Sentences with phrase «only does the exhibition»

If one arrangement better suits the irregularities of the wall on which they are hung, the order of the panels may be changed as well.25 This history of repainting and refabrication reinforces the parallel with 4» 33» — not only do the exhibition settings change but the paintings themselves can and do as well.

Not only does the exhibition offer a breathtaking leap back into the invigorating aesthetic atmosphere of the 70s, inspired by the ideas of the modernist avant garde, but it also invites us to think about ourselves in relation to the world: how much of it is really «outside» and how much is a product of our thoughts and actions.»

Not only does the exhibition give an understanding of the radical approach of these «minimal» artists, it is also an exhibition about the art of collecting.

Not exact matches

Once this work has been done use these bats only for EXHIBITIONS or HOMERUN DERBY»S.

Rider, already suspended for Friday night's season opener because he missed the team's final exhibition game last Sunday, said after yesterday's practice that he was only sitting in someone else's car and that the police did not find anything in his possession.

While we don't get all the information, we did get a little tidbit about the modes, specifically that the single player modes only contain a Tournament and Exhibition Mode.

Where the Journey Leads: If only the pioneers who followed the famed explorers paid as much homage to Native American cultures as this traveling exhibition does.

These are done for proper hygiene once in several months or especially for cat exhibitions only.

Tucked away at the very back of the exhibition hall, behind an impermeable 10 foot high barrier, hid the frantic multiplayer action, safe from those who didn't fit the «+18 only» bracket.

Unfortunately, while the gameplay is fun, NBA Playgrounds doesn't bring that many options to keep you playing, with the game only bringing exhibition matches and tournaments.

I want to use them for presents and maybe next time when I do an exhibition in the market house gallery (that is a Saturday morning only free space for Limerick Art Society members) I try the cushions there, too.

When I was very young I used to paint only for pleasure, I had some exhibitions, and it didn't matter too much If I could sell or not.

Kessler writes that the exhibition «is not only about a group of Mark Rothko paintings done at the peak of his career, but it's also about an ingenious restoration technique — a way to restore the color of these faded murals via non-invasive digital projections... The exhibition features a much - damaged five - panel mural that Rothko was commissioned to make in 1961 - 62 for the penthouse dining room of Harvard University's Holyoke Center... 38 studies for the murals... And, presented here for the first time, a sixth [undamaged] mural which was painted for the commission and held in reserve until Rothko decided which five paintings he wanted for the final installation.»

It was only inevitable, then, that someone would do an exhibition that surveys the trend toward bringing moving images out of the theater space and creating more immersive experiences.

I hope that the exhibition will prompt visitors to consider not only how far we as a society have come but also, crucially, what still needs to be done to combat prejudice and realise true equality.»

The only artist in this exhibition that I don't know is Frank Stella, but I knew his work, and Ralph Humphrey was an artist that I met a few times.

Only some years later did Larraz assume his place as a full - time painter, and held a number of solo exhibitions across North America.

Call me only if you are in the gutter, Grice Bench, Los Angeles, CA Exalted Position, curated by Vlad Smolkin, Peter Blum Gallery, New York, NY Pipe Dream, presented by Night Gallery and Rachel Uffner Gallery, 170 Suffolk Street New York, NY Gallery Artist Group Show, Rachel Uffner Gallery, New York, NY TDW: Three Way Weekend, Blum & Poe, Art Los Angeles Contemporary, and ROGERS, Los Angeles, CA 2015 The John Riepenhoff Experience, Misako & Rosen, Tokyo, Japan Intimacy in Discourse: Unreasonable Sized Paintings, School of Visual Arts Chelsea Gallery, New York, NY Let's Be Real, Projekt 722, New York, NY 2014 The Crystal Palace, Rachel Uffner Gallery, New York, NY QUALIA, FJORD Gallery, Philadelphia, PA 2013 The Room and its Inhabitants, organized by Patrick Howlett, Susan Hobbs Gallery, Toronto, Canada The 2013 deCordova Biennial (with Dushko Petrovich), deCordova Sculpture Park and Museum, Lincoln, MA 2012 Love, curated by Stephen Truax, One River Gallery, Engelwood, NJ Art on Paper 2012, curated by Xandra Eden, Weatherspoon Art Museum, Greensboro, NC Take Shelter in the World, curated by Dushko Petrovich, Boston University Art Gallery, Boston, MA In Plain Sight, organized by Nicole Russo and Lumi Tan, Mitchell - Innes & Nash, New York, NY 2011 The Idea of the Thing That it Isn't, curated by Rachel Uffner, Halsey McKay, East Hampton, NY Channel to the New Image, Friedrich Petzel Gallery, New York, NY Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards, American Academy of Arts and Letters, New York, NY Paper A-Z, Sue Scott Gallery, New York, NY Invitational Exhibition of Visual Arts, American Academy of Arts and Letters, New York, NY Battle of the Brush, organized by Corporate Art Solutions at Bryant Park, New York, NY 2010 The Pencil Show, Foxy Production, New York, NY ITEM, Mitchell - Innes & Nash, New York, NY S (l) umm (er) ing on Madison Avenue, curated by Jo - ey Tang, The Notary Public, New York, NY Kristin Calabrese, Andy Parker, Mary Weatherford, Roger White, Kathryn Brennan Gallery, Los Angeles, CA 2009 What's Bin Did and What's Bin Hid», curated by Ryan Steadman, 106 Green Gallery, Brooklyn, NY Cave Painting: Installment # 2, organized by Bob Nickas, Gresham's Ghost, New York, NY The Audio Show, organized by Seth Kelly, Friedrich Petzel Gallery, New York, NY 2008 The Merits of Silence, Gallery Min Min, Tokyo 2007 Heralds of Creative Anachronism, D'Amelio Terras, New York, NY The Price of Nothing, EFA Gallery, NY 2006 Mystic River, Southfirst, Brooklyn, NY / Arcadia University, Glenside, PA 2005 Kevin Bruk Gallery, Miami, FL You Are Here, Ballroom Marfa, Marfa, TX The Most Splendid Apocalypse, PPOW Gallery, New York, NY Crits» Pix, Black and White Gallery, Brooklyn, NY 2004 Halloween Horror Films,, Southfirst Gallery, Brooklyn NY Summery Summary, 58 N3, Brooklyn, NY 2003 Dreamy, ZieherSmith Gallery, New York, NY Escape from New York, New Jersey Center for Visual Arts, Summit, NJ Late to Work Everyday, Dupreau Gallery, Chicago, IL 2001 Learnedamerica, P.P.O.W. Gallery, New York, NY Tirana Bienalle 1, National Gallery, Tirana, Albania 2000 Columbia University M.F.A. Thesis Show, Brooklyn, NY 1999 All Terrain, Friedrich Petzel Gallery, New York, NY Wight Biennial, UCLA Wight Gallery, Los Angeles, CA 1998 Episode 1, Gair Building, Brooklyn, NY

And when, finally, in 1936, the Museum of Modern Art did offer its public an exhibition of cubist and abstract art, only European artists were included.

Uniting different perspectives of seeing and subverting spatial conditions of representational forms in the 20th century this exhibition does not only present rarely seen work but also narrates different layers of art historical approaches leading to the long lasting meaning of representational object and space in art.

«When, finally, in 1936, the Museum of Modern Art did offer its public an exhibition of cubist and abstract art, only European artists were included.

Not only do the works in this exhibition expound on Thiebaud's signature motifs — objects and figures limned in color against ambiguous backgrounds, and inventive city and landscape scenes — they also convey the range of process, ingenuity and specificity that distinguishes each of Thiebaud's works.

This year's pilgrimage to Marfa on the occasion of Chinati's 25th Anniversary Weekend was well worth the effort, not only for the main events, but for the many other surprises, some in unconventional venues like Tableaux Parisiens, an exhibition of art from and about Paris in an old church called The Do Right Hall, Patrick Keesey at the Marfa Country Clinic, Valerie Arber at the Thunderbird Lodge, and Charles Mary Kubricht at The Marfa Book Company.

For example, while the press release presents «Proof» as «a three - person show featuring prints and artist's books made by master printers Ruth Lingen, Jennifer Melby and Leslie Miller,» the exhibition checklist does not credit individual works to particular printers but, as is conventional, credits only the «artists,» e.g. Elizabeth Murray, James Siena, Vija Celmins, Henrik Drescher (See the images above from Planthouse's website.

Because what I do when creating a show is identify a discrete selection of artworks that has the quality of a museum exhibition, with the only thing preventing it from being a museum exhibition being the scope or the size of the subject.

Given that the Courtauld Institute and Gallery, both part of the premises of London's iconic Somerset House, boast such an impressive and art - historically significant permanent collection, any temporary exhibition hosted within the space must be not only mindful of the location and its heritage, but equally must be seen to be doing, and saying, something different.

I first saw his work in a Whitney Biennial in the mid 1970s, only I didn't know who had made the objects I noticed — in fact I wasn't totally sure the strange objects were artworks in the exhibition — strange steel wool like oblong discrete objects placed in unusual locations, inside the building, but not exactly where an art work might be located — near a fire alarm, above an exit door, and, as I recall, outside the building as well.

Minors are strongly advised to avoid visiting the exhibition, and in any case may do so only when accompanied by an adult who assumes full responsibility for the visit.

By placing each fragment against opposite walls of the gallery so that the front half appears from one wall, while the back disappears into another, Paolini not only destroys the object quality of the sculpture but in doing so creates an installation which calls attention to the architecture of the particular exhibition space.

However, I'd be remiss if I didn't point out that our current exhibition by the Albuquerque - based collective, Basement Films, entitled «Happiness is a Warm Projector» (on view through May 31), is mounted in conjunction with the «On the Map» initiative in Albuquerque, and I believe we're the only Santa Fe arts organization involved in that effort.

If only exhibitions did not have to use gender nomenclature and full equity had been achieved in art.

Women's contributions in abstract art tend to be overlooked — only in 2016 did the first major exhibition on women in abstract expressionism open at the Denver Art Museum.

I visited the Museum and met its Director Aaron Seeto who explained that not only does the Museum have a permanent collection of 800 works, but it is working on temporary exhibitions as well.

Not only do we get to celebrate the return of Mark Ryden and his brand new exhibition «The Gay 90s West,» but this issue

The exhibition features works with quirky, unexpected titles, like «A Fatigue Always Comes with a Dream», «Only the Turtle Does Not Know about Our Weekends», and «The Hardship is Whispering Hope».

Only occasionally does Byzantine Things fall into what artist Daniel Buren (who's not in the show) has called the «exhibiting exhibitions» trap, in which, as he wrote in Frieze in April, «exhibitions are increasingly becoming opportunities for an organizer or curator or whoever to write an essay which usually has nothing to do with the artists invited, but concerns only his or her philosophy about art and society, politics or aesthetics.&raOnly occasionally does Byzantine Things fall into what artist Daniel Buren (who's not in the show) has called the «exhibiting exhibitions» trap, in which, as he wrote in Frieze in April, «exhibitions are increasingly becoming opportunities for an organizer or curator or whoever to write an essay which usually has nothing to do with the artists invited, but concerns only his or her philosophy about art and society, politics or aesthetics.&raonly his or her philosophy about art and society, politics or aesthetics.»

Not only did it lead me to wander casually into Case's show, but it did so at a time when I had just left a Robert Motherwell exhibition at the Paul Kasmin Gallery.

We don't know why Gavin Brown gets a slightly larger board than everybody else to display a photograph of the inside of his fridge, but the Bulletin Boards show was the only exhibition we saw that resulted in varied, engaging and interesting responses from all of its participants.

Her commitment to her role as an increasingly endangered species of public intellectual, and her belief in the capacity of her art not only to make sense of the world but to allow her to fall in love with it over and over again — these are the qualities of work and living through work, as Adnan so brilliantly does, that give Christov - Bakargiev's exhibition its heart.

Sabin Bors: Will there be solo exhibitions only or do you think about hosting group exhibitions as well?

Discussing her work in the accompanying exhibition catalogue, writer Neal Brown concludes: Joffe has a «disorder» in the sense that, working within the often anti-intuitive context of contemporary art, she not only seeks the truth of human emotions, but does so with unfashionable compassion and humanity.

Abts only allows around half a dozen paintings out of her studio in a year, so although all ten in this exhibition are dated 2015 or 2016, do not be fooled.

As for Ai Weiwei's withdrawing from the show, I can only say that I came to UCCA to do an exhibition about Hans, which I did to the best of my ability.

In the second of this two - part podcast series, produced on the occasion of the first exhibition dedicated to Avercamp, Arthur Wheelock talks with curator Bianca du Mortier about Avercamp's 17th - century theatrical settings on ice, which not only depict a tremendous diversity of subjects but also record daily life during the Dutch Golden Age.

On the one hand, this is not surprising if you consider that a London institution like Tate Britain — established in 1897 — didn't hold its first major photography exhibition until 2007, and only just wrapped up its first ever exhibition of a living British photographer, Nick Waplington.

Over the last eight years, the Whitney Museum has had no surveys that deal with Latino themes and has done only one solo exhibition featuring an artist of Latin American origin... sort of.

We're only doing one solo exhibition this year in November and that's with Reno based artist Overunder, who will also be taking part in our «House Warming» as well.

The exhibition raises the questions: To what extent does photography influence not only the way architecture is perceived, but also the way it is designed?

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.

Why are so many artists left out of these histories and how do you get them into the history books, into museum exhibitions and widen the terrain to be more inclusive of not only artists but different aspects of art making that overlap with the times.