Sentences with phrase «other changing exhibitions»
1965 On June 6, the museum officially opens the Seattle Art Museum Pavilion at the Seattle Center as an active venue for modern art and other changing exhibitions.
http://www.seattleartmuseum.org/ Not exact matches
Traveling exhibits, special collections and other changing displays may be viewed in the Temporary Exhibition Gallery.
In other words, rather than presenting science as an unchanging edifice (which is the way it is often perceived in the public mind), the exhibitions will show that science is a changing, man - made, approach to the world that is characteristic of modern society.
Among others, the exhibition portrays the stories of children who stayed in Belgium during the war, but whose lives irreversibly changed due to the occupation.
Seasonally changing exhibitions feature the latest creations by our many regional artists and other gallery favorites from around the country.
At the center of the space is a cube, its outer walls lined with what she calls «Tête - à - Tête,» a constantly changing group exhibition of pieces by artists — Derrick Adams, Malick Sidibé, Carrie Mae Weems, among others — whose work has influenced Thomas's.
As can be seen in the rash of exhibitions recently or currently on view, the digital revolution has been a double - edged sword for artists who work with or in the medium of ephemera and miscellany; on one hand, artists can easily manufacture their own work; on the other, some printed materials may soon be obsolete, changing the nature of the visual landscape and cultural communications.
By picturing decades of Brooklyn's coastal scenery, including its changing industrial and postindustrial environment, the exhibition presents dramatic panoramic vistas; spectacular aerial views; glimpses of popular recreational attractions, particularly in nearby Brooklyn Bridge Park and at Coney Island; and other scenes, including those impacted by natural or manmade forces, as well as by gentrification.
One of the major exhibitions was MCA Chicago's «This Will Have Been: Art, Love & Politics» (2012), a show that traveled to other venues that surveyed the decade's social and political developments that changed the character of the art world.
«Untitled - Locomotive,» along with other such small ink drawings in the exhibition as «Elizabeth at the Window» and «Seated Woman,» changed everything.
Other exhibition formats, old and new, have taken their cue from artists» changing modes of creating and presenting work, often intentionally pushing at the limits of what a traditional museum can support.
We have mounted important exhibitions of the works of Ant Farm, Joe Brainard, Joan Brown, Theresa Hak Kyung Cha, Robert Colescott, Jay DeFeo, Juan Gris, Eva Hesse, Paul Kos, Robert Mapplethorpe, Barry McGee, Richard Misrach, Bruce Nauman, Peter Paul Rubens, Martin Puryear, Sebastião Salgado, William Wiley, and many others, as well as thematic exhibitions such as Made in U.S.A.: An Americanization in Modern Art, the «50s & «60s; State of Mind: New California Art Circa 1970; In a Different Light: Visual Culture, Sexual Identity, Queer Practice; Human / Nature: Artists Respond to a Changing Planet; and Masterworks of Chinese Painting: In Pursuit of Mists and Clouds.
The exhibition will be a rare opportunity to see these groups hung together in a single location, demonstrating how each work has a relationship with the others in the series, as well as the unpredictable changes of direction throughout Riley's career.
Among them were exhibitions of the works of Ant Farm, Joe Brainard, Joan Brown, Theresa Hak Kyung Cha, Robert Colescott, Jay DeFeo, Juan Gris, Eva Hesse, Paul Kos, Robert Mapplethorpe, Barry McGee, Richard Misrach, Bruce Nauman, Peter Paul Rubens, Martin Puryear, Sebastião Salgado, William Wiley, and many others, as well as thematic exhibitions including Made in U.S.A.: An Americanization in Modern Art, the»50s &»60s; State of Mind: New California Art Circa 1970; In a Different Light; Human / Nature: Artists Respond to a Changing Planet; Masterworks of Chinese Painting: In Pursuit of Mists and Clouds; Beauty Revealed: Images of Women in Qing Dynasty Painting; and Andrea Fraser: Aren't They Lovely?.
For this special presentation, Aitken and Vergne discuss Aitken's uniquely immersive aesthetic; the work's relationship to 20th - century avant - garde art, cinema, and experimental music; the nature of creativity in the 21st century; the possibilities for artmaking within our ever - mobile, ever - changing, image - based contemporary world; and other ideas central to the artist and the exhibition.
Girls» Club presents Change Agents, an exhibition of works by female artists in South Florida, whose careers and creative projects advance the global conversation about contemporary art, demonstrate dynamic ways in which artists can be self - sustaining, while nurturing the career advancement of others.
Like the other works in the exhibition, regardless of medium, Singh's work shows the way that language and ideas can mutate and change over time.
Tracing the evolution of changing technologies, the exhibition Q & A: Artists In Conversation presents interviews from the Whitechapel Gallery Archive and other archives as well as selected conversations conceived by artists and curators.
Notably, 1953 was also a pivotal year for de Kooning, who finally found staunch critical support and solid financial success following the exhibition of paintings and drawings from his Woman series at the Janis Gallery that spring.22 By then, Rauschenberg had known de Kooning for a year or more and had seen him on occasion, often through their mutual friend Jack Tworkov (1900 — 1982), who sublet studio space from de Kooning.23 Even as other details of the Erased de Kooning Drawing story changed, Rauschenberg always insisted that he chose de Kooning out of deep respect for his work and because there was no question that a drawing of his would be considered art — and this was more true than ever in 1953.24 Critic Leo Steinberg later reported asking Rauschenberg whether he would have erased a drawing by Rembrandt, to which he replied no.
Art as an illocutionary act draws from an accretion of meaning through changes, edits, critique, interpretation, exhibition, interfacing with setting and other works, etc..
In a follow up to the gallery's critically acclaimed group show «UPRISE / ANGRY WOMEN,» which opened during the week of the 2017 presidential inauguration, exhibition ONE YEAR OF RESISTANCE features artwork across all mediums addressing the issues our society has faced since the election such as immigration rights, women's rights, transgender rights, health care, climate change, white supremacy, gender equality, gun control, sexual harassment, as well as countless other issues which have given rise to mass protest throughout the United States and abroad over the past year.
The Getty Research Institute offers changing exhibitions of rare books, manuscripts, photographs, artists» notebooks, and other materials from the special collections of the Research Library related to the history of art and architecture.
The exhibition features works by artist's such as Jean - Michel Basquiat and David Salle, among many others, and explores the resurgence of painting as a means of artistic expression during a time of expansive change.
IMMA exhibition highlights 2018 Brian Maguire, War Changes Its Address: The Aleppo Paintings 26 January — 6 May IMMA Collection: Freud Project, Ethics of Scrutiny, curated by Daphne Wright 15 February — 2 September 2 Frank Bowling, Mappa Mundi 24 March — 8 July Yvonne Rainer Live Performance, 4, 5 May Brian O'Doherty, Language and Space: Rotating Vowels, Structural Plays and other Works24 April 26 — September 16 Hennessy Art Fund for IMMA Collection 2018 11 May — 16 September Monir Shahroudy Farmanfarmaian, Sunset, Sunrise 10 August — 2 December Wolfgang Tillmans 26 October — 17 February Mary Swanzy 26 October — 17 February
IAAC, along with a handful of other experimental projects, introduced a practice whereby exhibitions changed throughout the time that they were open to the public.
Broken Boxes, an exhibition curated by Ginger Dunnill and Cannupa Hanska Luger, features Miyuki Baker and 40 other creators from around the world who are effecting change in their work.
Broken Boxes, an exhibition curated by Ginger Dunnill and Cannupa Hanska Luger, features Kim Werner and 40 other creators from around the world who are effecting change in their work.
He has been represented by The Jack Shainman Gallery since 2006 where solo exhibitions of his work include The Velocity of Change (2015), This, That, and The Other (2013), Body & Space (2010), and Fusion (2006).
Regularly changing exhibitions feature painting, sculpture, photography, glass, video and other visual media from internationally acclaimed artists as well as artists of national and regional renown.
Broken Boxes, an exhibition curated by Ginger Dunnill and Cannupa Hanska Luger, features Douglas Miles and 40 other creators from around the world who are affecting change in their work.
«We could have changing exhibitions by that artist, or the artist could invite other artists, even, say, a musician, to create projects together.»
Broken Boxes, an exhibition curated by Ginger Dunnill and Cannupa Hanska Luger, features Cara Romero and 40 other creators from around the world who are effecting change in their work.
Now the Robert Rauschenberg Foundation, which he set up to provide support for causes that were important to him, is joining forces with two other like - minded organizations to present a series of exhibitions, panel discussions and performances that will explore climate change.
His work has been included in a number of important exhibitions, including Larry Bell, Robert Irwin, Doug Wheeler (Tate Gallery, London, 1970); Rooms (The Institute for Art and Urban Resources at P.S. 1, Long Island City, New York, 1976); Ambiente / Arte (37th Venice Biennale, 1976); The First Show: Paintings and Sculpture from Eight Collections 1940 - 1980 (Museum of Contemporary Art, Los Angeles, 1983); Sunshine and Noir: Art in LA 1960 - 1997, (Louisiana Museum, Humlebæk, Denmark, Kunstmuseum Wolfsburg, and Armand Hammer Museum, Los Angeles, 1997 - 1998); and Percepciones en transformación: La Colección Panza del Museo Guggenheim Bilbao (Changing Perceptions: The Panza Collection at the Guggenheim Museum Bilbao, 2000 - 2001), among others.
Tracing the evolution of changing technologies, this exhibition presents interviews from the Whitechapel Gallery Archive and other archives as well as selected conversations conceived by artists and curators.
The blank pages, in contrast to the paintings and drawings on the other side of the wall, present a content - free, aestheticized Powhida — a change we'd never want to happen for real, but that demurral doesn't make these works any less of an elegiac coda to the exhibition.
In a follow up to the gallery's critically acclaimed group show «Uprise / Angry Women,» which opened during the week of the 2017 presidential inauguration, exhibition One Year Of Resistance features artwork across all mediums addressing the issues our society has faced since the election such as immigration rights, women's rights, transgender rights, health care, climate change, white supremacy, gender equality, gun control, sexual harassment, as well as countless other issues which have given rise to mass protest throughout the United States and abroad over the past year.
Group exhibitions include: Future Perfect, Rubicon - Projects Brussels; Changing States: Contemporary Art and Francis Bacon's Studio, BOZAR, Belgium; Time Out of Mind: Works from the IMMA Collection, Irish Museum of Modern Art; In Other Words, Lewis Glucksman Gallery, Cork; this little bag of dreams, Catherine Clark Gallery, San Francisco; and Without - Boundaries, Wäinö Attonen, Museum of Art, Finland Her work is represented in the collections of IMMA, The OPW, Limerick City Gallery, Swansea City Council, The London Institute, and Hiscox Collection, London.
The show's title, as Pérez explained, «alludes a confession by Man Ray, in which fed up with the art exhibitions» texts decides to copy letter by letter a text by Erik Satie and use it as text for the catalog of the show he presents, changing words allusive to Satie's music with others analogous with the artist's practice.»
MATRIX 246 presents three performances of legendary choreographer Anna Halprin's seminal dance Parades and Changes (February 15, 16, and 17), as well as a gallery exhibition with scores, photographs, and other documentation of the piece throughout its forty - eight - year history.
«The works in the exhibition change, mutate, perish,» the exhibition says of itself, «they look for each other over space and time, subtly, inhabiting and influencing the perception of the gallery ambients.»
This exhibition — organized by the Smart Museum of Art in collaboration with the DuSable Museum of African American History and other cultural partners and presented concurrently with the DuSable's exhibition South Side Stories: Holdings — takes a nuanced look at the cultural history of Chicago's South Side during this momentous era of change and conflict, with a focus on artists of the Black Arts Movement.
Other exhibitions include Mariah Robertson at the BALTIC Centre for Contemporary Art, UK; Greater New York at MoMA / PS1, New York; and Mariah Robertson: Let's Change at Grand Arts, Kansas City.
Of Wheeler's works, John Coplans, curator of the artist's 1968 solo exhibition at the Pasadena Art Museum, noted, «they clearly reveal a highly mature esthetic and demonstrate that he is a satellite of no other artist... [Wheeler's] primary aim as [an artist] is to reshape or change the spectator's perception of the seen world.
The «gallery without walls» has a changing exhibition programme, rather than permanent display as seen in other UK sculpture parks such as Grizedale Forest.
Featuring 118 prints from more than 400 in the Jordan D. Schnitzer and Jordan Schnitzer Family Foundation collections, the exhibition brings together Warhol «s complete suite of work including Campbell's Soup, Marilyn Monroe, Mao, Mick Jagger and others to illustrate how the artist worked with subtle changes within his self - defined restrictions.
Finch's first solo exhibition in an English public gallery in over five years brings together new and recent works by the artist, all of which reflect on the changing coastal light of Margate and other sites.
That exhibition showcased what became Pop Art featuring artists like Andy Warhol, Claes Oldenburg, Roy Lichtenstein, George Segal and others — that forever changed the direction of the art world in its wake.
BlackRock is a nonprofit arts center which presents changing exhibitions of contemporary art by emerging and mid-career artist working in all media, to include site - specific installations, video and other time - based media, performance, new technologies and experimental forms.
Indeed, as curator Simon Morrisey explains in the following conversation, the exhibition was, in many ways, a collaborative exercise in extrapolation and reframing: ideas are drawn out of artists» works and discussed with other artists; information and data woven between art pieces to change the way in which we would expect them to be interpreted; insights are taken from history or speculative fiction and imposed over works to achieve the same end; and eventually, artworks are installed together to create a composite tableau.