Sentences with phrase «objects in the exhibition»

16 February 2017: Listen to music and stories from South Africa, create your own paper house to add to the museum's unique city and explore family objects in the exhibition with a variety of art activities.

Other objects in the exhibition demonstrate the wide range of materials the ancient Egyptians used in their craft and artistic production, and the sophisticated techniques they perfected.

The ancient objects in the exhibition are geographically diverse, originating from the pre-Columbian Americas to China.

If you had to guess the most indecipherable object in an exhibition about mathematics, codes, linguistics and archaeology, what would it be?

In the meantime, the museum has already begun to prepare for the worst, returning borrowed objects in their exhibitions and recollecting lent material.

Meetings with an anthropologist and ethnobiologist at the Santa Barbara Museum of Natural History, a botanist, a fireman, a Chumash elder, a motel manager, and several artists, combined with Hirose's more abstract sensory impressions of the landscape, inform her conceptualization of various objects in the exhibition.

Label text for objects in the exhibition Ancient and Medieval Art from a Dallas Private Collection, July 19 — August 23, 1981 at the Dallas Museum of Fine Arts.

Really Blue (after all) and Yellow May (2016) are the most complex and peculiar objects in the exhibition, making the deformed cuboids of the other pieces look comparatively straightforward.

Demand commissioned German artist Thomas Scheibetz to design custom vitrines (the only three dimensional objects in the exhibition), which house the VKhUTEMAS photos and copies of Yvan Goll's 1920 screenplay Chapliniade containing illustrations by Léger.

A closed - loop fountain, corrupted translations of everyday items, mutant organisms with industrial, technological and organic components, loyalty cards and hard drives, and abstract spatial environments are among the unsettling objects in the exhibition.

Information related to the subjects and objects in the exhibition Pompeii A.D. 79, January 2 — March 18, 1979 at the Dallas Museum of Fine Arts.

The central object in his exhibition in SMBA is a Baulé mask, a loan from the Tropenmuseum in Amsterdam.

Planned in conjunction with the exhibition, Morgan: Mind of the Collector, the program complements the fanciful decorative objects in the exhibition through a music program that highlights the seductive, and even subversive, nature of the arts and music in eighteenth - century European courtly culture.

The earliest object in the exhibition is a self - portrait, painted in 1954 - 55, while Schneemann was still at art school.

Here was an object used to create many other objects in the exhibition, and to work with it in a way Albers might have gave us a deeper understanding of that time and place, which we greatly appreciated.

The object in that exhibition that struck me as the most poignant was not the one I might have expected: it is that perfect and beautiful child's dress you illustrated.

More than a third of the objects in the exhibition are light sensitive and will change every six months so there will always be something new to experience.

Other objects in this exhibition, created during the late - 1800s to the mid-1900s, reveal the same level of thoughtful execution.

The objects in this exhibition are a small selection of the results of a collaboration between Central Saint Martins and CoCA, the Centre of Ceramic Art in York.

The objects in the exhibition were created over a period of more than 4,000 years.

While the objects in this exhibition do not seem to share any formal or technical common denominator, they nevertheless coalesce into a narrative about the development of craft, particularly as it came into being in the United States during the postwar period.

Just as memories and life experiences stay with each individual throughout their lives, the objects in the exhibition retain the personal histories of their owners and symbolically link present and past.

The title of the exhibition is deliberately double in its meaning - referencing the physicality of the objects in the exhibition and the suggestion of arcane rituals.

In his response, Rawls works with objects in the exhibition and attempts to connect real - time movement to an animated moving - image work Craycroft has been steadily producing over the course of her show.

What we know about the objects in this exhibition is rendered multiple through the texts included in this publication, which were shaped in large part by Natasha Chaykowski's keen editorial eye.

Consisting primarily of sculpture, the objects in the exhibition revolve around the theme of the body and its absence, from the hyperreal to the abstract, tinged with a range of complex, playful, and dark psychological undertones.

Considering herself an installation artist who happens to make objects, Shechet focuses intently on ensuring that the display, sight lines, and relationships of the objects in her exhibitions change with every view while maintaining formal equilibrium.

Costumes as sculptures, masks and objects in the exhibition will be worn and used as tools for the performance.

Artist Josiah McElheny talks about the objects in his exhibition Total Reflective Abstraction (2007) at Donald Young Gallery in Chicago.

More than half of the objects in the exhibition are photographs from the museum's permanent collection.

Students will first tour the exhibition with a Cooper Hewitt educator, who will lead students through an in - depth exploration of five or six objects in the exhibition.

Blind proposes a variety of readings in the face of the objects in the exhibition.

Many of the nearly 150 objects in the exhibition are on view in the United States for the first time.

Most objects in the exhibition, including the physical form of models Giulia Munari and Lynn Suemitsu, are dim and faint in colour, located middle - gray.

More than 40 objects in the exhibition have never before been on view in the United States.

Many of the objects in the exhibition were either created specifically for Onslow Ford's sister, Elisabeth, (including Love Knot, a wedding gift in 1945, for example) or were given to her for such special occasions as her birthday.

Rather than a collection, Muecke considers each of the objects in the exhibition to be its own project, the result being that every one is consistent to its counterparts only in its potential — «a quality that is itself immeasurable.»

The comprehensive catalogue features essays by such leading art historians and curators as James Demetrion, Valerie Fletcher, Lisa Florman, Marilyn McCully, Diana Widmaier Picasso, Robert Storr and the late Kirk Varnedoe, as well as entries on the 60 objects in the exhibition.

All of the objects in this exhibition are from the private collection of Byron Vreeland.

The objects in the exhibition highlight key areas of Gill's life as an artist and attempt to explain his unique and complex political and religious ideals.

Presented alongside the objects in the exhibition are six specially commissioned short films inspired by high heels.

Most of the objects in the exhibition were made to be art, others became art by metamorphosis when objects were understood in new cultural contexts.