Sentences with phrase «of artists in an exhibition»

In the curatorial statement Gehring writes: «Each of the artists in this exhibition generate work from a distinct point of view, but each point of view is one that is illuminated and connected by this show's title, Meta Vista.

The list of artists in the exhibition will be released at the end of 2013.

The artistic interaction between many of the artists in this exhibition increased as the sixties drew to a close.

Each of the artists in this exhibition continues that dialogue with distinctive means.

• The full list of artists in the exhibition is: Peter Blake, David Bomberg, Edward Burra, Anthony Caro, Patrick Caulfield, Emma Cousin, Keith Coventry, John Craxton, Frank Dobson, Powys Arthur Evans, Lucian Freud, Eric Gill, Nigel Hall, Tim Head, Roger Hilton, David Inshaw, RB Kitaj, Michael Landy, Bob Law, Emma McNally, Eduardo Paolozzi, Nicholas Pope, Bridget Riley, William Roberts, Colin Self, Stanley Spencer, Shelagh Wakely, Jenny Weiner.

New Orleans» location at the geographic fringe of the continental United States, in close proximity to Cuba, Haiti, and Mexico, has generated a unique blend of distinctions between artistic genres and vernacular traditions, and each of the artists in the exhibition has produced work that in some way challenges many of these time - worn distinctions.

A number of artists in the exhibition — including Josh Faught, Reina Gossett and Sasha Wortzel, Ellen Lesperance, Mickalene Thomas, and Candice Lin — return to archival materials in order to critique, build upon, and explore longstanding debates around intersectionality, alliance, and the project of world - building.

Although many of the artists in this exhibition moved away from Van Doesburg's notion of geometric abstraction, they all championed a purely non-representational abstract art that was not derived from observed reality and began with the idea that abstract art is the search for the absolute and the struggle for pure meaning.

Holland Cotter, in his review of «Making Space» for The New York Times, said he was encouraged by the diversity of the artists in the exhibition, though «much of what's here is late in arriving at MoMA.»

The three generations of artists in this exhibition are proud, committed and uncompromising members of the progressive LGBTQ artistic community and create work that is powerful and flamboyant, liberating and often witty as well as visually startling.

«Ultimately, what holds true for each of the artists in this exhibition is a consistent tackling of very personal, intimate and often very intense experiences of life.»

Each of the artists in this exhibition has found a unique point of departure with silverpoint, often combining it with other metals and mediums.

In Act Out, Sturtevant is the artist who has been engaging with the critical possibilities of repetition for longer than any of the artists in this exhibition.

Am I right in assuming that with many of the artists in this exhibition, you were the first to show them?

CS: There was something that struck me about many of the artists in the exhibition.

Like all of the artists in the exhibition Carbon 13, Adriane accompanied David on a Cape Farewell expedition in 2009 to the Amazon.

Three of the artists in this exhibition make quilts or quilt - like work.

Much like the Baroque period, the diverse array of artists in this exhibition speak to contemporary political, personal and formal artistic concerns using a common, figurative language in uniquely personal styles.

Notes, sketches, photos and videos taken during travel and exploration inspire each of the artists in this exhibition.

Trump «s misogynist comments against women, as well as his horrific history of sexual misconduct allegations motivated the works of several of the artists in the exhibition.

All of the artists in this exhibition understand the paradoxical position from which they operate.

The photographs of Gordon Parks (American, 1912 - 2006) are equally important to many of the artists in the exhibition.

Perhaps due to this representation, sexuality is a theme explored by many of the artists in the exhibition.

Each of the artists in the exhibition studied or taught at Ohio institutions.

Many of the artists in the exhibition have had far less exposure in the West.

digital collages that explore racial and cultural ambiguity through visual hybridity, like the work of each artist in this exhibition, demonstrate that late 20th - century predictions of the end of traditional fine «art» practice at the dawn of digital culture were simply wrong.

This notion unites the group of artists in the exhibition, all of whom have highly process - oriented practices in media such as installation, painting, photography, sculpture and video, dwelling on ideas of production and meditation.

Thinking beyond the traditional notion of painting as paint on canvas, many of the artists in this exhibition also expand the possibilities of support.

In an effort to identify truth, reality, and meaning, each of the artists in the exhibition confronts these questions by inventing, criticizing, or retelling reality — simultaneously grappling with issues of racial identity, sexuality, violence, protest, globalism, and ethics.

Participants include two of the artists in the exhibition, Richard Deacon, who has created the sculpture Associate especially for Perry Green, and Paul McDevitt, who will be making and presenting new work in response to the show; curator Jon Wood, who has written extensively on Henry Moore and his legacies; and the broadcaster and Director of Artistic Programmes of the Royal Academy, Tim Marlow.

«While contemporary kõgei remains rooted in centuries of cultural history, the work of the artists in this exhibition reflects a decisive and somewhat controversial shift from that of their peers.

Many of the artists in the exhibition use photography as a means to document ephemeral moments.

Includes: preface, selected statements by craftsmen, brief biographical information, list of artists in the exhibition, selected images.

Embracing painting's possibilities, the pursuit of the artists in this exhibition is to continue the ongoing debates over the practice of painting and its location within contemporary art.

Most of the artists in the exhibition travel back and forth, choosing to live between two places, for reasons like access to their native language, curiosity about their own unresolved hybrid identity, or maintaining professional or familiar relationships.

According to a Crystal Bridges spokesperson: «Many of the artists in the exhibition have not had work exhibited on a national scale before so in order to respect their preferences for publicity, we're working with them to share their involvement in the formats with which they are most comfortable.»

Each of the artists in this exhibition were chosen because they create nonrepresentational art based on personal narratives that may go unnoticed when viewing the formal elements of the artwork alone.

Black art is as complicated as that so, of course, it's a term some people push against, many of the artists in this exhibition push against it.

Chris Martin, one of the artists in the exhibition, articulated this paradox in a recent article: «Abstraction no longer exists as a movement and no longer leads any avant - garde.

Not only does it highlight a major trend among contemporary Chinese artists towards the use of video and photography, many of the artists in the exhibition are also internationally renowned, thereby providing audiences in Singapore a rare opportunity to see their works... This exhibition, a major exhibition of contemporary Chinese photography and video, was the first of its kind for Singapore.

In the exploration of new mediums, generated by Abstract Expressionism and Color Field Painting, several of the artists in the exhibition explored a realm of the spiritual and sought to express emotive intensities.

Catalogue includes images from all of the artists in the exhibition, and features 46 colour reproductions and 18 monochrome reproductions.

Multiple works by many of the artists in the exhibition both acknowledges the depth of each artists practice, and confounds their classification, as one type of practice nourishes another, lending a conversational tone.

Many of the artists in the exhibition were part of the dawning of Abstract Expressionism, contributing to a time when a gestural technique signaled liberation from past formulas and resonated with an era that had experienced the atomic bomb.

Although apparently separated by geography, language, history and tradition, each of the artists in this exhibition have been selected for their individual approach to art making which involves an interest in the past.

A handful of artists in the exhibition reference particular art historical figures or classic painting genres.

«I've been thinking about abstraction alongside many of the artists in the exhibition for many years,» adds Puleo, «specifically, we've been in conversation about an idea of what «queer abstraction» is and can be.

A few of the artists in the exhibition incorporated expressive methods into established aesthetic trajectories.

Throughout their prolific careers, each of the artists in the exhibition has utilized drawing, collaging, printmaking and / or photography techniques to create densely layered shapes and associative imagery.

As Lubaina Himid — one of the artists in the exhibition and from whose words the title is borrowed — wrote in 1985, «We are claiming what is ours and making ourselves visible».