Sentences with phrase «original exhibitions as»

Not exact matches

I tend to sell more prints than originals, I did start by selling my original work in galleries but as soon as I started selling prints I stopped because it worked out more cost effective to sell online, so I still have a large proportion of my original work, I hope to have an exhibition at some point.

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

And yet, it still looks pretty delightful on Blu - ray, getting presented in the 1.78:1 aspect ratio, approximating the 1.85:1 of its original theatrical exhibitions as opposed to the 1.33:1 it got on DVD.

As part of the BFI's major UK - wide Black Star season the BFI Southbank is currently home to the Separate Cinema Exhibition, showcasing original film posters loaned from the most extensive private holdings of African - American film memorabilia in the world, The Separate Cinema Archive.

If the film were matted to an aspect ratio of 1.75:1, as it almost certainly would have been in its original theatrical exhibition, the unsightly intrusion would have been avoided.

As previously announced, the inaugural LFF Connects will feature British filmmaker Christopher Nolan, internationally acclaimed for some of the most original, compelling and successful films in contemporary cinema (Interstellar, Inception, The Dark Knight, Memento), and Tacita Dean, lauded for her art work in film (and whose grand - scale Tate Modern exhibition FILM transfixed audiences).

Note that in my original analysis I used a per - share value for the entire company of about $ 4.50 which included components not included above, such as the value of the digital archives relating to the Titanic discovery, theTitanic salvage rights, the exhibition business itself and any cash on the balance sheet.

The exhibition features original artwork from Masahiro Ito's concept designs, as well as original pieces created for the show.

Metalhead Software has addressed one of the biggest complaints of their original game by adding a brand new online multiplayer game mode called Pennant Race, offering head - to - head exhibition matches, tracking your statistics as you play.

It doesn't end there, the exhibition also walks through the world of consoles from the first console to ever be released, «The Brown Box» (1968) to hand held consoles such as the original Nintendo Gameboy (1989).

After several years developing game prototypes, freelancing and working as a game designer at NYC's This is Pop, he was awarded a commission to produce an original game for the NYU Game Center's No Quarter exhibition.

Opening: «Pixar: The Design of Story» at Cooper - Hewitt National Design Museum This exhibition is a rare peek into the design process behind the creation of Pixar favorites like Toy Story, Wall - E, Up, Brave, The Incredibles, and Cars, including relics such as rarely seen paintings, sculptures, hand - drawn sketches, and other original artwork.

Alongside original sketches, drawings and manuscripts, the exhibition also showcase artefacts like a Christopher Robin nursery set that was presented to Princess Elizabeth in 1928 and lent to the show by the Queen, as well as photographs, cartoons, ceramics and fashion items.

[10] Jones notes that Riley investigated Seurat's pointillism by painting from a book illustration of Seurat's Bridge at an expanded scale to work out how his technique made use of complementary colours, and went on to create pointillist landscapes of her own, such as Pink Landscape (1960), [10] painted soon after her Seurat study [13] and portraying the «sun - filled hills of Tuscany» (and shown in the exhibition poster) which Jones writes could readily be taken for a post-impressionist original.

Body and Matter is accompanied by a fully - illustrated exhibition catalogue, Body and Matter: Kazuo Shiraga Satoru Hoshino, featuring poetic writings by both artists as well as original essays by curator Koichi Kawasaki and noted art historian John Rajchman.

For this exhibition, they are shown for the first time as a ground for other works to be installed upon, departing further from their original incarnation as object to function as container for the works within.

Among the reconstruction of the original shows, give a closer look at the rooms dedicated to Giorgio Morandi and to the Futurists exhibitions at the 3rd Roma Biennale in 1925 where Giacomo Balla has presented «CanarinGatti - Gatti Futuristi» (1923/24): a joyful artwork conceived as a colorful roll film where a cat tries to chase a songbird, originally made for the bedroom of Tommaso Marinetti «s daughter.

This exhibition Chris Ofili: Weaving Magic showcases the tapestry surrounded by fresco murals and includes the original watercolor for the exquisite handwoven piece as well as related graphic work.

In the context of the Center for Book Arts, Canceled highlights the book form as a crucial means of disseminating documentation and information on a wide and accessible scale, potentially in ways that are more historically stable, and more effective, than the original exhibition would have been.

Neatly installed in one big oblong hall, Americans occupying one side and Europeans the other, the exhibition works as a kind of thumbnail representation of the original, much larger show.

Exceptional in scale and scope, the exhibition tells the story of the ancient wreck of a vast ship, the «Unbelievable» (Apistos in the original Koine Greek), and presents what was discovered of its precious cargo: the impressive collection of Aulus Calidius Amotan — a freed slave better known as Cif Amotan II — which was destined for a temple dedicated to the sun.

This exhibition in London also brings together important archival material, such as rare propaganda posters from the original pavilion and a replica of Miró's infamous work El Segador (The Reaper) which disappeared when the pavilion was dismantled in 1937.

A recent exhibition at Fraenkel Gallery in San Francisco examined the ways in which artists have been drawn to records and their covers as mediums for original works of art.

The HMI exhibition itself includes two sculptures out of the original 14, William Turnbull's Angle and Nicholas Monro's King Kong, as well as other works made in or around 1972 by some of the other sculptors, alongside maquettes and models, some original and some specially remade, and photographic and other forms of documentation.

Online, in the digital recreation of the original 1959 exhibition Paintings by Clyfford Still, at www.clyffordstill1959.org, users can explore all of the works in the original exhibition, materials used to plan the exhibition, such as diagrams and notes, vintage installation photographs, and other ephemera.

Attempting to recreate the show's installation with as much fidelity to the original as possible (akin to what the Barnes Foundation pulled off in Philadelphia), the new exhibition — titled «When Attitudes Become Form: Bern 1969 / Venice 2013» — promises an audacious engagment with the relatively recent past in a city in love with history.

Each issue includes original articles and reviews of recent exhibitions, editions, and books, as well as the latest winner of the Prix de Print competition.

In response to this event, from the 14th April the original exhibition will be reconfigured as a retrospective interrogation of work shown thus far.

The paintings in the exhibition retain their relationship to their original habitats, as well as their various means of extraction.

For an exhibition earlier this year, Bas presented works referencing the American Transcendentalists (Emerson, Thoreau, Alcott)- or, in Bas's words, the «original hippies», as their writing suggests a «back to nature» perspective.

As MoMA director Glenn Lowry says: «This is Matisse's only site - specific cut - out», which post-conservation formed the original kernel of the whole exhibition.

Prior to his appointment in 2010 as director of the Museum of Contemporary Art in Los Angeles — a post he resigned in 2013 — curator Jeffrey Deitch co-curated the original exhibition of murals in the original courtyard space by the restaurant.

The exhibition is accompanied by a color catalogue containing essays by Michael Solomon and Kent Minturn, as well as a never - before - published translation of the original appendix for Peintures initiatiques d'Alfonso Ossorio (The Initiatory Paintings of Alfonso Ossorio), Dubuffet's 1951 monograph.

A fully illustrated catalogue has been published in conjunction with the exhibition, presenting the original essays by Mel Bochner from 1967 and John Coplans from 1968, as well as a history and analysis of Serial Art by art historian Mark Gisbourne, commissioned specifically for the exhibition.

As League Curator Jillian Russo explains, «Butler's original idea to bring several independent art organizations into partnership to create a building with dedicated exhibition space transformed the Art Students League from fledgling art school into a cultural institution.»

The presentation will be accompanied by a digitized version of the original Robert Irwin catalogue, published by the Whitney at the time of his 1977 exhibition, which includes an ambitious combination of images, project plans, and theoretical texts written by Irwin himself as well as biographical and exhibition information compiled by the exhibition's curator, Richard Marshall.

The original single - channel version of the work is projected nightly onto the New Museum's façade as part of the artist's survey exhibition «Pipilotti Rist: Pixel Forest.»

Through films, photographs, and original documentation made over the course of their relationship — as student and teacher, lovers and colleagues — the exhibition illustrates the artists» different approaches and considers the impact they had on each other's work.

The exhibition features descriptions of each case in addition to new commissions, in which artists respond to the alteration of their original ideas or intentions, using archival documentation as well as new texts, images, and objects.

This catalogue raisonné offers an original and comprehensive overview of his 114 artist's books, monographs and exhibition catalogues, as well as 117 posters.

As Minimalism coalesced and gained recognition in the mid-1960s, Rauschenberg and Castelli wanted to establish the precedence of this body of work, as the inclusion of the paintings» original creation date in the exhibition title attestAs Minimalism coalesced and gained recognition in the mid-1960s, Rauschenberg and Castelli wanted to establish the precedence of this body of work, as the inclusion of the paintings» original creation date in the exhibition title attestas the inclusion of the paintings» original creation date in the exhibition title attests.

The exhibition brings together a range of practitioners, some with a longstanding commitment to activism — such as Nancy Brooks Brody, an original member of the collective fierce pussy, and Vaginal Davis, who has long critiqued systematic oppression tied to gender, race, class, and sexuality — alongside emerging artists such as Sable Elyse Smith, Paul Mpagi Sepuya, and Chris E. Vargas, whose works variously plumb mechanisms of regulation.

[9] As well in January 2010 The Ferus Gallery reopened its doors at the original site at 723 N La Cienega in Los Angeles under the directorship of Tim Nye of Nyehaus and Franklin Parrasch Galleries with an exhibition entitled Ferus Gallery Greatest Hits Vol.

The 1951 three - panel White Painting is believed to have been painted over almost immediately as Untitled [matte black triptych](ca. 1951, fig. 2).6 In fact, there is no exhibition history or any other evidence to indicate that White Painting [three panel] was extant between 1951 and 1968; 7 in those years, most of the original White Paintings had slipped out of existence, their canvases used as the supports for other pieces.8 Though artists throughout history have created new works on used canvases, Rauschenberg did so with an unusual frequency and ease, particularly in the early 1950s.9 Looking back at that period some ten years later, he commented, «Today I wouldn't do that....

The new spaces will span almost 400 square meters and include a ballroom that dates from the 19th century with an original wooden coffered ceiling of 5 meter height, serving as main exhibition space.

While the 1994 show featured Judd's works as well as two drawings by Kazimir Malevich, a recent 2017 exhibition curated by Flavin Judd, also at Galerie Gmurzynska, included 20 drawings and two paintings by the Suprematist artist and also featured a cadmium - red floor piece by Judd that was shown in the original exhibition in Moscow.

The exhibition is an environmental menagerie of objects and sounds severed from their original habitats, to re-form as one body in the throws of readjustment, surrender and transcendence.

Billed as one of the largest art fairs in the United States, it not only pays homage to the original 1913 Armory Show exhibition that introduced modern art to New York, but it also reflects the show's founding principle: to introduce new talent alongside the many established greats.

As part of the 13th Annual Open House New York weekend, the Museum will offer curator led tours of Museum of Stones, the first exhibition in the Museum's history to insert the work of contemporary artists into the original Noguchi installation.

Against the backdrop of these questions, the group exhibition presents pieces by artists who have grown up with the Internet as well as those produced by an older generation and brings together works that explore, unclose and question pictorial worlds in addition to ultimately creating individual original works with the tools of the digital cosmos.