Sentences with phrase «of works in the exhibition»

Some of the works in the exhibition are so effective that they sent chills up my spine as I imagined their original context.

The haunting power of the works in the exhibition at C24 Gallery find thematic similarities to the work of William Blake and Francisco Goya, artists both known for their attraction to the inner workings of the individual.

Known for her portraits of imagined figures, British artist (and sometimes writer) Lynette Yiadom - Boakeye is presenting a new body of work in the exhibition, which is accompanied by a forthcoming publication.

Luhring Augustine will donate all gallery proceeds from any sales of works in this exhibition to CCS Bard in recognition of the Center's 20th Anniversary and their longtime support for Bard College.

The accompanying catalogue, Wayne Thiebaud, Draftsman, features 63 plates of works in the exhibition and 20 sketchbook pages.

Most of the work in this exhibition belongs in the more ambiguous spaces between «isms» familiar from textbook art histories.

All of the works in the exhibition are gold in color, and deal with the iconographic complexity of gold.

Joe Bradley includes reproductions of all works in the exhibition — some 30 paintings, 8 sculptures and 30 drawings — as well as an introductory essay by exhibition organizer Cathleen Chaffee, new scholarly essays, an interview with the artist and an exhibition history.

These essays will be featured, interactively, on - line at www.ps1.org along with images of works in the exhibition.

After the generally positive reviews in which the sheer amount of work in the exhibition was a recurring theme, it is time to deepen the discussion.

Very few of the works in the exhibition rely on digital technology.

The sense that all of the works in this exhibition represent significant, transitional moments within each artists» entire practice is intentional.

All of the works in this exhibition reflect the realities of how life unfolds: looking forward, but through tinted glass revealing as much about what's behind as what could lie ahead.

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.

The five decades» worth of work in this exhibition will demonstrate the critical prescience of Bayrle's output and the profound influence he has had on younger artists working around the world today.

None of the work in the exhibition bears a title as, throughout the period of the exhibition, Rothko sought a visual expression of deeply psychological and spiritual states.

Checklist of works in the exhibition «Views of Japan: Modern Woodblock Prints by Hiroshi Yoshida,» June 20 - September 27, 1987 held at the Dallas Museum of Art.

The Photographers» Gallery Deutsche Borse Photography Prize 2012 13 July — 9 September 2012 The 16th year of the # 30,000 prize for «a living photographer, of any nationality, for a body of work in exhibition or publication format that has made a significant contribution to photography in Europe between 1 October 2010 & 30 September 2011».

Curators select and borrow from a variety of sources to include a wide range of work in each exhibition.

Brochure includes exhibition floor plan with recommended tour route, and checklist of works in the exhibition.

Checklist of works in the exhibition «A Century of Modern Sculpture: The Patsy and Raymond Nasher Collection,» April 5 - May 31, 1987 held at the Dallas Museum of Art.

The catalog will provide a broad, discursive appraisal of the subject matter along with a complete documentation of the works in the exhibition in addition to a concise overview of the oeuvres of the participating artists.

Like cinematic moments, many of the works in the exhibition invite us to construct a whole from isolated images.

To experience all of the work in the exhibition, one must traverse the entire museum, and that includes the half of the museum that is dedicated to natural history.

Reflecting on various reoccurring issues pertaining to race, class, and sociopolitical experiences, some of the work in this exhibition provokes critical thought from viewers while other work conveys humor and nostalgia to evoke interest.

This publication includes an essay by the exhibition's curator, Emma Enderby, charting the trajectory of Golub's life and practice through the selection of works in this exhibition, which are illustrated in full.

With full color reproductions of all works in the exhibition.

The body of work in this exhibition was made at Deep Springs College, one of the country's last all - male institutions of higher learning, located in a remote valley on the California — Nevada border.

Many of the works in this exhibition were made as side pieces while working on other main bodies of work, thus the literal and conceptual idea of marginalia comes into play.

The majority of works in the exhibition will be on loan from private collections, and will comprise important, large - scale paintings from his most memorable themes, including French Money, Vocabulary Lessons, Civil War Veterans, Camel cigarette packs, as well as portraits of his mother - in - law Berdie, his then wife Augusta, and the poet Frank O'Hara.

Much of the work in the exhibition deals with the 18th and 19th century, at the height of Victorian splendor — something the artist critiques throughout his work.

The first group of works in the exhibition offers a journey through modern art, beginning in the early twentieth century with Picasso and the invention of cubism and Duchamp and the questions surrounding the readymade.

Included in this catalogue are full - colour reproductions of works in the exhibition, as well as an interview with the artist by Franklin Sirmans, Terri and Michael Smooke Department Head and Curator of Contemporary Art at the Los Angeles County Museum of Art, and an essay by Lowery Stokes Sims, Curator Emerita at the Museum of Arts and Design, New York.

Whatever the reason, the tension that arises from all of the works in the exhibition seems to be the thread that draws them together.

In 2014, Tate acquired the diptych «Predecessors» (2013), and of the works in the exhibition, all are under # 100,000 and for sale only to institutional collections.

Many of the works in the exhibition depict figures suspended in desolate urban landscapes or fractured environments that are in the process of falling apart.

Of the last group of works in the exhibition, John Cannaday wrote in the New York Times, October 14, 1972: «The Cityscape is apparently an inexhaustible source of motifs for Mr. Inokuma, whose new abstract inventions are even more engaging than those in his previous shows....

We speak with Alexandrea Huddleston about many of the works in the exhibition, Words.

The volume will include illustrations of the works in the exhibition as well as a chronology of the period, which will include dozens of never - before - published photographs documenting the artist, his studio, and his practice.

The title, Murmur of Surfaces, refers both to the material and compositional emphasis of much of the work in this exhibition.

The catalogue volume includes an insightful essay by Briony Fer as well as a plate section of works in the exhibition.

The range of works in this exhibition is astounding — from photography, painting, sculpture, and works on paper, to video, installations, as well as a proposal to create a memorial garden in honor of Du Bois.

The exhibition is accompanied by an in - depth catalogue featuring full - page color reproductions of all works in the exhibition as well as a detailed chronology, historical photos, reprints of key texts by Jean Dubuffet and Franz Schulze, and new essays by the exhibition curators and Dennis Adrian, Jon Bird, Thomas Dyja, Mark Pascale, and Arlene Shechet.

The final group of work in this exhibition includes small paintings in which food assumes the form of body and landscape: Imagine Saul and Erik Parker tag teaming to readdress the legacy of Giovanni Arcimboldi.

Most of the work in this exhibition predates this year's unrest in the region, but a sense of change and instability permeates much of the work.

One of the works in the exhibition, King Cotton, draws on the Rumpelstiltskin fable in a commentary on slavery, machines, and the cotton trade.

Many of the works in the exhibition are from the Thiebaud's family collection.

It will also include an essay by Curator Nora Lawrence, which will speak to larger themes of works in the exhibition, and reflect on the importance of an exhibition of this nature at Storm King.

- Tacita Dean1 Download the exhibition brochure (PDF) to view an in - depth essay, a biography and bibliography on the artist, and images of works in the exhibition.

The Master of Buli is an exception to this case, and is the focus of the works in this exhibition.