Sentences with phrase «number of the exhibitions which»

A huge number of the exhibitions which collectively make up PST are invested in giving due attention to artists and movements which have been left out of the western art narrative.

Not exact matches

On the occasion of the only full - scale retrospective Porter's work has been given - the exhibition called Fairfield Porter (1907 - 1975): Realist Painter in an Age of Abstraction, which Kenworth Moffett organized at the Museum of Fine Arts in Bostonin1983 - I wrote that «For myself, though as a critic I had praised Porter's work on a number of occasions during thelast20yearsand though I knew it well, I found I was not really prepared for what I found in this exhibition....

In 1998, a number of critics responded to Humphrey's exhibition at Danese, which was curated by his longtime champion and friend, Klaus Kertess, by emphasizing the need for a retrospective, but to no avail.

Cannily chosen and installed by Papanikolas, the exhibition's 45 works of art, which include paintings, sculptures and drawings, are a pleasure in terms of sheer numbers.

The exhibition features three important paintings from the 1965/1 — ∞ series, called Passages, each of which marks the culmination of one million consecutive numbers.

The exhibition features a new series of Boo Saville's colour field paintings, which are shown in dialogue with a number of black and white canvases.

A number of the artists featured in the exhibition have previously appeared together in shows which have surveyed the linkage between the genre of music and the field of art.

Flavin would continue to explore themes of seriality in a number of key works, including his «barriers,» which literally extend the notion of potentially endless repeatability into the exhibition space.

The exhibition features a number of Scott's early figure works, many of which have not been displayed in public for over thirty years.

Sla307 produces a number of contemporary art exhibitions throughout the year as well as a series of public programming which include lectures, performances, and film screenings.

Including a number of new works, one of which is a monumental diptych (The Mirror, 2018), each canvas measuring 3226 x 2743 mm, the exhibition spans eight years of Beard's practice.

We framed a number of pastel works on paper for this exhibition which hang alongside large - scale works on canvas.

HWT: I'm really excited about an exhibition that I'm curating at the Goodman Gallery in South Africa called To Be Young Gifted and Black, which features a number of artists including Adam Pendleton, Omar Victor Diop and Derrick Adams, Zoe Buckman.

All of this and nothing is the sixth in the Hammer Museum's biennial invitational exhibition series, which highlights work of Los Angeles - based artists, both established and emerging, alongside a number of international artists.

They are joined in Gioni's exhibition — which features more than 150 artists — by an unusually large number of mid-career and senior British figures, many of them women.

A number of international exhibitions are planned to pay tribute to the artist's achievements, the first of which is at... Read More

A number of works in the exhibition were included in the Hirshhorn Museum's acclaimed retrospective this past fall in Washington, D.C., which did not travel.

In addition, there are a number of special projects of note being presented at 1:54: the first major solo show in the UK of Malian photograph Malick Sidibe (1936 - 2016), who died in April; «The Arab Spring Notebook» by Sudanese artist Ibrahim El - Salahi; and a special exhibition by Addis Photo Fest, which was established by Ethiopian photographer Aida Muluneh.

Placed exactly at the centre of Mathaf's exhibition space, this installation lies at the heart of a linear but non-chronological presentation of works whereby a number of unexpected juxtapositions echo the complexity through which the artist has managed to challenge, and at times disturb, our experience of the ordinary.

More generally, the chapters of «America Is Hard to See» pay homage to a number of those seminal exhibitions through which the Whitney has historically recognised and advocated for emerging American art: «Anti-Illusion: Procedure / Materials» (1969), for instance, with its defiant presentation of the post-minimalism of Richard Tuttle and others, or «New Image Painting» (1979), which celebrated a revival of figurative painting in an artistic climate dominated by conceptual work.

The tactile quality of Innes's paintings continues in his new works on paper, a number of which will be included in the exhibition.

Many works in the exhibition are drawn from major museums and galleries across the United States and Europe, and a number of paintings are borrowed from private collections, some of which have rarely been on public display.

White's upcoming solo exhibition in Madrid will showcase a number of these paintings in which paint literalizes word play.»

The exhibition will present a number of large, heavily textured and abstract paintings, forming a contextual backdrop to the ceramic and bronze works which have played a crucial role in the artist's practice since the mid-1990s.

Cut from the walls of a previous exhibition at the Wattis Institute, Owens's series of custom wallpaper on panels contains phone numbers to which viewers can text questions to receive audio responses of text - to - speech quips and found recordings.

In recent years Emin has been the subject of a number of retrospective museum exhibitions around the world, including a major solo show at the Museo de Arte Latino Americano de Buenos Aires; a solo exhibition at Turner Contemporary in her hometown of Margate (2012); and Tracey Emin: 20 Years, the artist's first retrospective which originated at Scottish National Gallery of Modern Art, Edinburgh (2008), before traveling to the Centro de Arte Contemporáneo, Málaga (2008) and the Kunstmuseum Bern, Switzerland (2009).

I am a huge fan of well - conceived group exhibitions of which there are a number around the country this month.

A number of events expand on the themes explored in the exhibition including a tour led by the exhibition curator David Campany (20 July, 6.30 pm, Free); the exhibition's curator David Campany is joined by writer and critic Brian Dillon, artists Xavier Ribas and Eva Stenram for a symposium discussing notions of time, perception and the history of photography (17 June, 2 - 6 pm, # 15 / # 12.50 concs); and award - winning essay film - maker Grant Gee presents his study of the late German writer W.G. Sebald which is a multi-layered exploration of place, memory, longing and dust (29 June, 7 pm, # 9.50 / # 7.50 concs).

[8] In 1964, he had solo exhibitions at the Richard Gray Gallery in Chicago and at Paula Cooper's gallery in New York, after which collector Joseph Hirshhorn purchased a number of his paintings.

So far, Muir has nearly tripled the number of ICA patrons, according to The Art Newspaper, and has been drawing crowds with shows of popular artists like Jacob Kassay and the provocative new drawing exhibition «Keep Your Timber Limber,» which brought out 1,200 visitors to its opening earlier this week.

The exhibition focuses upon the extensive use of reproducible media which has been observed over the last ten years and proposes that the precursor of this phenomenon was the art of the late sixties and seventies, a period in which moving pictures formed the conceptual basis for the work of a number of artists.

The exhibition, which took nine years to plan (coinciding with a major research project), drew a record number of visitors to the Noordbrabants Museum.

Alongside approximately 50 recent paintings, the exhibition titled Damien Hirst at Houghton Hall: Colour Space Paintings and Outdoor Sculptures will also include a number of the artist's most celebrated sculptures which will be installed throughout the house and gardens.

The experimental performances, which began in Provincetown and unfolded in New York City in a number of alternative exhibition spaces and galleries, forever changed the definition of art and the possibilities for what it could be.

Like its name implies, the shows will last for just one evening, displaying a limited number of works by a specific artist, upending the traditional six - week exhibition schedule to which most galleries subscribe.

With choreography specific to the structure of the building, a soundscape recorded over a month - long residency, and a narrative inspired by the centuries - old curatorial conundrum of the «Summer Exhibition», this is the London premiere of a performance which has taken different forms at a number of venues including the National Museum Stockholm, the Hamburger Kunsthalle and Birmingham Museum and Art Gallery.

He reformed his studio in June 2000 as Adjaye / Associates and has since gone on to win a number of prestigious commissions which include collaborations with artists such as Chris Ofili and Olafur Eliasson, exhibition design, temporary pavilions and private homes both in the UK and New York.

The exhibition explores a number of conceptual themes, often presenting an elusive subject, which relies on the audience's imagination for completion.

[2] Titled after the nursery rhyme, the piece was part of a number of new works which incorporated moving elements, presented in 1996 at Gagosian Gallery, New York, in the exhibition «No Sense of Absolute Corruption».

These were quickly followed by a number of paintings featuring spiral patterns, the most notable of which in the exhibition is The Snowstorm commissioned by the Arts Council for the Festival of Britain in 1951.

During his time at the Palmer, he organized a number of critically acclaimed traveling exhibitions, all of which were accompanied by scholarly publications, including Picturing the Banjo (2005 - 6); Taxing Visions: Financial Episodes in Late Nineteenth - Century American Art (2010 - 11); and Shallow Creek: Thomas Hart Benton and American Waterways (2007 - 8).

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

Along with her husband, William, she exhibited her post-impressionist and fauve - inspired paintings in a number of important exhibitions of modern art, including the landmark 1913 Armory Show, which is currently marking its centenary.

The exhibition, which opens June 3 and runs until July 9, «is comprised of twenty - two artist who use a number of disparate materials, processes and techniques to create work that evokes organic forms and phenomena.»

Najafi has curated or co-curated a number of exhibitions and projects, including «Odd Lots: Revisiting Gordon Matta - Clark's Fake Estates» at White Columns and the Queens Museum of Art in New York in 2005, which is the subject of this Tuesday Evenings presentation.

Also included in the archives is a collection of postcards from various artists which were part of the exhibition, Postcards (November 10, 1973) which subsequently traveled to Oberlin College, an original piece «Tales from the Vienna Woods» by Laurie Anderson, a wall installation by Matt Mullican for the Indian Summer exhibition, as well as a number of artists» books.

Prior to that, Fogle was a curator at the Walker Art Center in Minneapolis from 1994 to 2005, where he initiated a series of exhibitions with emerging artists as well as a number of group exhibitions, including: Andy Warhol / Supernova: Stars, Deaths, and Disasters, 1962 — 1964 (2005); The Last Picture Show: Artists Using Photography 1960 — 1982 (2003) which traveled to the Hammer; Painting at the Edge of the World (2001); and solo exhibitions with Catherine Opie and Julie Mehretu.

As a curator, Storr made his mark early with a number of major exhibitions at MoMA and elsewhere, which enhanced the public prominence of such artists as Elizabeth Murray, Gerhard Richter, Max Beckmann, Tony Smith and Robert Ryman.

Now recognised as the crowning moment of Pollock's career, this exhibition contained several of his greatest large - scale masterpieces, all of which were painted that year: Number One, 1950 (Lavender Mist)(National Gallery of Art, Washington, D.C.); Number 27, 1950 (Whitney Museum of American Art, New York); Autumn Rhythm (Number 30)(Metropolitan Museum of Art, New York); One: Number 31, 1950 (Museum of Modern Art, New York); and Number 32, 1950 (Kunstsammlung Nordrhein - Westfalen, Düsseldorf).

The Number Shop - Studios and Gallery is an independent artist - run project in the centre of Edinburgh, which provides affordable studio spaces for 10 practitioners as well as a flexible use exhibition space.