Sentences with phrase «only exhibitions seems»

This noticeable influx of women - only exhibitions seems to harken back to the «girl power» days of the 1990's as exemplified by the New Museum's 1994 show Bad Girls.

Not exact matches

More than thirty years after her death, the oeuvre of American painter Alice Neel attracts ever greater interest, and seems only ever more relevant: the substantial and moving exhibition of her paintings currently at the Gemeentemuseum in The Hague is the latest indication of this groundswell of attention, including various shows and catalogs in addition to a fine biography by Phoebe Hoban and a biographical film directed by Neel's grandson, Andrew Neel.

Maybe the exhibition title suggests that the works are only just at the point of gesture, like the Andrea Madjesi - Jones painting, where gesture seems to be included in a wider pictorial strategy, or perhaps that they have arrived at the point of gesture having set out from some other place, Clem Crosby's work, for example, coming out of the monochrome tradition to a reconsideration of the role of drawing.

Not only this, but the Wearing - Cahun conjunction seems so natural that it feels as if this exhibition should have been made before, while Wearing's own fascination for Cahun cements the comparison and enriches the show.

The reason he had paid to have a jet fuselage hauled from Arizona to eastern Long Island was revealed fully only last Friday with the opening at his small gallery of an unusual exhibition called «Nose Job,» a group show that at first glance seems to be playing on Hamptons plastic - surgery predilections.

This is cause for concern only because it would seem that ethnicity and gender - specific exhibitions have not yet had a significant effect on the exhibiting or collecting practices of mainstream art institutions in the US.

It seems only fitting therefore that the White Cube displays Tracey Emin's latest exhibition.

At first thought, there seems inherent risk in putting on an exhibition about the occult, since the term seeks escape from view: the «occult,» after all, consists of hidden knowledge and practices, reserved only for the initiated, allowing comprehension and manipulation of the cosmos and the self.

This classic avant - garde situation seems to have worked in the young artist's favor — leading not only to a couple of part - time teaching jobs, but also exposure in a number of highly desirable exhibitions.

The exhibition consists of about a hundred photographs, strongly abstractive, without human presence, especially at night and especially doors and windows, while the titles of the photographs are titled from the corresponding names and numbers of the road that the building exists, creating a map of Athens, but the absence of human presence makes Athens seem deserted and lifeless and the only one that implies human presence are the streetlights and the lights of the buildings as well as a photo of the inside of an antique shop.

With CoolHunting hailing Tokyo native Kenichi Yokono as «uncompromising in his attention to detail and dedication to the emotional integrity of [his work],» it seems we're not the only ones counting down the days until his forthcoming two - person exhibition Rise of the Underground.

(«For an exhibition seeking to emphasize nonverbal, visual plasticity, ambiguity and multivalence, a catalogue with only analytical essays would seem inappropriate,» Kertess wrote in his introduction.)

Roberta Smith described the experience of viewing Four New Clear Women in her review of Rosenquist's exhibition for The Village Voice: «Walking into Castelli's Green Street and seeing for the first 17 - by - 46 foot Four New Clear Women is like encountering the Columbia or Hoover Dam of paintings — for the first few seconds all you see is size, as well as an art so all - American, familiar, and public that it doesn't quite seem to be the work of only one person, but rather the expression of some more diffuse national self.

Hartigan, who later received attention for her work seeming to resemble Willem de Kooning's figurative compositions, was the only woman in MoMA's 1958 «New American Paintings» exhibition among 16 male artists.

This one is made possible by three separate exhibitions spread around Manhattan, which seems only fitting.

On this, Yasuyuki Nakai has also remarked that «Yamamoto's horizontal thinking nullified the barriers between the absolute territories of painting and sculpture, enabling him to create sculptures with multiple vantage paints which at first have the appearance of kitsch» (Yasuyuki Nakai, «Prior to Fortunate Encounter with the Artistic World of Keisuke Yamamoto», Keisuke Yamamoto, Tomio Koyama Gallery, p. 5) In «Crossing», a solo exhibition held at Tomio Koyama Gallery Kyoto in 2012, Yamamoto presented only paintings, where his vital energies and rhythm of sculpture seemed to play out.

It seems difficult to envisage now, but in 1976, when Serota was putting together the Hodgkin exhibition at the Museum of Modern Art in Oxford, not only was it a struggle to get hold of Hodgkin's paintings from the private collectors who owned them, but even getting photographs of some of the works was impossible.

Only when the works are understood as a collective does the exhibition come together, and since all of them are so different, it's surprising how simple and unified the ambitions of both Arcadia Missa and Preteen seem to be.

It seems only right that Ethan Cook would choose to title this exhibition after a one - word poem by Aram Saroyan.

The problem today is that honing a critical eye for media funny business seems to have life consequences only for professionals such as the curators of the exhibition, the artists in it and the other catalog contributors.

Her own menagerie is made of a series of sculptures whose shapes and colours seem to be taken from a decadent fun - fair: broken horses, looming arches and double - headed dolphins to name only a few of the creatures populating the exhibition.

30 years on and it seems things haven't really progressed: until 2015, some of the world's most well - known museums, like the Metropolitan Museum of Art, Guggenheim and Whitney, had only curated one female solo exhibition each.

It only seems right that it was Deacon, a friend and former student, who served as the curator of an exhibition meant to re-situate Evans within this history.

Just 30 years old, three years out of school and counting the pavilion project as only her third solo exhibition, Tse herself seemed unconvinced until the statuette was in her hands.

The seeming about - face in Guston's work that was announced by his first, and only, exhibition at the powerful Marlborough Gallery — representing many other Abstract Expressionists or their estates — resulted from the acute discrepancy he felt existed between the transcendental qualities of his abstract work and the harsh, down - to - earth realities of America in crisis, and his need to confront that strife head on.

The only thing the exhibitions as a whole seemed to want for was a greater variation of scale, with many works seeming like they could naturally grow to fill a wall.

Given that exhibition curator Marvin Sadik wrote that The Portrayal of the Negro in American Painting was conceived to be a «social document dealing with one of the decisive issues of our time,» it seems appropriate to investigate additional museum exhibitions that focused on not only the representation of African Americans, but also the work of African - American artists.

When an exhibition titled Tempus Fugit surfaces, it would seem wise to gird the loins for another pageant of pretension that aspires to the hermetic yet achieves only self - parody.