Sentences with phrase «new installations alongside»

For this exhibition he presents new installations alongside key recent works and a live performance.

The show will present new installations alongside his historical artworks, spanning over 50 years of Zorio's career.

From 27 February until 11 May the gallery space will house a number of new installations alongside existing works from the Collection.

Not exact matches

The promise of «a new kind of festival for a new age of making» by co-founder, supporter and Lancashire - born designer, Wayne Hemingway, was fulfilled with 30,000 people taking part in over 100 making experiences, encountering 57 invited makers, spanning food, technology, major manufacturing, engineering and crafts, alongside indoor and outdoor markets, street performance, art installations, film screenings, celebrity cookery demonstrations and the opportunity to experience making with some of Pennine, Lancashire and the UK's most significant manufacturers.

The on - site installations program IN / SITU, selected by a major international curator, and EXPO Projects organized by the fair Directors, feature large - scale suspended sculptures and site - specific works within the exhibition hall, alongside EXPO VIDEO, featuring a dynamic curated screening program for film, video, and new media works, and Special Exhibitions booths highlighting non-profit organizations.

The new building will open with an installation of her paintings based on declassified and sensitive government documents, alongside two of her acclaimed LEDs, stone benches, and works from her Lustmord series.

You Only Live Once will feature the first line of Arcangel Surfware, produced in partnership with the global music merchandising company Bravado, alongside an installation of new work by the artist.

The program will include new installation, performance, and sculptural work from Esparza alongside collaborations and contributions from artists Carmen Argote, Nao Bustamante, Beatriz Cortez, Timo Fahler, Eamon Ore - Giron, and Star Montana.

Isaac Julien offers a two - channel video installation alongside a new body of photographs as part of his latest exhibition with Metro Pictures.

Gone South combines previously exhibited site - specific installations and performance - based video alongside new sculptures that take advantage of the proportions of our galleries.

In the fall of 2011, Ballroom Marfa will mount the exhibition AutoBody, which showcases a single new work and installation, North of South, West of East, by emerging film and video artist Meredith Danluck, alongside the sculptural works of Liz Cohen, Matthew Day Jackson and Jonathan Schipper, organized by curator Neville Wakefield.

Entitled Solid Light Works the show marks Anthony McCall's first institutional exhibition in New York and the first time his vertical installations are shown alongside their horizontal variants.

This exhibition marks the artist's first institutional exhibition in New York and first time that his vertical installations will be shown alongside their horizontal variants.

Curated by Adrienne Edwards (Walker Art Center, Minneapolis; recently appointed Whitney Museum of American Art, New York) and entitled «ASSEMBLY,» the time - based program will feature processions, ritualistic and conceptual performance alongside sound installations, banners and flags.

Showcasing paintings and drawings spanning from 1992 to 2017 and demonstrating the singular ambition and dynamism of Saville's work, this exhibition spans five rooms of the Scottish National Gallery of Modern Art and places the artist alongside major new works, installations and photography from five other artists preoccupied with the body, performance, process and materiality: Sara Barker, Christine Borland, Robin Rhode, Markus Schinwald, Catherine Street, and others.

The group exhibition features national and international artists working in sculpture, installation, photography and mixed media, and opens alongside the artist's solo exhibition at Y Gallery (New York).

The installation also features imaginative new works made by Hamilton in response to the house and its collection, alongside contributions from invited collaborators.

Major moments for Breitz in 2017 included the Venice Biennale, for which she was one of two artists selected to represent South Africa (alongside Mohau Modisakeng); the inclusion of a new commission titled I'm Your Man (A Portrait of Leonard Cohen) in an exhibition titled Leonard Cohen: A Crack in Everything at the Musée d'art contemporain de Montréal; and the premiere of a major new video work, TLDR (this 13 - channel video installation is the sequel to Love Story), at the B3 Biennial of the Moving Image in Frankfurt.

This will be the artist's third solo exhibition at the gallery and features a large - scale wall installation, «Where I Leave Off and You Begin», alongside a series of new «floating line» -LSB-...]

In both New York and Texas, he designed his homes to include permanent installations of his work, alongside that of peers such as Larry Bell, John Chamberlain, Dan Flavin, and others.

The jury is out on whether or not this qualifies him as a communist, but his claim does provide a source of perplexity when evaluating the inspiration for his ongoing Kandor sculpture and installation series — the newest of which being currently displayed at Gagosian Gallery (Beverly Hills) alongside the latest chapters of his filmic project, Extracurricular -LSB-.....]

Michael Heizer's impressive installation at Gagosian Beverly Hills features new paintings that deny the conventional rectangular or square confines of the canvas, alongside negative wall sculptures, known for their size, raw materials, and ability to awe viewers.

That piece, an emblematic expression of his community - geared work, will be present in the Polish artist's first major American exhibition when it opens at the New Museum this month, along with a new installation featuring sculptures that the artist will make over the show's duration, to be shown alongside drawings accumulated from the exhibition's visitoNew Museum this month, along with a new installation featuring sculptures that the artist will make over the show's duration, to be shown alongside drawings accumulated from the exhibition's visitonew installation featuring sculptures that the artist will make over the show's duration, to be shown alongside drawings accumulated from the exhibition's visitors.

Spanning the gallery's three consecutive locations on West 19th Street in New York, the exhibition features twenty - seven new large - scale paintings alongside a recent video installation and two mirrored infinity rooms, one of which is made especially for this presentatiNew York, the exhibition features twenty - seven new large - scale paintings alongside a recent video installation and two mirrored infinity rooms, one of which is made especially for this presentatinew large - scale paintings alongside a recent video installation and two mirrored infinity rooms, one of which is made especially for this presentation.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatnew york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatNew York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatnew york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatnew yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatNew York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatnew york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatnew contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatNew York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

The Forward Arts Foundation Emerging Artist Award winner presents a new sculptural installation alongside the work of finalists David Armistead, Wihro Kim, Julianne Trew and Vanessa Brooke Williams.

The exhibition presents Plensa's installation and monumental sculpture in a new configuration, where the source material for the work appears alongside the finished sculptures.

Over the course of the weekend, some 25 - 30 artists will set up vending stands alongside the veteran boardwalk artists, exhibiting new bodies of work, collaborating with the veterans on new projects, displaying site - specific sculptures or installations, and presenting live performances.

This exhibition brings together the work of potter Sara Flynn, who has been commissioned to make a new body of work for display on the granary, alongside a major installation by British artist Richard Smith and over twenty photographs by the Sri Lankan artist Lionel Wendt.

This new solo exhibition uniquely presents a selected survey of rarely seen experimental short films and video installations by Weerasethakul, alongside his photography, sketches and archival materials that explore threads of socio - political commentary.

Alongside Eoghan Ryan's multi-faceted installation of new work, a publication was produced which further explores the conditions of the contemporary human body and features contributions from Hannah Black, Susan Conte, Sam Keogh, Laura Morrison, Joseph Noonan - Ganley, Eoghan Ryan, Linda Stupart and Nina Wakeford.

Millie Chen: Four Recollections Millie Chen: Four Recollections features a new installation conceived during her artist - in - residence at CU Boulder alongside three large - scale drawing installations created between 2015 and 2017.

The exhibition brings together major bodies of Leckey's work, including a broad array of video works and sculptural installations alongside new pieces made specifically for the exhibition.

Over the fivemonth exhibition period, General Rehearsal will offer the public curated selections of painting, drawing, sculpture, installation, photography, mixed - media, film, video and performance, including rare, iconic and major works of art alongside pieces from lesser - known, emerging talents from all over the world; new commissions and specially written scripts to narrate the presentations.

In Lehmann Maupin's first exhibition with Mutu in Hong Kong, the artist's exploration of biological mutation and matter is presented through a cohesive installation, presenting new sculptural works alongside paintings that demonstrate her intricate aesthetic.

Doug Aitken's first solo exhibition in London for eight years will occupy both floors of Victoria Miro and include a specially reconfigured presentation of his acclaimed multi-channel film installation Black Mirror, alongside new wall - and floor - based sculptures and light box...

For his latest SLG show, Surfing with the Attractor, Willats re-presents material from Changing Everything alongside a new installation featuring a huge data stream spanning 15 metres and made in collaboration with 14 London - based artists.

This exhibition features recent works by Shonibare MBE alongside some samples of previous creations plus a new installation expressly created for this, his first solo exhibition in Spain.

For the last exhibition in Alembic, a specially remade video installation by queer filmmaker and networker Shu Lea Cheang will be presented alongside a new commission by artist and practice - based researcher Annabelle Craven - Jones.

Alongside these, more meditative areas will feature examples of Holzer's best - known work, such as her renowned engraved stonework, as well as new installations using black mondo grass

It's Called Art Mum, Look It Up will display a full collection of Nor's digital illustrations, alongside original hand - drawings, a new immersive installation room and her previously unseen sculpture work.

The exhibition will present new work alongside a key selection of works by Gupta from recent years, including her major installation Singing Cloud, 2008 - 09, an amorphous cluster of 4000 black microphones suspended from the ceiling.

For the exhibition at Bus Projects, Noriko will present a new body of sculptural and video works, alongside Ratman's large scale video installation, «The 588 Project».

This volume documenting the artist's midcareer survey at Contemporary Arts Museum Houston includes many of her best - known works alongside new paintings and a site - specific installation.

There are three recent works alongside three new site - specific installations.

In his first solo exhibition at BolteLang entitled Hand, Select & Invert Layer, Gordon presents a site - specific wallpaper installation alongside new still lifes and screen selections.

These themes form the cornerstone of The Scripted Life, a full assessment of Breitz's work which showcases early works alongside more recent installations, including New York, New York, a new piece co-commissioned by the Kunsthaus Bregenz with Performa New York, New York, a new piece co-commissioned by the Kunsthaus Bregenz with Performa New York, a new piece co-commissioned by the Kunsthaus Bregenz with Performa new piece co-commissioned by the Kunsthaus Bregenz with Performa 09.

Otto Freundlich — theoretician, political activist, painter, and sculptor — belonged to the first generation of abstract artists, working alongside Braque and Picasso; Len Lye, a multi-disciplinary artist from New Zealand, was a pioneer of animated film - making; Brazilian painter and installation artist Lygia Clark created innovative interactive works; and Blinky Palermo was known for his «fabric paintings.»

INDUCTION is a two - person exhibition that features new paintings, videos, and glass sculpture by New York based artist Tauba Auerbach (1981, San Francisco, CA) alongside an early sound installation by Paris - based composer Éliane Radigue (1932, Paris, France) that explores artistic relationships and influencnew paintings, videos, and glass sculpture by New York based artist Tauba Auerbach (1981, San Francisco, CA) alongside an early sound installation by Paris - based composer Éliane Radigue (1932, Paris, France) that explores artistic relationships and influencNew York based artist Tauba Auerbach (1981, San Francisco, CA) alongside an early sound installation by Paris - based composer Éliane Radigue (1932, Paris, France) that explores artistic relationships and influences.

In his first solo exhibition at BolteLang Gordon will present a site - specific wallpaper installation alongside new still lifes and screen selections.