Sentences with phrase «on traditional exhibitions»

The gallery puts on traditional exhibitions and also presents works on paper in an extensive system of flat files.

Not exact matches

As an «open space documentary» Lunch Love Community can be shown on the big screen in a traditional venue, in an exhibition space, or on mobile platforms.

«He will engage in the traditional duties of opening the summit on November 10, touring the exhibition stands, receiving the summit communiqué and presiding over the closing on Saturday, November 12.

Parts of the statement read, «This exhibition will focus on the Visual arts specifically; the traditional fine arts such as drawing, painting, photography, sculpture; architectural, environmental, and industrial arts such as urban, interior, product, and landscape designs.

Prof. Berndt's lecture will focus on three aspects: 1) the ir / relevance of traditional Japanese painting for contemporary manga; 2) manga museums compared to recent manga exhibitions in Japanese art museums; and 3) the unilateral interest in manga by contemporary artists such as Murakami Takashi and Aida Makoto.

Come on a Tuesday evening, and you can join in the weekly Bon Bini Cultural Festival, which has stalls with local crafts and traditional food, as well as a steel band and exhibitions of Aruban music and dance.

From the experimental to the traditional, use the calendar below to explore cultural events and exhibitions here on the Space Coast.

The topic of online versus traditional booking channels will once again be a key focus at the 2013 Arabian Travel Market technology seminar sessions as organiser, Reed Travel Exhibitions, highlights the dramatic shift in consumer mindset over the last 12 months as travellers log on to technology for convenient airline and hotel bookings.

The Maldives will kick - start ITB 2016 at the CityCube Berlin on the exhibition grounds, with an opening ceremony on the eve of the trade show, highlighting the country's cultural and historical wealth with Maldivian Boduberu dances and a fusion of traditional cuisine.

From live, participatory readings of On Kawara's epic One Million Years in 2009, to the 2007 recreation of Rirkrit Tiravanija's functional kitchen installation Untitled 1992 (Free), which was paired with Gordon Matta - Clark's 1972 dumpster work Open House, to Jason Rhoades's sprawling 3,000 - square - foot Black Pussy installation, also in 2007, David Zwirner has embraced exhibitions that challenge expectations of a traditional gallery show.

Art Sonje's institutional desire to keep alive, but not historicize its past is mirrored outside, where Jun Yang has renovated a hanok (a traditional Korean house) into a café and bookshop, freeing up their respective spaces on the art center's ground floor for the exhibitions.

Building on Artists Space's history as an institution whose program has increasingly emphasized community participation and political organization (see last year's Decolonize This Place, which turned the gallery into a weekly activist meeting hub), Coop Fund foregoes traditional media like painting or sculpture in favor of video, art - science hybrids, updated junk sculpture, and institutional critique, making an implicit statement about these media that, for their associations with high - modernist seriousness, are appropriate to a politically engaged exhibition.

Timed to celebrate Black History Month, Grenning Gallery has assembled a group show of contemporary African - American artists working in the realist mode for an exhibition that is long on the traditional portraiture for which the gallery is renowned.

This exhibition brings together paintings and works on paper by Jane Freilicher and Jane Wilson — two notable figures in American art who emerged from the pursuit of rigorous abstraction to develop highly individual and beautifully compelling approaches to representation, fundamentally reinventing traditional definitions of landscape and still life painting.

The design of it though is a bit more complex — it draws on the traditional idea of the art fair for the ground floor and first floor of the Saatchi Gallery but then the second floor is a series of curator - lead projects including solo exhibitions, a group exhibition and solo artist presentations.

Rather than assembling a group of artists who are concentrating on the demise of traditional painting supports — torn, shredded or punctured canvasses, exposed stretcher bars, paintings hung backwards, oddly shaped canvases, painting as sculpture, etc... this exhibition will focus on works that address time as a subject, or are time - sensitive.

The exhibition focuses on a core group — Louise Bourgeois, Minna Citron, Worden Day, Dorothy Dehner, Sue Fuller, Alice Trumbull Mason, Louise Nevelson and Anne Ryan — all who bent traditional printmaking rules and explored uncharted aesthetic terrain in various intaglio and relief printing techniques.

Riley's early curve paintings from the 1960s, which open the exhibition, shook traditional conceptions of art almost literally: their disorientating contour lines are too much for the eyes and brain to process, so that they genuinely seem to vibrate and undulate on the wall.

However, if your taste err towards the more traditional, don't book your ticket to Hull for the exhibition, which opens on September 26, quite yet.

LIBRARY STREET COLLECTIVE Library Street Collective specializes in cutting edge contemporary fine art with a focus on emerging and established artists who have pushed the boundaries of traditional medium and exhibition space.

Drawing from Hughes» remark on the assumption that «all of us had a sense of rhythm», this exhibition presents an original research into rhythmic sources in performative, material, and immaterial productions within African traditional and contemporary cultures, and extends this assertion to the field of contemporary art; opening up the «us», referring to black people, to a cross-cultural and multidisciplinary engagement with notions of rhythm.

This exhibition introduces Hurtado Segovia's sculptural work with an emphasis on traditional woodworking techniques, continuing his explorations of pattern and textile influences.

Curated by Susan Davidson, this long - awaited exhibition to be held at the Deutsche Guggenheim, Berlin, Guggenheim Bilbao and the Peggy Guggenheim Collection in Venice considers the artist's works on paper as an essential component in his signature transformation of the traditional figurative line into a non-figurative graphic expression.

Japanese artist Tetsuo Mizù, in his first solo exhibition in Hong Kong at Whitestone Gallery, presents a welcomed deviation from more traditional depictions of the subject with paintings that focus on the storied practice of international maritime flags.

The exhibition's inclusion of a range of materials and techniques, coupled with works made through traditional and unorthodox methods, help reveals the breath of Pollock's creativity and the emphasis Pollock placed on process and experimentation.

The beauty of the museum's exhibition concept is that it married traditional photography with painting and contemporary photography, and each show planted on its own individual floor was extensive, well represented and rather thorough in its samples.

Ye Linghan, age 27, attended the prestigious China Academy of Art in Hangzhou where he studied traditional mural painting and drawing, his academic training evident in the many works on paper included in the exhibition.

The Yale exhibition will include two new sections focused on the transitional periods bookending the»30s, in which architects hybridized traditional and modern styles.

In 2015, the artist took up residence in Japan where the majority of this exhibition was created, including a series of 28 collages on traditional scrolls.

With almost 100 works on display, this mammoth exhibition has been expertly curated in a manner that doesn't follow the traditional chronological route; «The works are grouped into key sequences, allowing connections and common themes to emerge and to promote a comprehensive understanding of Jones's wide - ranging artistic practice.»

«We've set aside the traditional objective of the survey exhibition — comprehensive and cohesive coverage — to focus instead on the evolution of the collection over the past almost 90 years,» said Lowry.

The Archive of Affect is a group exhibition with performances that focus on rewriting, challenging, or expanding traditional archives and histories.

The exhibition opens on January 10th and continues until February 12 2011 Ebru Uygun's work can be seen as a semaphore for the deconstruction of traditional artistic practice.

Situated on the fair's 250,000 square feet of exhibition space, Platform offers an opportunity for galleries to showcase artworks that extend beyond the traditional booth context.

NURTUREart presents The Archive of Affect, a group exhibition with performances that focus on rewriting, challenging, or expanding traditional archives and histories.

Usvitsky in Major Museum Exhibition on Fiber Art Noysky Projects is pleased to announce the exhibition of Katya Usvitsky's sculptures in «Women's Work» — an international exhibition that calls for a reexamination of traditional gender stereotypes, curated by San Diego Art Institute's Executive Director Ginger ShulickExhibition on Fiber Art Noysky Projects is pleased to announce the exhibition of Katya Usvitsky's sculptures in «Women's Work» — an international exhibition that calls for a reexamination of traditional gender stereotypes, curated by San Diego Art Institute's Executive Director Ginger Shulickexhibition of Katya Usvitsky's sculptures in «Women's Work» — an international exhibition that calls for a reexamination of traditional gender stereotypes, curated by San Diego Art Institute's Executive Director Ginger Shulickexhibition that calls for a reexamination of traditional gender stereotypes, curated by San Diego Art Institute's Executive Director Ginger Shulick Porcella.

1965 - 1975», hosted on the ground floor of the Podium, has been conceived as an in - depth analysis of the artists active throughout the 60's and 70's, who were featured in shows that questioned traditional exhibition set - up and presentation conventions, such as «Hairy Who» (1966 - «67), «False Image» (1968 - «69), «Nonplussed Some» (1968 -» 69), organized at the Hyde Park Art Center in Chicago, and itinerant exhibition «Made in Chicago», first presented at the São Paulo Biennial in 1973.

Rosen may have been deemed trouble in the traditional but well - regarded ceramics program at Alfred University, but in 1978, the year she earned her undergraduate degree, she was included in her first group museum show, a works - on - paper exhibition at Buffalo's prestigious Albright - Knox Art Gallery.

Installed in conjunction with the more traditional gallery exhibition, 33 °, the murals range from the humorous, an image of tourists wandering aimlessly across an aqua blue expanse, to a sobering, a black fissure opening stark and deep in what we are to assume is an arctic ice sheet, to the iconic, a lonely polar bear drifting on a small iceberg.

The school's structure acknowledges that contemporary artists have to be trained at the intersection of several fields — an approach exemplified by the school's new pilot program, the Masters in Art and Public Space, a two year program starting in fall 2014 that focuses on art in spaces outside of the traditional museum or exhibition institution.

The exhibition brings together more than 100 works created by more than 20 artists from France, Spain, Belgium, Switzerland, Germany, Great Britain and the United States from the «20s to the «50s, rebalancing the traditional views about Surrealist sculpture by placing equal emphasis on organic abstraction which originated in the whimsical reliefs of Jean Arp, and the of found - object assemblage, which originated in the Assisted Readymades of Marcel Duchamp and became a surrealist passion.

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

This museum - quality exhibition juxtaposes for the first time historical works by Japanese artists belonging to the original Mingei movement — whose techniques derive from traditional methods of craftsmanship, as seen in many of the Japanese artifacts on display — with the works of modern and contemporary artists, designers and architects, who keep alive the philosophy of Mingei today.

JMcK: Your exhibition Now I Am an Artist uses the museum as the stage on which to address the traditional hierarchy in the arts.

This year's exhibition focuses on new media such as video games, to traditional art works such as tapestries and oil paintings.

It focuses on how art and artistic practice manifest themselves and function in various public contexts outside the art institution's traditional exhibition space.

The exhibition will focus on the unique way sculptors approach drawing and will explore whether there is a difference between sculptors and other traditional disciplines in the treatment of two dimensional works on paper to communicate three dimensional objects and will challenge the notion that sculptors don't draw.

Critics will question what the appointment means for the Tate's collection of historical British art, and whether it will reverse the institution's apparent inability to mount serious but accessible exhibitions on traditional subjects.

In the early 1970s, Ringgold abandoned traditional painting and began making unstretched acrylic paintings on canvas with soft cloth frames after viewing an exhibition of Tibetan art at the Rijk Museum in Amsterdam.

The exhibition, Venice Suite: Sala Longhi and Related Works, features three variations on traditional Venetian chandeliers, and when IN THE AIR stopped by shortly before the opening reception on Saturday evening the newest and largest, «To Die Upon A Kiss» (2011), was already on reserve.