Sentences with phrase «of other artists in the show»

George Nick and Lennart Anderson studied with Dickinson in the 1950's and a number of other artists in the show learned about Dickinson through these influential masters.

But you can see Kusama's work, plus that of the other artists in the show who are not included in this post — Brice Marden, Francois Morellet, Robert Morris and Lee Ufan — and installation shots on the gallery website.

Like many of the other artists in the show, he hybridizes traditions.

Yet despite this apparent nihilism, Chasson's work, like those of the other artists in the show, is underscored with humour and fun and by investing in these visual paradoxes, we as audience are ultimately investing in the paradox of life.

Not exact matches

While Waits remains somewhat of an anomaly in the music industry — he also acts, scores films and plays and was a regular guest on Bob Dylan's Theme Time Radio Hour show — he serves as an example of a truly multimedia artist, able to promote his work in one medium through the use of others.

The artists rendering of the new mosque shows it to be a building unlike any other in New York.

The great task of all literary artists is to show others their vision, posing it in such a way that others may say: Yes, this is true, this is a part of my life, this is valid for my life.

Justin Timberlake used to be a member of NSync, and Super Bowl halftime performers often pull in other artists to join them for the show.

A statement made available to the Nigeria Politics Online showed that an A — list artists and media gurus such as Mo Abudu, Omoni Oboli, Eyinnaya Osigwe, Lala Akindoju, Noble Igwe; female African footballer of the year Asisat Oshoala and a host of others were also on ground to showcase Africa's excellence dressed in their African finery as Kings and Queens.

Ecosystems left in the wake of a mass extinction that occurred about 359 million years ago (artist's representation shown) contained fish and other vertebrates that were much smaller than the species that lived before the die - off, a new study suggests.

Simmons is an internationally known artist with work in the Guggenheim, the Museum of Modern Art, and the Whitney, which is the setting of an opening credit sequence that shows Ellie wandering through an exhibit of others» work.

The show itself is designed to highlight the unique qualities of each artist, but no one could have captured those idiosyncrasies better than Demme: in an astonishing tracking shot, the faces of each performer as they interact with each other while singing and dancing to «Drink You Away» appear one after the other, their different expressions all unified by the soulful words of the song.

Practical responses to the work of other artists, designers, craftspeople and photographers must show development in a personal way.

Learning objectives To develop a detailed collage on oneself and to discover how other artists have represented their own identity - Cindy Sherman, Barbara Kruger and Mariel Amelia Showing examples of composition planning of collage - drawing out ideas for collage Using a text artists like Miss Wilcox and adding in words to add to identity image of oneself - adding in text in the photoshop work and then in the fabric work.

In the past, this form of painting was only done on the outer walls of houses but Mahlangu is one of the first artists to transfer these traditional designs to canvas, shoes, sculptures, ceramics and other modern mediums, making her a pioneering Ndebele artist and showing that adapting to change is an essential skill in the art worlIn the past, this form of painting was only done on the outer walls of houses but Mahlangu is one of the first artists to transfer these traditional designs to canvas, shoes, sculptures, ceramics and other modern mediums, making her a pioneering Ndebele artist and showing that adapting to change is an essential skill in the art worlin the art world.

In addition to Ann Diener, Julia Ford, Carlos Grano, Colin Gray, Hugh Margerum, Giuliana Mottin, Keith Puccinelli, Tom Stanley, and Dug Uyesaka who are the selected artists for the main show, dozens of other artists will be showing pieces they have created especially for a fun fundraiser aspect of the show called the «Ball Wall».

- the game's shading mechanism has changed, which allows for increased gear texture quality - all graphical aspects and programming mechanisms have been built up from scratch for this sequel - maximum resolution is 1080p in TV mode - a bigger focus for Nintendo was the 60 frames per second - occasionally the resolution will be scaled down when there is too much ink displaying on the screen - Nintendo reduced the CPU load and refined the way to use CPU power effectively to maintain 60 fps in all matches - weapons were tweaked to let players be more creative by thinking about unique weapon characteristics and their best uses - weapons are designed to be effective when they are used during the right occasion - Special weapons are stronger than the original ones when used in the right situation, but weaker otherwise - the damage and effect of slowing down your movement when you step in the opponent's ink are reduced from original - you can jump up in rank if you're good enough, but only up until S - you can't jump up from C, B or A to S + - when you win battles in Ranked mode, the Ranked meter fills and your rank goes up when its fully filled - when you lose a battle, the gauge does not decrease, but the meter starts to crack - once the meter reaches its limit, it breaks - when the meter breaks, you have to start over again from the beginning or from a lower rank - highest rank is still S +, but if you fill up the Ranked meter, you get numbers after the alphabet such as «S +1», «S +2» and so on - maximum number is «S +50», but this number will not be displayed to your opponent - you are the only one to see it, and you can check it on your own status screen - Ranked Power is calculated by an algorithm to measure how strong each player is with minuteness - this will determine if a player's rank is worthy of receiving a big jump (like from «C» to «A»)- Ranked Power has no relation to your splat rate, and is more tied into to how well you lead your team to victory - you won't drop off more than one rank even if you play poorly - stage rotation time was changed to two hours - this was done because the devs expected people to play for an hour or so, but they found people play much longer - with Salmon Run, Nintendo considered how to implement a co-op oriented mode in a player - versus - player type of game - the devs will monitor how users are playing this mode to see if there's some tweaks they can throw in - more Salmon Run maps will be added in the future, but Nintendo wouldn't comment on adding more enemy types to the mode - rewards are changed each time Salmon Run is played - you can obtain rewards when playing locally, but not gear - originally Nintendo had an idea for this mode, but had no background setting, enemy designs, etc. - Inoue suggested that it should be salmon - themed - when Nintendo hosted the Splatfest that pit Callie against Marie, the development of Splatoon 2 had started - the devs had already decided to have the result reflected in the sequel - they even had an idea to announce the Splatfest with a phrase «Your choice will change the next Splatoon» - the timing to announce a sequel wasn't right, so they decided against this - they eventually released a series of short stories about the Squid Sisters to show how the Splatfest affected the sequel's story - Nintendo wouldn't say if Marina is an Octoling, and noted that Inklings are not paying attention to this too much - Inklings don't care about appearances, as long as everyone is doing something fresh - the Squid Sisters had composers who produced their songs, but Off the Hook are composing their music by themselves - Pearl is genius artist, but she couldn't find a right partner because she's a bit too edgy - she eventually found Marina as a partner though, and their chemistry is sparkling right now - Nintendo is planning a year of content updates for Splatoon 2 - when finished, the quantity of stages will be more than the original - some of the additional stages are totally new and some will be arranged stages from the first game - not all original stages will return and they are choosing stages based on the potential for them to be improved - Brella is shotgun-esque weapon, so the ink hits your opponent more if you are closer - it can shield damage when you open it, but the amount of damage has a limit and once it reaches it, it breaks - you can shoot ink, but you can't use the shield feature when it breaks - the shield won't prevent your allies ink - there are more new weapon categories which haven't been revealed yet - there are no other ranked modes outside of the three current options - the future holds any sort of possibility, but the devs didn't get specific about adding more content like that - for the modes, they adjusted the rule designs so that players will experience the more interesting aspects

Marian Goodman is renowned for, among other things, inspiring loyalty in her artists, and many have shown with her for decades, so it's a bit of a surprise to see that the photographer Jeff Wall, who has shown with her... Read More

(Photocopies of Rauschenberg's invitations to other artists to contribute to Short Circuit were shown alongside the work in a Finch College Museum group show in 1967, but these letters have not turned up since.)

On the other hand, though the group of painters represented here form a tight - knit «generation» (one constraint of the show is that all the artists were born between 1939 and 1949), and though the selected works originate from the same period and place, the works are aesthetically independent enough to resist any easy categorization according to style or aims... Rubinstein's curation in Reinventing Abstraction proposes something — an idea, a possible history — that may connect with others but which is, nevertheless, its own.

In addition to the 1988 Courbet retrospective, Nochlin organized other seminal shows, like «Women Artists: 1550 to 1950» at the Los Angeles County Museum of Art, which she curated with Ann Sutherland Harris in 1976, and «Global Feminisms: New Directions in Contemporary Art,» which she curated with Reilly for the Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art in 200In addition to the 1988 Courbet retrospective, Nochlin organized other seminal shows, like «Women Artists: 1550 to 1950» at the Los Angeles County Museum of Art, which she curated with Ann Sutherland Harris in 1976, and «Global Feminisms: New Directions in Contemporary Art,» which she curated with Reilly for the Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art in 200in 1976, and «Global Feminisms: New Directions in Contemporary Art,» which she curated with Reilly for the Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art in 200in Contemporary Art,» which she curated with Reilly for the Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art in 200in 2007.

Working in painting and drawing, photography, sculpture, video, body painting and other media, this interdisciplinary group show presents the work of the accomplished artists from Southern Exposure's year - long program.

Other highlights this weekend include Bushwick Basel, in which 11 mainstays of Bushwick's gallery scene will be curating their own show within Starr Space; the Buswhack series of performance and film at the Bushwick Starr; «Sculpture Garden» at the Historic Onderdonk House, a group show of sculpture co-curated by Deborah Brown of Storefront Bushwick and one of our favorite local artists, whose latest series of paintings, «Freewheeling,» opens at the Active Space during the festival.

It offers a cheap excuse for a crowd pleaser, much like the Met's own «Regarding Warhol» or like Picasso in black and white at the Guggenheim — two other shows of demanding artists, decent work, lame excuses, and deep flaws.

Many of the artists in the show live and work in the US, but were born in other countries including Iran, Bulgaria and Venezuela.

Collection, Museum of Art, Fort Lauderdaie, FL; travelled to Oklahoma Museum of Art, Oklahoma City, OK; Santa Barbara Museum of Art, Santa Barbara, CA; Grand Rapids Art Museum, Grand Rapids, MI; Madison Art Center, Madison, WI; Montgomery Museum of Fine Arts, Montgomery, AL 1981 Drawing Invitational, Harm Bouckaert Gallery, New York, NY 1981 New Work, Roy Boyd Gallery, Chicago, IL 1981 Artists Books, Metrònom, Barcelona, Spain 1980 Little Books, Franklin Furnace, New York, NY 1980 New York 1980, Banco - Massimo Minini, Brescia, ltaly 1980 Pool Project Documentation, Artists Space, New York, NY 1980 New York Painters, University of Rochester, Rochester, NY 1980 Works of Art, Patricia Sneed Gallery, Rockford, IL 1980 Group Show, Roy Boyd Gallery, Chicago, IL 1980 Collection of Dr. Milton Brutten and Dr. Helen Herrick, Ben Shahn Gallery, William Patterson College, Wayne, NJ 1980 Group Exhibition, Susan Caldwell, Inc., New York, NY 1980 Pool Projects, Wake Forest University, Winston - Salem, NC 1980 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post College, Greenvale, NY 1979 Prospectus, Aldrich Museum, Ridgefield, CT 1979 New Wave Painting, The Clocktower, MoMA P.S. 1, New York, NY 1979 Artist's Postcards, Ananas Gallery, Abrau, Switzerland 1979 Poets and Painters, The Denver Art Museum, Denver, CO; traveled to Atkins Museum of Fine Art, Kansas City, MO; La Jolla Art Museum, La Jolla, CA 1979 14 Painters, Lehman Gallery, CUNY, Bronx, NY 1979 Drawings, Hal Bromm, New York, NY 1979 Summer Show, Hal Bromm, New York, NY 1979 Drawings, Pyramid Gallery, Providence, MA 1978 Detective Show, Gorman Park, Jackson Heights, NY 1978 Works on Paper, Studio La Citta, Verona, Italy 1978 Group Exhibition, Arte Fiera, Bologna, Italy 1978 Group Exhibition, Art - 9, Basel, Switzerland 1978 Black and White on Paper, Nobe Gallery, New York, NY 1978 Paperworks, Galerie Wirz, Milan, Italy 1978 Selections from the Collection, Aldrich Museum, Ridgefield, CT 1978 Artists Books: USA, New Gallery, Cleveland, OH 1977 Fine / Fleishman / Stamm, Franklin Furnace, New York, NY 1977 Painting 75,76,77, Sarah Lawrence College, Bronxville, NY; traveled to American Foundation for the Arts, Miami, FL; Contemporary Arts Center, Cincinnati, OH 1977 Book Objects, Albright - Knox Art Gallery, Buffalo, NY 1977 A Painting Show, MoMA P.S. 1, Long Island City, NY 1977 New York Group Show, Galerie Denise Rene, New York, NY 1977 Group Exhibition, Art Fiera, Bologna, ltaly 1977 Group Exhibition, Documenta - 6, Kassel, Germany 1977 Collection in Progress, Moore College of Art, Philadelphia, PA 1977 Ideas — Images, Eugenia Cucalon Gallery, New York, NY 1977 Postcards and Other Mail, Jock Truman, New York, NY 1977 Wrapping Paper Invitational, Nobe Gallery, New York, NY 1977 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1976 Group Exhibition, Art Fiera, Bologna, Italy 1976 Summer Group, Max Protetch Gallery, Washington D.C. 1976 SoHo and Downtown Manhattan, Akademie Der Kunste, Berlin, Germany 1976 Selections SoHo - Berlin, Louisiana Museum, Humlebaek, Denmark 1976 Works on Paper, Hal Bromm, New York, NY 1976 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1975 Contemporary Reflections 1971 — 1974, AFA; travelling exhibition Spare, Central Hall Gallery, Port Washington, NY 1975 Group Indiscriminate, 112 Greene Street, New York, NY 1975 A Collection in Progress (Herrick - Brutten Collection), The Clocktower, MoMA P.S. 1, New York, NY 1975 Group Exhibition, International Art Fair, Cologne, Germany 1975 Five from SoHo, Rose Art Museum, Waltham, MA 1975 Spare, Central Hall Gallery, Port Washington, NY 1975 Abstraction Alive and Well, SUNY, Potsdam, NY 1975 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1974 Tight and Loose, State University, Albany, NY; travelled to State University, Potsdam, NY 1974 Black as Color, Reed College, Portland, OR 1974 Drawings, Albright - Knox Art Gallery, Buffalo, NY 1974 Paperworks, Rosa Esman Gallery, New York, NY 1974 10th Anniversary Exhibition 1964 — 1974, Aldrich Museum, Ridgefield, CT 1974 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1973 Painting in America, Decorative Arts Center, New York, NY 1973 Black Paintings, Nancy Hoffman Gallery, New York, NY 1973 DiDonna / Stamm, O.K. Harris Gallery, New York, NY 1973 Nine New York Artists, Hartwick College, Oneonta, NY 1973 Recent Acquisitions, Phoenix Museum, Phoenix, AZ 1972 Contemporary Reflections 1971 — 1972, Aldrich Museum, Ridgefield, CT 1971 What's Happening in SoHo, University of Maryland, College Park, MD 1971 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1971 Alumni Show, Hofstra University, Hempstead, NY 1970 Young Artists: New York 1970, Greenwich, CT

Jessica complements her solo show, Door Hinges, with the work of sixteen other artists with diverse practices in a group show, ASSISTED.

Lisa Le Feuvre, a longtime scholar of sculpture, offers a more historical treatment of the show in relation to the artist's writings and other works.

Inspiration / [N. Blaine [and others]-RSB--- Introduction — 151: The «9th St.» Exhibition, the First Annual: the emergence of the New York School — Documentation of artists» participation in the New York Painting and Sculpture Annuals, including the «9th St.» Exhibition and the Stable Gallery Annuals, 1951 - 1957 — From downtown to uptown: The Ninth Street Show continued as the New York Painting and Sculpture Annuals, at the Stable Gallery, 1953 - 1957 — Documentation of artists» participation in the New York Painting and Sculpture Annuals, at the Stable Gallery, 1953 - 1957 — Complete index of artists» participation in the New York Artists» Annuals, 1951 - 1957 — Fine arts photographers and the New York School — Statements, artwork and biographies from the artists of the «9th St.» Show, 1951 and the Second Annual, 1953 Stable Galleartists» participation in the New York Painting and Sculpture Annuals, including the «9th St.» Exhibition and the Stable Gallery Annuals, 1951 - 1957 — From downtown to uptown: The Ninth Street Show continued as the New York Painting and Sculpture Annuals, at the Stable Gallery, 1953 - 1957 — Documentation of artists» participation in the New York Painting and Sculpture Annuals, at the Stable Gallery, 1953 - 1957 — Complete index of artists» participation in the New York Artists» Annuals, 1951 - 1957 — Fine arts photographers and the New York School — Statements, artwork and biographies from the artists of the «9th St.» Show, 1951 and the Second Annual, 1953 Stable Galleartists» participation in the New York Painting and Sculpture Annuals, at the Stable Gallery, 1953 - 1957 — Complete index of artists» participation in the New York Artists» Annuals, 1951 - 1957 — Fine arts photographers and the New York School — Statements, artwork and biographies from the artists of the «9th St.» Show, 1951 and the Second Annual, 1953 Stable Galleartists» participation in the New York Artists» Annuals, 1951 - 1957 — Fine arts photographers and the New York School — Statements, artwork and biographies from the artists of the «9th St.» Show, 1951 and the Second Annual, 1953 Stable GalleArtists» Annuals, 1951 - 1957 — Fine arts photographers and the New York School — Statements, artwork and biographies from the artists of the «9th St.» Show, 1951 and the Second Annual, 1953 Stable Galleartists of the «9th St.» Show, 1951 and the Second Annual, 1953 Stable Gallery, NY.

Since the artist's untimely death in 1963, he has been commemorated in numerous monographic shows at the Whitney Museum of American Art, the Phillips Collection, Washington, The Menil Collection, Houston, and the Fundació Antoni Tàpies, Barcelona, among others.

Some of the artists in the show often create portraits — but for others this is a new endeavor, and their very first portraits are being shown in this exhibition.

ABOUT CURATOR INDIRA CESARINE Indira Cesarine's work as a curator for The Untitled Space gallery includes exhibitions (HOTEL) XX for SPRING / BREAK Art Show 2018,» Secret Garden,» presenting the female gaze on erotica; «SHE INSPIRES,» a group show of 60 artists exhibiting works honoring inspirational women; the internationally - celebrated group shows «UPRISE / ANGRY WOMEN,» and «ONE YEAR OF RESISTANCE» responding to the political climate in America since the election of Donald Trump as well as numerous other critically - acclaimed exhibitiShow 2018,» Secret Garden,» presenting the female gaze on erotica; «SHE INSPIRES,» a group show of 60 artists exhibiting works honoring inspirational women; the internationally - celebrated group shows «UPRISE / ANGRY WOMEN,» and «ONE YEAR OF RESISTANCE» responding to the political climate in America since the election of Donald Trump as well as numerous other critically - acclaimed exhibitishow of 60 artists exhibiting works honoring inspirational women; the internationally - celebrated group shows «UPRISE / ANGRY WOMEN,» and «ONE YEAR OF RESISTANCE» responding to the political climate in America since the election of Donald Trump as well as numerous other critically - acclaimed exhibitionof 60 artists exhibiting works honoring inspirational women; the internationally - celebrated group shows «UPRISE / ANGRY WOMEN,» and «ONE YEAR OF RESISTANCE» responding to the political climate in America since the election of Donald Trump as well as numerous other critically - acclaimed exhibitionOF RESISTANCE» responding to the political climate in America since the election of Donald Trump as well as numerous other critically - acclaimed exhibitionof Donald Trump as well as numerous other critically - acclaimed exhibitions.

This group show will feature preparatory drawings and ideas «so you can glimpse some indicative sketches, meaningful items or other types of procedural steps in the creative practices of a range of local artists» (Legends of Drafts press release, Centotto).

Collaborations include an exhibition with the Picker Art Gallery, Colgate University, followed by collaborations with the Reading Public Museum, Demuth Museum, Stetson University and New Art Centre in UK, among others have extended the ability to show artists of international scope.

Finally, pretend that Koons's concurrent gigantic shows — one at the Battlestar Gagosian on West 24th Street, the other in the West 19th Street branches of the David Zwirner empire — were in less turbocharged environments, and that they constituted any other double show by a 58 - year - old artist.

A rotating selection of Muholi's photographs and over 400 works by 200 other artists, architects, and designers in the group show Une Histoire, Art, Architecture et Design Des Annees 80 a Aujoudhui concentrating on art, architecture, and design from the 1980s to today runs through March 2016.

Strategies of Non-Intention: John Cage & artists he collected / Gering / 14 E 63 (new location) / thru 8/31 Lyonel Feininger / Moeller / 35 E 64 / thru 6/27 (extended) Billy Al Bengston / Franklin Parrasch / 53 E 64 (new location) / thru 6/28 Mark Grotjahn / Blum & Poe / 19 E 66 (new in NYC) / thru 6/21 Lynda Barry / Baumgold / 60 E 66 / thru 7/11 Kan Yasuda / Eykyn - Maclean / 23 E 67 / thru 6/27 Horacio Zabala; Eduardo Kac / Faria / 35 E 67 / thru 6/21 Anna Maria Maiolino / Hauser & Wirth / 32 E 69 / thru 6/21 Copied / Roth / 160A E 70 / thru 6/20 Nalini Malani / Asia Society / 725 Park @ 70 / thru 8/3 Distilled: The Small Painting Show / Jacobson / 17 E 71 / thru 7/31 Pierre Soulages / Levy / 909 Madison @ 73 / thru 6/27 Pierre Soulages / Perrotin / 909 Madison @ 73 / thru 6/27 Helen Frankenthaler and David Smith / Starr / 5 E 73 / thru 8/8 Frank Stella / Van Doren Waxter / 23 E 73 / thru 6/27 Carved, Cast, Chrushed, Constructed / Freedman / 25 E 73 / thru 8/22 (extended) Peter Sis curated by Charlotta Kotik / Czech Center / 321 E 73 / thru 9/1 Harmony Korine / Gagosian / 821 Park @ 75 (new, additional location) / thru 7/11 (extended) Jeff Koons / Whitney Museum / Madison @ 75 / thru 10/19 Opening 6/27 Kathleen Kucka / Geranmayeh / 956 Madision @ 76 — floor 3 / thru 6/28 Jasper Johns; Roy Lichtenstein / Castellli / 18 E 77 / thru 6/27 The Shaped Canvas, Revisited / Luxembourg & Dayan / 64 E 77 / thru 7/3 Ed Rusha thru 7/11; Marcel Duchamp thru 8/8 Opening 6/26 / Gagosian / 980 Madison @ 77th Barbara Crane / Higher Pictures / 980 Madison @ 77 / thru 6/21 Journal / Venus Over Manhattan / 980 Madison @ 77 / thru 7/26 Lynn Chadwick / Blain - DiDonna / 981 Madison @ 77 / thru 7/25 James Lee Byars / Werner / 4 E 77 / thru 8/30 Peter Davies / Roitfeld / 5a E 78 / thru 8/10 Eddie Martinez / Half / 43 East 78 / thru 7/15 Nancy Graves / Mitchell - Innes & Nash / 1018 Madison @ 78 / thru 6/27 Jean Dubuffet; Miquel Barcelo / Acquavella / 18 E 79 / thru 9/19 Opening 6/30 Lucien Smith / Skarstedt / 20 E 79 / thru 6/27 Luke Diiorio / Blumenthal / 1045 Madison @ 80 / thru 7/2 Lucas Samaras thru 9/1; Dan Graham with Gunther Vogt thru 11/2; Goya thru 8/3; Etc. / Met Museum / 5th Avenue @ 82nd Italian Futurism thru 9/1, Etc. / Guggenheim / 1071 Fifth Avenue @ 89 The Annual: Redifining Tradition / National Academy / 1083 Fifth Avenue @ 89 / thru 9/14 Sophie Calle / Cooper + Perrotin @ The Episcopal Church of the Heavenly Rest / 2 E 90 / thru 6/25 Mel Bochner thru 9/21; Other Primary Structures thru 8/3; Etc. / Jewish Museum / 1109 5th Avenue @ 92 Museum Starter Kit: Open with Care, Etc. / El Museo del Barrio / 1230 Fifth @ 104 / thru 9/6 Glenn Kaino; When the Stars Begin to Fall; Carrie Mae Weems; Etc. / Studio Museum / 144 W 125 / thru 6/29 If You Build It / No Longer Empty / 115 & St. Nicholas Ave. / thru 8/10 Opening 6/25 (7 - 9 PM) BROOKLYN Parallel Shift / NARS Foundation / 201 46th Street — floor 4, Sunset Park / thru 6/20 Itness: MaDora Frey; Nicola Ginzel; Heide Hatry; Fawn Krieger; Seren Morey / Trestle / 168 7th, Gowanus / thru 7/2 Myles Bennett, Jay Gaskill, Cat Glennon, Enrico Gomez, Eliot Markell, Esther Ruiz and Jeanne Tremel / Ground Floor / 343 5th / thru 6 /?

After Sam shows the artist on his bed, in a severe state of grief — presumably for yet other transgressions against the established order.

It takes place alongside two other major UK presentations of Himid's work: Invisible Strategies, a solo exhibition at Modern Art Oxford and The Place is Here, a group show at Nottingham Contemporary which traces conversations between black artists, writers and thinkers in 1980s Britain.

His diverse interests and methods have led him to undertake a varied range of projects, which at times have included long - term collaborative efforts with other artists, musicians, and writers resulting in ambitious traveling shows and exhibition catalogues.

Other concurrent and upcoming shows include the McNay's Something to Say: The McNay Presents 100 Years of African American Art and Four Texans: The Next Chapter, Manifest at Blue Star Contemporary, RE: KONSTRIKSYON at the UTSA Main Art Gallery, the all - female Reclaimed show at the Linda Pace Foundation, and the three artists currently at the Artpace International Artist - In - Residence program: Rafa Esparza, Kapwani Kiwanga, and Carlos Rosales - Silva.

In the first exhibition at Observatory, Brooklyn, on view through November 15th, James Walsh presents photos and prints in conjunction with an evening program of projections, performances, poetry, and other events by various artists throughout the run of the shoIn the first exhibition at Observatory, Brooklyn, on view through November 15th, James Walsh presents photos and prints in conjunction with an evening program of projections, performances, poetry, and other events by various artists throughout the run of the shoin conjunction with an evening program of projections, performances, poetry, and other events by various artists throughout the run of the show.

December 2006 Beware the Holiday Punchbowl: An Evening of Cautionary Songs and Stories SI Museum, Staten Island, NY February 2006 MY NEW YORK SLIP: A Post-Valentine's Day Post-Mortem w / Minnie Van Driver SI Museum, Staten Island, NY February 2005 FREE LOVE w / Minnie Van Driver The Muddy Cup, Staten Island, NY April 2003 Ask Minnie Day de Dada Part Deux, The Muddy Cup, Staten Island, NY April 2002 Love Songs & Posh Tunes Day de Dada, The Muddy Cup, Staten Island, NY Feb. 1996 Original Soundtrack Dixon Place, NYC, NY Feb. 1991 The Odile Variations Theater 22, NYC, NY May 1987 Looking Good: Reuben Sandwich at The Saint The Saint, NYC, NY Apr. 1986 The Wakitty WAC's, A USO show for the New Militarism Darinka, NYC, NY Aug. 1985 Prime Parts 8 BC, NYC, NY May 1985 Trite»N' True: an unexplained series of events Darinka, NYC Mar. 1985 HEARTBREAKLAND: a performance Darinka, NYC Dec. 1984 Nocturnes Darinka, NYC Nov. 1983 Bars of Night a performance BACA, Brooklyn, NY July 1983 Man Machine / Men Magazine: a performance Inroads Multimedia Art Center, NYC, NY 10012 July 1981 Europarail: Images of Other Places Inroads, NYC Dec. 1980 I Hear America Eating: a massive media piece Rutgers University, NJ July 1980 Love is Like a Poached Egg: a performance 15th Annual Avant - Garde Festival, NYC Apr. 1980 Meteors Crossing: an exercise in 25 acts Franklin Furnace, NYC, NY Grants 2011 Visual AIDS Artists» Material Grant 1985 185 Nassau Street Corporation

During the past twenty five years Tate has shown the work of more African / Caribbean, African, and African / American artists than any other museum or gallery in Britain.

Other, more risqué themes in this collection include the depiction of strip shows and cabaret dancers, also adding to the active quality of this body of work which separates it from the rest of the artist's paintings.

The performance comes as part of V4ULT's second episode, running between December 2014 and March 2015, and consisting of three solo shows, one group show, and two time - based interventions, created in collaboration with other artists, inserted into each exhibitions.

Coming off his Balloon Dog (Orange), which sold last November for $ 58.4 m (# 34m), the highest price ever paid for a living artist, two other shiny sculptures adorned the catalogue covers of Sotheby's and Christie's spring sales, with Jim Beam — JB Turner Train, the stainless steel train filled with bourbon, selling for $ 33.7 m, and Popeye going to Steve Wynn's Las Vegas casino for an above - estimate $ 28.1 m. Fans packed in like sardines last year for Koons's solo shows at New York's Gagosian and Zwirner galleries, which pitted his Gazing Ball plaster casts against work just off the production line, and are currently filing through Rockefeller Center to view Split - Rocker, rising 37 feet (11 metres) in the air, with the hairs of its 50,000 living flowers standing on end.

It is likely that the House's current show, I Still Believe in Miracles, which celebrates 30 years of contemporary art shows at Inverleith House, from 1986 to 2016, is the last of its kind, featuring work from leading artists including Douglas Gordon, Jim Lambie, Richard Wright, Ed Ruscha, Louise Bourgeois and others.

Guests have an opportunity to mingle with other art enthusiasts and meet many of the artists who have work on view in the show.

Galleries come in all shapes and sizes, and while some of them are committed to showing artists who they believe are historically significant and will go down in art history as significant, others are more motivated to show art that is «commercially viable.»