988 Liberties en Peinture, Union de Banques a Paris, 1986 Art Forum Magazine, 1985, 1986, 1987 Flash Art, 1985, 1986, 1987 Bijutsu Techo, Japanese Art Magazine, 1985 Galleries Magazine,, French Art Magazine, 1988
Adventures of the Black Square, Abstract Art and Society 1915 — 2015 at Whitechapel Gallery until 6 April clearly and alternatively positions the work's reductive
form (in this
exhibition it is Malevich's diminutive undated Black Quadrilateral that is featured) as the beginning of a
new art starting in Russia and Northern Europe in the early twentieth century.
Within a loft - like trussed gallery adjacent to the space containing the first American
exhibition of Ross's
new large - scale Hurricane prints, computer - generated renderings of complex fluid dynamics are projected onto large screens, which combine to
form what the artist calls a Wave Cathedral.
The first major
exhibition of Morandi's later work in America since the acclaimed 2008 retrospective at the Metropolitan Museum of Art,
New York, the show will focus primarily on the period during which he developed and refined his investigations of serial, reductive, and permutational
forms and compositions — aspects that had a profound influence on twentieth - century and contemporary art and painting.
In the catalogue introduction to the
exhibition Fry argued that the post-impressionist creates, not a pale response to actual appearance, but a
new reality.18 He argued that the logical extreme of such a method would be the complete renunciation of natural
form and the creation of a purely abstract language, a visual music.
Solo
exhibitions of Letinsky's
new series Ill
Form & Void Full will be on display this fall at Yancey Richardson Gallery and Valerie Carberry Gallery in Chicago.
By speculating on worlds and life elsewhere, Maheke's
new exhibition at Chisenhale Gallery becomes a public site to re-articulate and reinvent
forms of relationality and representation, as much as a device for developing a
new lexicon for thinking about identities outside of identity politics.
Join Teaching Artist Lisa Robinson as we create free
form watercolor paintings inspired by the special
exhibition The
New Art: A Milestone Collection Fifty Years Later.
Formed from an 18th - century house and two
new, purpose - built
exhibition spaces, it offers an intriguing mix of intimate domestic rooms, stripped down but full of period detail, alongside contemporary galleries — a union of old and
new that echoes the dynamic of its location on the border between the East End and the City of London.
The clear accord between the museum's
new habitat and its collection has already inspired a major gift, in the
form of some 500 works from the collection of Thea Westreich Wagner and Ethan Wagner, many of which will be displayed here in the autumn in an
exhibition co-organised with the Centre Pompidou.
Prior to moving to our
new building at 38 St. Marks Place in 2017,
exhibitions and public programs are focused on temporary structures — including publishing formats, social experiments and architectural
forms — set against the fast - mutating landscape of downtown Manhattan.
Prior to moving to our
new building at 38 St. Marks Place,
exhibitions and public programs are focused on temporary structures — including publishing formats, social experiments and architectural
forms — set against the fast - mutating landscape of downtown Manhattan.
Alongside video work and sculpture, Pattison will produce a
new online work, which will
form the basis of the commission and will run throughout the duration of the
exhibition then disappear.
Revolt and renewal Now the
exhibition will be shown, in somewhat different
form, at the Swiss Institute in
New York.
Attempting to recreate the show's installation with as much fidelity to the original as possible (akin to what the Barnes Foundation pulled off in Philadelphia), the
new exhibition — titled «When Attitudes Become
Form: Bern 1969 / Venice 2013» — promises an audacious engagment with the relatively recent past in a city in love with history.
The decision to split this
exhibition into two separate venues for its
New York run complicates and confuses the message as well as the
form of the show, which suffers as a result.
Billet's
exhibition is based on her on - going research project The development of the monochrome in its digital and analogue / graphical
form of apparition and will present a large site - specific installation, a
new video work as well as a printed edition.
Organized by Public Art Fund, the
exhibition will feature bronze works that «may first look like giant, tactile lumps,» as Carol Vogel of The
New York Times writes, «but on closer inspection each has a
form reminiscent of human features.»
Many of the works presented in the
exhibition share an element of continued processing of used or found materials, which in result are brought into a
new form of artificiality.
From November 3, 2017, through February 18, 2018, the Guggenheim Museum will present Josef Albers in Mexico, an
exhibition illuminating the relationship between the
forms and design of pre-Columbian monuments and the art of Josef Albers (b. 1888, Bottrop, Germany; d. 1976,
New Haven).
Banff: The Banff Centre and Vancouver: Setup, Issue 3.5, Summer 2013 D'Agostino, Paul, «The
New Brutalists: Not So Brutal,» The L Magazine, Nov 7, 2012 Kress, Melanie and Natalie Bell, «Everything Is Index, Nothing Is History,»
Exhibition catalog to accompany exhibition presented by Recession Art at the Invisible Dog, May 2012 Panetta, Jane and Veronica Roberts, «(RE) PURPOSE,» May 2012 Schultz, Charlie, «MFA Thesis Shows: Columbia and Parsons,» ARTSlant New York, Reviews and Critic's Pick Behm - Steinberg, Hugh, Eleven Eleven Issue 9, California College of the Arts, Summer 2010 Clarke, Daniel, Feature Article, Niche Magazine, February 2010, pp. 42 — 51 Cofré, Ian, «Constructed Forms» culturehall Feature Issue 37, February 2010 Hegardt, Bjørn, «In Focus», FUKT a magazine for contemporary drawing, Issue 8/9, June 2010 «More Simple, More Fun» Limited Edition Catalog with Jean - Marc Bustamante, Atlantic Center for the Arts, March 2010 Peck, Derek, «Leah Raintree: Mind and Matter», Planet Magazine, August 2009 «Leah Raintree — Excerpts / The Incredible Machine», suckerPUNCH, August 2009 Coffin, Sara D., «Rococo: The Continuing Curve», 1730 - 2008, Assouline, 2008, pp. 242 — 245 «Leah Raintree — Operable Chambers», suckerPUNCH, April 2008 Ha, Jihae, «Project to Surface», Interior World, Volume 60, pp. 188 — 191, 2007 «Review», The Architects Newspaper, June 2007, p. 38, 2007 Sokol, David, «Higher Planes», Surface Magazine — Annual Design Issue, May 2007, p
Exhibition catalog to accompany
exhibition presented by Recession Art at the Invisible Dog, May 2012 Panetta, Jane and Veronica Roberts, «(RE) PURPOSE,» May 2012 Schultz, Charlie, «MFA Thesis Shows: Columbia and Parsons,» ARTSlant New York, Reviews and Critic's Pick Behm - Steinberg, Hugh, Eleven Eleven Issue 9, California College of the Arts, Summer 2010 Clarke, Daniel, Feature Article, Niche Magazine, February 2010, pp. 42 — 51 Cofré, Ian, «Constructed Forms» culturehall Feature Issue 37, February 2010 Hegardt, Bjørn, «In Focus», FUKT a magazine for contemporary drawing, Issue 8/9, June 2010 «More Simple, More Fun» Limited Edition Catalog with Jean - Marc Bustamante, Atlantic Center for the Arts, March 2010 Peck, Derek, «Leah Raintree: Mind and Matter», Planet Magazine, August 2009 «Leah Raintree — Excerpts / The Incredible Machine», suckerPUNCH, August 2009 Coffin, Sara D., «Rococo: The Continuing Curve», 1730 - 2008, Assouline, 2008, pp. 242 — 245 «Leah Raintree — Operable Chambers», suckerPUNCH, April 2008 Ha, Jihae, «Project to Surface», Interior World, Volume 60, pp. 188 — 191, 2007 «Review», The Architects Newspaper, June 2007, p. 38, 2007 Sokol, David, «Higher Planes», Surface Magazine — Annual Design Issue, May 2007, p
exhibition presented by Recession Art at the Invisible Dog, May 2012 Panetta, Jane and Veronica Roberts, «(RE) PURPOSE,» May 2012 Schultz, Charlie, «MFA Thesis Shows: Columbia and Parsons,» ARTSlant
New York, Reviews and Critic's Pick Behm - Steinberg, Hugh, Eleven Eleven Issue 9, California College of the Arts, Summer 2010 Clarke, Daniel, Feature Article, Niche Magazine, February 2010, pp. 42 — 51 Cofré, Ian, «Constructed
Forms» culturehall Feature Issue 37, February 2010 Hegardt, Bjørn, «In Focus», FUKT a magazine for contemporary drawing, Issue 8/9, June 2010 «More Simple, More Fun» Limited Edition Catalog with Jean - Marc Bustamante, Atlantic Center for the Arts, March 2010 Peck, Derek, «Leah Raintree: Mind and Matter», Planet Magazine, August 2009 «Leah Raintree — Excerpts / The Incredible Machine», suckerPUNCH, August 2009 Coffin, Sara D., «Rococo: The Continuing Curve», 1730 - 2008, Assouline, 2008, pp. 242 — 245 «Leah Raintree — Operable Chambers», suckerPUNCH, April 2008 Ha, Jihae, «Project to Surface», Interior World, Volume 60, pp. 188 — 191, 2007 «Review», The Architects Newspaper, June 2007, p. 38, 2007 Sokol, David, «Higher Planes», Surface Magazine — Annual Design Issue, May 2007, pp. 92 - 94
In his first
exhibition following the 2007 career retrospective, Thomas Chimes: Adventures in «Pataphysics, at the Philadelphia Museum of Art, Chimes will be exhibiting
new works that continue to reflect his diverse interests in alchemy, James Joyce's Finnegan's Wake, astronomy, the writing of Alfred Jarry, and Greek poetry in the
form of celestial, white and gold paintings.
During this period of transition to a
new long - term location in 2017,
exhibitions and public programs are focused on temporary structures — including publishing formats, social experiments and architectural
forms — set against the fast - mutating landscape of downtown Manhattan.
The first major art world recognition of Pop art came in the
form of a 1962
exhibition «Symposium on Pop Art» at the Museum of Modern Art in
New York, setting the stage for the next evolution of the movement in the United States.
The
exhibition's underlying mission is a compelling one: to inspire a close inspection and fresh discussion of two seemingly disparate topics — contemporary abstract painting by a
New Orleans - based artist and Edo - period Japanese landscapes — using visual and conceptual links to
form an effective springboard for joint exploration.