Sentences with phrase «new gallery context»

Not exact matches

Audio Commentary by Updated 2003 Audio Commentary by Film Historian Bruce Eder, and Herrmann Biographer Steven C. Smith / «Here Is A Man» preview version comparison (4:37) / Reading of «The Devil & Daniel Webster» short story by Alec Baldwin (33:41) / Radio Plays: «The Devil & Daniel Webster» (29:50) from Aug. 6, 1938 + «Daniel Webster & the Sea Serpent» (29:43) from Aug. 1, 1937 / «About the Columbia Workshop» essay / «The Devil In Context»: 6 - part Bernard Herrmann score essay with indexed film clips and 4 stills / Still and Poster Gallery with 12 images / 12 - page colour booklet featuring an essay by author Tom Piazza, and original 1941 New York Times article by Stephen Vincent Benet, and Color Bars / New high - definition transfer with restored image and sound / 12 page colour boooklet

That solitude gives Rebecca plenty of time to figure out whether her camera is still the best way to share what she sees with the world — and to determine who she is outside of the context of high - end art galleries and New York City.

with essays by Johannes Meinhardt and Jeffrey Rian, in German) Art Collected: Private, Corporate and Museum Contexts, University Art Museum, Binghampton, USA (curated by Lynn Gamwell) Hybrid Neutral: Modes of Abstraction and the Social, Richard F. Brush Art Gallery, St. Lawrence Museum, New York, USA (traveling exhibition coordinated by Independant Curators Incorporated, curated by Collins and Milazzo, cat.

A GUIDE TO EXHIBITION OPENINGS, TALKS AND EVENTS HAPPENING THIS WEEK IN BLACK ART: March 26 - May 10, 2014 Yinka Shonibare at Brand New Gallery, Milan London - born Yinka Shonibare MBE who was raised in Nigeria «has become well known for his exploration of colonialism and post-colonialism within the contemporary context of globalization.»

The 2018 edition will see over 95 international contemporary and modern galleries from 30 countries come together to represent over 1,200 artists including CONTEXT, a platform for a selection of new and established contemporary galleries to present emerging, mid-career and cutting - edge talent.

Solo exhibitions include Centre Pompidou, Paris (1994), Museum of Contemporary Art, Chicago, The New Museum of Contemporary Art, New York (1997), MoMA, Oxford, the Scottish National Gallery of Modern Art, Edinburgh (1998), Tate Britain, London (2000) Hamburger Kunsthalle, Kunstmuseum Bonn, Magasin 3, Stockholm (2004), Museum of Contemporary Art, Sydney (2005) and Palazzo Querini Stampalia in the context of the Venice Biennale (2009).

In the same year, New York City based artist, writer, and musician, Paul D. Miller aka DJ Spooky's work pushed the work of sampling into a museum and gallery context as an art practice that combined DJ culture's obsession with archival materials as sound sources on his album Songs of a Dead Dreamer and in his books Rhythm Science (2004) and Sound Unbound (2008)(MIT Press).

The outlier, Miami Project, brought the white tent total to five, anchored by Art Miami, which, for its 25th edition, stretched to more than 200,000 sq feet to include its newer gallery fair, Context, and fronted 130 galleries representing 15 countries.

He has curated exhibitions at the Contemporary Arts Museum Houston; the Kitchen, New York; CONTEXT Art Miami; New Langton Arts, San Francisco; G Fine Art Gallery, Washington, DC; and other venues.

It also addresses the artist's practice in the context of Chinatown: «As a gallery representing the non U.S., non New York based artist Omer Fast, it is reprehensible that you see fit to support this exploration of «temporal space» while contributing to the displacement of low income tenants and business owners in Chinatown.

Caitlin Haskell: For me, it has also been interesting to think about how the closing of SFMOMA's building allows you to see its works in new contexts — in other gallery spaces, or as parts of other stories.

In his new publication Jens Hoffmann reflects on the spaces of contemporary art — the gallery, the institution, the biennial — and ultimately positions the discipline of curating in the context of a larger cultural sphere shaped by the political, social, and economic conditions of its time, while demanding new attitudes and new thinking.

2012 Ronald Bladen in Context, Loretta Howard Gallery, New York, NY Summer Review, Loretta Howard Gallery, New York, NY INsite / INchelsea The Inaugural Exhibition, Michael Rosenfeld Gallery, New York, NY

Although the artist showed with the Rosamund Felsen Gallery in Los Angeles in the 1980s (where gallery mates included Richard Jackson, Mike Kelley and Chris Burden) and received significant press and collector interest (works are in the collection of Eli Broad), after moving to New York Burkhart's independence and rigor confounded art world cGallery in Los Angeles in the 1980s (where gallery mates included Richard Jackson, Mike Kelley and Chris Burden) and received significant press and collector interest (works are in the collection of Eli Broad), after moving to New York Burkhart's independence and rigor confounded art world cgallery mates included Richard Jackson, Mike Kelley and Chris Burden) and received significant press and collector interest (works are in the collection of Eli Broad), after moving to New York Burkhart's independence and rigor confounded art world context.

A 2012 graduate of Hunter College's sizzling hot MFA program, Kahn's work came to my attention at Rachel Uffner Gallery in New York earlier this year in the context of a two - person show.

My own gallery in Boston has been taken over by the great Franklin Evans, who is presenting new paintings in the context of a floor to ceiling installation.

2013 Abstract Expressionism / In Context: Seymour Lipton, Michael Rosenfeld Gallery LLC, New York, NY Anthony Caro and Michael Goldberg, Galleri Weinberger, Copenhagen, Denmark Offices of Ambassador Rufus Gifford, United States Embassy, Denmark

His work has been widely exhibited at venues such as the Sundance Film Festival, Park City, Utah; The Indianapolis Museum of Contemporary Art, Indianapolis; 303 Gallery, New York; Wesleyan University, Middletown, Connecticut; Artsonje Center, Seoul; Context Galleries, Derry; The Hospital, London; PKM Gallery, Beijing; Kunst - Werke, Berlin; Palacio de Bellas Artes, Mexico City; Participant Inc, New York; Centre de Cultura Contemporània, Barcelona; White Box, New York; Galerie Chez Valentin, Paris; Smart Project Space, Amsterdam; The Islip Art Museum, Islip, New York; and Momenta Art, Brooklyn, New York.

Built from the foundation of five early paper negatives by Baron Adolphe Humbert de Molard (b. 1800), first exhibited as part of a three - person show originally presented ten years ago at Andrew Kreps Gallery, New York and Galerie Nelson, Paris, this expanded exhibition further investigates a premise that expounds the ways in which our perception of such work, historically bound to context and experience, has shifted over time, and continues to generate a discursivity and evaluation of content.

Booths labeled Context host «emerging, midcareer, and cutting - edge artists by new and established contemporary galleries» — which is to say anything or nothing at all.

He has curated exhibitions at the Contemporary Arts Museum Houston; the Kitchen, New York; CONTEXT Art Miami; New Langton Arts, San Francisco; and G Fine Art Gallery, Washington, DC; among other venues.

In their juxtaposition, Shore II and Signal illucidate the dynamic relationships created between the sculptures, the viewer and the exhibition space; it is particularly significant in this context given that these works are the first to be shown in the gallery's new location.

Group exhibitions include Prospect.4, the US Biennial in New Orleans (2017 - 2018); In Context: Africans in America, at the Goodman Gallery and the Johannesburg Art Gallery, Johannesburg, South Africa (2016); Represent: 200 Years of African American Art, at The Philadelphia Museum of Art (2015); The Geometric Unconscious: A Century of Abstraction, at the Sheldon Museum of Art, University of Nebraska (2012); ARS 11, Kiasma Museum of Contemporary Art, Helsinki (2011); The Global Africa Project, Museum of Arts and Design, New York (2010); and Wallworks, Yerba Buena Center for the Arts, San Francisco (2009).

2007 Winter Selections, Manny Silverman Gallery, Los Angeles, CA In Context, Collage + Abstraction, Pavel Zoubok Gallery, New York, NY September Selections, Manny Silverman Gallery, Los Angeles, CA In Circulation: Works on Paper, Luther W. Brady Art Gallery, George Washington University, Washington, DC

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» ExpeNew York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expenew paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

Their goals were generous in that they wanted to reach people traditionally outside of the art world, as well as take art outside of the gallery context and insert it into the everyday in ways that opened up new conversations.

In Context 2016 is a partnership between Goodman Gallery; The Department of Photography & Imaging at the Tisch School of the Arts, New York University; Hutchins Center for African and African American Research at Harvard University; Wits School of Arts at University of the Witwatersrand; United States Mission to South Africa; La Pietra Dialogues / New York University; New York University Vice Provost for Faculty, Arts, Humanities and Diversity; and Hank Willis Thomas Studio, in association with Phillips; Museum of Contemporary African Diasporan Arts; Studio Museum in Harlem; Wiser Institute; Center for African American Studies / Princeton University; Johannesburg Art Gallery; Contemporary And, and Art Africa.

This winter, Glyndor Gallery is transformed again into studio spaces for artists to develop new work and offer opportunities for public interaction in the context of the garden.

2013 Abstract Expressionism / In Context: Seymour Lipton, Michael Rosenfeld Gallery LLC, New York, NY Its Surreal Thing: The Temptation of Objects, Sheldon Museum of Art, University of Nebraska, Lincoln, NE A Gift from the Heart: American Art from the Collection of James and Barbara Palmer, Palmer Museum of Art, Penn State, University Park, PA

This January, in his first exhibition with the Goodman Gallery, Gerhard Marx presents new works that are born out of his own self - designed processes, which involve skillful manipulation of materials collected as part of an engagement with the artist's physical urban context.

2010 Precarious Balance: Noguchi's Sculpture of the 1940s in Context, Martha Parrish & James Reinish, Inc., New York, NY Unconscious Unbound: Surrealism in America, Michael Rosenfeld Gallery, LLC, New York, NY Abstract Expressionist New York, The Museum of Modern Art, New York, NY

Berlin - based Black, mostly works in New York and London, where she was born and currently has a solo show, «Some Context,» at Chisenhale Gallery (through Dec. 10).

The fair and its sister fair, CONTEXT New York, will bring together more than 130 galleries showing the work of close to 1,200 artists from 50 countries.

2011 Manny Silverman Gallery, Los Angeles, CA Some Assembly Required: Assemblage & Collage, Jack Rutberg Fine Arts, Los Angeles, CA Fragments: 1915 - 2011, Modern and Contemporary Collage, ACA Galleries, New York, NY Remix: Selections from the International Collage Center, Samek Art Gallery, Bucknell University, Lewisburg, PA; Katonah Museum of Art, Katonah, NY In Context: Celebrating Pioneering Los Angeles Artist Betye Saar, Roberts & Tilton, Los Angeles, CA Material Witness, Venessa German, Hannelore Baron, Donna Sharrett, Pavel Zoubok Gallery, New York, NY

So, with this context in mind, it's rather refreshing to take in A New Look: 1960s and»70s Abstract Painting at the AGO, now up at the Art Gallery of Ontario in Toronto.

Propositions on the Permanent Collection, Studio Museum in Harlem, New York, NY, 2009 Cinema Remixed and Reloaded: Black Women Artists and the Moving Image Since 1970, Spelman College of Art, Atlanta, GA, 2007 and Contemporary Arts Museum Houston, Houston, TX 2008 - 2009 Horizon, EFA Gallery, Curated by David Humphrey, New York, NY, 2007 Black Alphabet, conTEXTS of Contemporary African American Art, Zacheta National Gallery of Art, Warsaw, Poland, 2006 - 2007 Turn the Beat Around, Sikkema Jenkins & Co., New York, NY, 2006 The Manhattan Project, Fred Snitzer Gallery, Miami, FL, 2006 Frequency, Studio Museum in Harlem, New York, NY, 2005 - 2006 MFA Thesis Exhibition, Columbia University, Curated by Jeffery Uslip, New York, NY, 2005 Recess: Images & Objects in Formation, Rush Gallery, Curated by Derek Adams, New York, NY, 2005 Past Perfect, Kantor / Feuer Gallery, New York, NY, 2004 - 2005 After Goya, Leroy Neiman Gallery, Columbia University, Curated by Tomas Vu Daniel, New York, NY, 2004 Hungry Eyes, Columbia University, Ira D Wallach Gallery, New York, NY, 2004 Signs, Public Art Installation, Chicago, IL, 2002 Brat (Wurst), A show of Chicago Artists, Vox Populi, Philadelphia, PA, 2001 Young Love, Mapreed Gallery, Los Angeles, CA, 2000 Art in St. Louis, Honorable Mention, Curated By Jerry Saltz, Art St. Louis Gallery, St. Louis, MO, 1997

1984 20th Century American Drawing: The Figure in Context, International Exhibits Foundation, Washington, DC Calligraffiti, Leila Taghinia - Milani Gallery, New York, NY Some Major Artists of The Hamptons, Then & Now, Elaine Benson Gallery, Bridgehampton, NY Exhibition, Bologna / Landi Gallery, East Hampton, NY Out of Context, Thorpe Intermedia Gallery, Sparkill, NY Collision, University of Houston, Houston, TX

Beeler Gallery's new Director of Exhibitions Jo - ey Tang will speak with his predecessors Dr. Natalie Marsh (Director and Chief Curator of the Gund Gallery, Kenyon College), Michael Goodson (Senior Curator, Wexner Center for the Arts) and James Voorhies (Dean of Fine Arts, California College of the Arts), as well as Assistant Director of Exhibitions and former Interim Director of Exhibitions Ian Ruffino about the unique role of galleries within an art school context, the evolution of Beeler Gallery, and what it means to «take over» a space from a predecessor.

In addition to the five regular sections of the show (Establishes, Emergent, Generations, Decades and Object), the art fair has a new sector called On Demand, which is for galleries that exhibit context - based and site - specific works such as installations, performances, etc..

2017 context, collapse, mother's tankstation, London Trusted Traveller, Kunsthalle Sankt Gallen, St. Gallen, Switzerland citizens of nowhere, Kevin Space, Vienna 2016 sunset provision, mother's tankstation limited, Dublin Insights (crisis trolly), Frieze Artist Award, Frieze London (directory information) tree for a desert (x3), Lock Up International, Tokyo user, space, Chisenhale Gallery, London 2015 Architectures of Credibility, H.M. Klosterfelde Edition, Berlin mute conversation, commission, Institute of Contemporary Arts, London 2014 Free Traveller, Cell Projects, London colocation, time displacement, Minibar Artist Space, Stockholm, The Telfer, Glasgow, Temporary Arts Project, www.t-ap.org.uk RELiable COMmunications, Legion TV, London, First Look; New Museum, www.newmuseum.org 2012 polymer placeholder pin drop, Project / Number, London The Making of, www.bubblebyte.org e ink pearl memory, Arcadia Missa, London Faraday Cage, [SPACE], London 2011 focal - plane, Son Gallery, London

Despite O'Doherty's debunking of this context, the white cube mode of exhibiting continues to underpin much exhibition - making in the West, from commercial galleries that are designed to look like modern art museums (think of David Zwirner's minimalist 30,000 square foot space on 20th Street in New York) to websites such as Contemporary Art Daily that tend to privilege the flattened picture surfaces of post-minimalist paintings, which look good filtered through the even light of a laptop screen.

She has shown extensively for the past five decades, in solo and group contexts, and has been the subject of numerous survey exhibitions including Museu d'Art Contemporani de Barcelona (2003); Generali Foundation, Vienna (2002); New Museum, New York (2000); The Museum of Contemporary Art, Los Angeles (2000); Kunstverein München, Munich (1992); Ikon Gallery, Birmingham, England (1991); and Alternative Museum, New York (1987).

Despite O'Doherty's debunking of this context, the white cube mode of exhibiting continues to underpin much exhibition - making in the West, from commercial galleries that are designed to look like modern art museums (think of David Zwirner's minimalist 30,000 square foot space on 20th Street in New York) to

The epodium gallery presents contemporary art context - sensitive to New York or Munich / Germany.

A: In terms of the exhibition at Whitechapel Gallery, how do you think that the space of that particular gallery brings a new context to your works, how has it been to work with the space in gGallery, how do you think that the space of that particular gallery brings a new context to your works, how has it been to work with the space in ggallery brings a new context to your works, how has it been to work with the space in general?

«This is true especially since I started working in a gallery context — which is fairly new to me — not someone's house or a project space, but in an actual gallery.

I think, however, that the best place to begin is with the paintings themselves, bracketing the works on view in Per Kirkeby: New Paintings within his artistic trajectory, the contexts he is usually inserted in (often among German painters), and what he says in his writings [Michael Werner Gallery; September 15 - November 12, 2011].

Rachel Uffner Gallery's new three person exhibition of Lucas Knipscher, Win McCarthy and Sigmar Polke stresses collaboration and context.

Barb Choit's solo exhibition at Rachel Uffner captures the faded signs and photographs of New York and reinterprets them for a gallery context.

Berlin is exhibiting new paintings at Context with Kasia Kay Art Projects Gallery at Booth D33.