Once we settled
on the exhibition structure, which I proposed to her, we talked about the choices of individual pictures and discussed their merits within the context of the exhibition.
Not exact matches
TechPlus is a gathering of everything technology providing a robust tripartite tech experience through its conference,
exhibition and gaming
structures while serving as a platform for knowledge sharing, networking and marketplace for consumers and businesses, with its dedicated website
on www.techplus.ng.
«To honor the great history of our venue, we have a variety of
exhibitions and events planned - from a magic show to an
exhibition of seven World's Fair
structures built out of LEGOs to a free lecture from one of the world's foremost experts
on the World's Fairs, and more.
Here
on the seafront at Rhyl, between the bowling green and a car park, is an eye - catching blue
structure housing a # 1.5 million
exhibition that uses the latest display techniques to show off the little - known wildlife of our coastal waters.
This spring, 77 students in Iowa State University's second - year architecture studios designed, built and installed a 1,300 - square - foot
structure at Reiman Gardens for its «Forces of Nature» kinetic art
exhibition,
on display April 28 through Nov. 3.
The
structure of the revamped Petfood Forum website allows users to easily access the latest information
on all Petfood Forum workshops, conferences and
exhibitions, with each event having its own dedicated section.
Curated by FOR - SITE Foundation Executive Director Cheryl Haines, the thematic, site - responsive
exhibition will be installed in former military
structures overlooking the San Francisco Bay — some open to the public for the first time — and brings together work by 16 contemporary artists and collectives from around the globe to reflect
on the human dimensions and increasing complexity of national security, including the physical and psychological borders we create, protect, and cross in its name.
Joanne Mattera photo blogs a visit to the
exhibition Color as
Structure at McKenzie Fine Art, New York,
on view through August 2, 2014.
In 1965, Carl Andre challenged preconceived notions of sculpture by placing work flat
on the floor in his first public
exhibition, Shape and
Structure.
Structured around video production, artist interviews, and
exhibition curation, this year - long paid internship provides teens with an open forum for the expression of ideas and dialogue
on issues affecting young people today.
The Jewish Museum will host an evening roundtable discussion
on Thursday, June 19, in connection with Other Primary
Structures, its current
exhibition surveying 1960s - era Minimal sculpture from a global perspective.
Their
structure that was
on show at this year's Turner
exhibition must be seen not as a work, but as a model of work that takes place elsewhere; not in the art world, but the world itself.
This
exhibition traces the career of artist Gary Erbe from his early troupe l'oeil works to his recent paintings combining realism with modernist tendencies, including works that focus
on objects arranged to emphasize composition, form and
structure.
EXHIBITION Mark Bradford @ Hirshhorn Museum, Washington, D.C. (November 2017): Los Angeles - based artist Mark Bradford will take full advantage of the unique cylindrical
structure of the Hirshhorn Museum and Sculpture Garden in Washington, D.C., installing a suite of site - specific paintings
on the second floor of the Smithsonian museum where the work will occupy the entire circumference of the curved galleries.
Prior to moving to our new building at 38 St. Marks Place in 2017,
exhibitions and public programs are focused
on temporary
structures — including publishing formats, social experiments and architectural forms — set against the fast - mutating landscape of downtown Manhattan.
Prior to moving to our new building at 38 St. Marks Place,
exhibitions and public programs are focused
on temporary
structures — including publishing formats, social experiments and architectural forms — set against the fast - mutating landscape of downtown Manhattan.
The
exhibition Hier, Oggi is
structured as a retrospective — deliberately incomplete and fragmentary — where the artist has selected a number of works from different periods of career, focusing
on the period that goes from 1983 to today.
Where once art took over the entire building, with the majestic Upper East Side mansion as their playground, these primary
structures have to settle for half an
exhibition at a time,
on the second floor.
«
Structure and Geometry: From Real to Abstract» will take place
on Thursday, March 29 at 12 pm in Room N101B at the Hong Kong Convention and
Exhibition Centre as part of Art Basel Hong Kong.
The
exhibition combines a chronological display with a thematic approach,
structured in a series of major chapters in the artist's career, with emphasis
on two key moments: the period from 1923 to 1933, when Torres - García participated in various European early modern avant - garde movements while establishing his own signature pictographic / Constructivist style; and 1935 to 1943, when, having returned to Uruguay, he produced one of the most striking repertoires of synthetic abstraction.
This
exhibition will coincide with «Horizontal Progressions,» a show of the artist's
structures, at Pace Gallery, 508 West 25th Street,
on view January 24 — February 22.
During this period of transition to a new long - term location in 2017,
exhibitions and public programs are focused
on temporary
structures — including publishing formats, social experiments and architectural forms — set against the fast - mutating landscape of downtown Manhattan.
In his first solo
exhibition at Goodman Gallery Cape — titled Resonant
Structures — Stefanus Rademeyer expands
on his interdisciplinary approach to art - making; intersecting the seemingly unlikely fields of art and mathematics.
Featuring the multiplicity of artists, authors, and poets who joined Dada or in different ways adopted its ideas, the Dada is Dada
exhibition focuses
on their antinationalism, border - transcending network, and questioning of established systems and
structures.
The
exhibition is complemented by continuous screenings of Border (2000), a Kafkaesque, «fictional» documentary shot
on the highly charged Israel / Lebanon border that muses
on the ultimate validity of such an arbitrary designation, while attempting to locate and cross it; and The Making of Makom (2008), a video charting the construction of a sculptural project where the artist gathers and annotates, as in an archaeological dig, 60 tons of building stones from the remains of Palestinian and Israeli houses to build a deceptively simple
structure.
This is the closing weekend for AT THIS STAGE at Chateau Shatto, an
exhibition that considers the violent and contaminating «intrusion of images and the assault of narrative
structures on consciousness.»
1987 1987 Biennial
Exhibition, Whitney Museum of American Art, New York (catalogue) Perverted by Language, Hillwood Art Gallery, Long Island University, Greenvale, NY (curated by Robert Nickas, catalogue) Reconstruct / Deconstruct, John Gibson Gallery, New York (curated by Robert Nickas, catalogue) Extreme Order: Cemin, Gober, Halley, Lemieux, Steinbach, Lia Rumma Gallery, Naples (curated by Collins & Milazzo, brochure) Primary
Structures, Rhona Hoffman Gallery, Chicago (curated by Robert Nickas) Avant - Garde in the Eighties, Los Angeles County Museum of Art, Los Angeles (catalogue) Paint — Film, Bess Cutler Gallery, New York Post-Abstract Abstraction, The Aldrich Museum of Contemporary Art, Ridgefield, CT (curated by Eugene Schwartz, catalogue) NY Art Now: The Saatchi Collection, Saatchi Gallery, London (catalogue) Generations of Geometry, Whitney Museum of American Art at The Equitable Center, New York Similia / Dissimilia, Columbia University Art Gallery, New York; travelled to Sonnabend Gallery and Leo Castelli Gallery, New York; Städtische Kunsthalle, Düsseldorf, Germany (curated by Rainer Crone, catalogue) The Castle, documenta 8, Kassel, Germany (curated by Group Material) Reinhard Onnasch Galerie, Berlin (catalogue) Anti-Baudrillard, White Columns, New York (curated by Group Material) Recent Tendencies in Black and White, Sidney Janis Gallery, New York (curated by Jerry Saltz, catalogue) Terrae Motus, Grand Palais, Paris (catalogue) The Beauty of Circumstance, Josh Baer Gallery, New York (catalogue) New York Now, The Israel Museum, Jerusalem, Israel (catalogue) 1986 Admired Work, John Weber Gallery, New York Spiritual America, CEPA Galleries, Buffalo, NY (catalogue); travelled to Stavanger Faste Galleri, Stavanger, Norway (curated by Collins & Milazzo) New New York, Cleveland Center for Contemporary Art, OH Signs of Painting, Metro Pictures, New York, and Donald Young Gallery, Chicago Painting and Sculpture Today 1986, Indianapolis Museum of Art, Indianapolis, IN (catalogue) Paravision II, Margo Leavin Gallery, Los Angeles (curated by Collins & Milazzo) Political Geometries:
on the Meaning of Alienation, Hunter College Art Gallery, New York (catalogue) Post Pop, Michael Kohn Gallery, Los Angeles Tableaux Abstraits, Villa Arson, Centre National d'Art Contemporain, Nice, France (catalogue) Europa / Amerika, Ludwig Köln Museum, Cologne, Germany (catalogue) End Game: Reference and Simulation in Recent Painting and Sculpture, Institute of Contemporary Art, Boston, MA (curated by David Joselit and Elisabeth Sussman, catalogue) Ashley Bickerton, Peter Halley, Jeff Koons, Meyer Vaisman, Sonnabend Gallery, New York The Hidden Surface, Middendorf Gallery, Washington, DC Geometry Now, Craig Cornelius Gallery, New York Surfboards, Michael Kohn Gallery, Los Angeles Art and Its Double: A New York Perspective (El arte y su doble), Centre Cultural de la Funcacio Caixa de Pensions, Madrid; travelled to Fundación Caja de Pensions, Barcelona (catalogue) Rooted Rhetoric, Castel Dell «Ovo, Naples (catalogue)
His photographs are elements at play in a larger system including architecture,
exhibition design, books, posters, videos, vitrines and signage that investigates the stage sets of the art world and the publicity
structures on which they rely.
Celebrated for her exquisite
structures of fused metal and glass, the
exhibition will also include works in a range of media, from early ceramic and wood sculptures to seminal explorations in metal to dynamic paintings and works
on paper.
Juxtaposing installation photographs, catalog essays, and contemporary press accounts, this book documents and analyzes twenty - five
exhibitions from 1962 through 2002: Dylaby, New Realists, Primary
Structures, Arte Povera + Azioni Povere, January 5 - 31, 1969, When Attitudes Become Form, 557,087, Information, Sonsbeek 71, Documenta 5, The Bulldozer
Exhibition, The Times Square Show, A New Spirit in Painting, Les Immatériaux, Chambres d'Amis, Second Havana Biennial, Freeze, China / Avant - Garde, Magiciens de la Terre, Places with a Past, 1993 Whitney Biennial, Traffic, Cities
on the Move, 24th Sao Paulo Biennial, and Documenta 11.
The
exhibition «In Different Ways» at Almine Rech Gallery focuses
on how artists have developed unique techniques — at times diverse within their own oeuvres — using a brush, airbrush, spray paint, silkscreen and even pouring paint, collaging a range of materials, questioning canvas and wood support
structures, or a combination of these processes.
Based
on the premise that the cultures of role play, sexual play, and digital play have all flourished beyond the boundaries of art
structures, this
exhibition provides a gathering place and platform for the exploration of queer play created by individuals and groups from the worlds of game design and theory, performance, kink, and activism.
The Moscow Biennale is the epicentre of a vast effort by the Moscow art scene that includes more than a hundred
exhibitions throughout the city,
structured within the categories Special Guests, Special Projects and a Parallel Program, ranging from a Louise Bourgeois survey show and a new project by Anish Kapoor, up to group
exhibitions that present diverse perspectives
on the Moscow and broader Russian art scene.
The
structure of the foundation, comprised of three parts — artist - in - residence studios, a technology lab and classroom, and an
exhibition space, all designed to serve foster youth at a decisive moment, when they are
on the cusp of independent, full adulthood.
The dialogic
structure of the
exhibition program is taken up in the Oppositions & Dialogues
exhibition and examined based
on works of art from the nineteen sixties to the present.
As its title indicates, the
exhibition provided an update
on the «Primary
Structures» show at the Jewish Museum in 1966, which ushered in the pared - down geometries of Minimalist sculpture.
Bifurcated into the colors of white
on the first floor and black
on the second floor, the
exhibition continues the artist's formal inquiry into painting, abstraction, and performance with a discomforting social critique of American histories, injustices, and
structures of power.
There are four types of residencies, including local organizations in residence, where arts organizations have their offices and activities
on our campus; local artists in residence, where LA - based artist occupy either live / work or day work studios for 1 year or more; a visiting artist program that hosts international and national artists and curators from between 1 to 3 months; and the Artist Lab Residency program,
structured as both a residency and an
exhibition for an LA - based artist in our Main Gallery.
in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool
Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raqu
Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of
exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raqu
exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores
Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raqu
Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial
Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen
on Christmas
Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.
From focused
exhibitions on the work of Cuban painter Amelia Peláez and Haitian born, Miami - based artist Edouard Duval - Carrié to thematic presentations of the Museum's permanent collection to major retrospectives
on artists Ai Weiwei and Beatriz Milhazes and group
exhibitions on the exchange of ideas between the Caribbean basin, Europe, and North Africa, PAMM's upcoming projects serve as critical frames through which larger dialogues about recent history, migration, new cultural formations, and diverse ideologies can be
structured.
AB: Looking at your previous
exhibitions, in relation to your current show at Marianne Boesky, the
structure of each show is often a balance between sculptural works that are situated directly
on the ground, and drawings or paintings that are positioned
on the wall.
She understands
exhibitions to be a site for the creation of relational
structures and comparative propositions to expand opportunities for new perspectives
on a wide range of topics.
While Lorna, Deep Contact, and other works (including many not in the
exhibition) are
structured around open - ended narratives, what they presciently anticipated is perception and experience skipping along the internet's seemingly infinite set of links — seemingly, because what Hershman Leeson's work also shows is how circumscribed choice (even
on the web) can be.
Other works in the
exhibition include Jorge Pardo's handcrafted wooden palette and modernist designed furniture that question the nature of the aesthetic experience; pioneering conceptual artist Joseph Kosuth's discourse
on aesthetics in neon, An Object Self - Defined, 1966; Rachel Lachowicz's 1992 row of urinals cast in red lipstick, which delivers a feminist critique of Duchamp's readymade; Richard Pettibone's paintings of photographs of Fountain; Richard Phillips» recent paintings based
on Gerhard Richter's highly valued work; Miami artist Tom Scicluna's neon sign, «Interest in Aesthetics,» a critique of the use of aesthetics in Fort Lauderdale's ordinance
on homelessness; the French collaborative Claire Fontaine's lightbox highlighting Duchamp's critical comments about art juries; Corey Arcangel's video Apple Garage Band Auto Tune Demonstration, 2007, which tweaks the concept of aesthetics in the digital age; Bernd and Hilla Becher's photographs, Four Water Towers, 1980, that reveal the potential for aesthetic choices within the same typological
structures; and works by Elad Lassry and Steven Baldi, who explore the aesthetic history of photography.
The selection of works of art
on display had until then been loaned or donated to the Gallery by private collectors and artists, but from the beginning of the 20th century a
structured programme of temporary
exhibitions was introduced.
The magazine highlighted key moments in the development of Modern Art, such as the Carnegie International
Exhibition in 1937, A.E. Gallatin's Museum of Living Art in 1938, the Museum of Modern Art's roundtable on Modern Art featuring 15 major art critics in 1958, The Downtown Gallery founded by Edith Halpert, and The Jewish Museum's Primary Structures exhibitio
Exhibition in 1937, A.E. Gallatin's Museum of Living Art in 1938, the Museum of Modern Art's roundtable
on Modern Art featuring 15 major art critics in 1958, The Downtown Gallery founded by Edith Halpert, and The Jewish Museum's Primary
Structures exhibitionexhibition in 1967.
Structured chronologically, the
exhibition consists of works
on paper from various stages of the artist's career, beginning with summary pencil scrawls of the early 1950s, when Twombly was a student at Black Mountain College in North Carolina, and ending with three works from 2008 filled almost to bursting with blood - red spirals of acrylic paint.
In this regard, the
exhibition tries to show how «truth» can be constructed, often between various forms of knowledge... Cartography of Control, thus, addresses notions such as conflict, man made
structures, control, rationality / irrationality... This is shown in work such as Cartography of Control, where the manipulation of powerful electric charge embodies itself as a note
on trying to control the uncontrollable.
Wall Drawing 564: Complex forms with color ink washes superimposed (1988) holds court in Cooper's large, dramatic
exhibition hall surrounded by roughly contemporaneous
structures and works
on paper, and the immersive drawing exhibits LeWitt's sustained interest in the grid -LSB-.....]
In his first solo
exhibition at Goodman Gallery Johannesburg — titled Resonant
Structures — Stefanus Rademeyer expands
on his interdisciplinary approach to art - making; intersecting the seemingly unlikely fields of art and mathematics.