Sentences with phrase «other exhibitions followed»

Many other exhibitions followed.

With that imprimatur in place, other exhibitions followed with appreciative evaluation of the oeuvres of Thornton Dial and Ronald Lockett.

Not exact matches

(1) Bodies and other similar exhibitions do not require that proper consent procedures be followed in obtaining the cadavers they feature.

Parts II and III will follow in other exhibitions during the next two years.

Following its run at the AMNH, the stunning exhibition will travel to other locations, including the California Academy of Sciences, the Canadian Museum of Nature, and the Cleveland Museum of Natural History.

Following the successful exhibition model that BolognaFiere has also developed for other leading global events, this year the Bologna Children's Book Fair has expanded its reach with new and important dates for the diary in the two of the most important markets for global publishing: the USA and China.

Reed Travel Exhibitions Chairman World Travel Market, Fiona Jeffery, said: «These car brands are following in the tracks of other luxury names, such as fashion's Armani and Missoni, which have established prestigious hotels in Europe and the Middle East.»

In many countries, the exhibition has led to follow - up activities including teacher training courses, theatre presentations and other educational projects related to the Holocaust, World War Two and its impacts on today's society.

His work has been include in the following selected exhibitions: Australian Perspecta, Art Gallery of New South Wales (1993); Fluxibelstructures, Kunsthaus Oerlikon, Zurich, Switzerland (1995); Preambles, Australian Perspecta, Museum of Contemporary Art, Sydney (1999); Art in the World, Pont Alexandre III, Paris, France (2000); Video - Salon, Week of Art and New Media, Brussels, Belgium (2000); 25th Bienale de Sao Paulo, Sao Paulo, Brazil (2002); Bitter Sweet, Art Gallery of New South Wales, Sydney (2002); Identity and Desire, Art Gallery of South Australia, Adelaide (2005); CRASH (and other worldly pleasures) Lawrence Wilson Art Gallery, University of Western Australia, Perth (2006); Bon Scott Project, Fremantle Arts Centre, Fremantle (2008) and Rough Trade, TANKS Art Centre, Cairns (1997) and Plimsoll Gallery, Hobart (1998).

He has also participated at group exhibitions at the following institutions: The Hammer Museum, Los Angeles, California (2014); The National Museum of Norway, Oslo, Norway (2014); The New Museum, New York, United States (2013); The Palais de Tokyo, Paris, France (2012), among many others.He has participated in various biennials, including: The Sharjah Biennial 12, Sharjah, United Arab Emirates (2015 & 2007); The 30th Biennial of Graphic Arts, Ljubljana, Slovenia (2013); The XIV International Biennial of Sculpture, Carrara, Italy (2012); The 9th Gwangju Biennale, Gwangju, South Korea (2012); Whitney Biennial, New York, United States (2006); Sao Paulo Biennial, Sao Baulo, Brazil (2006); 2nd Guangzhou Trienal, Guangzhou, China (2005); The 50th Venice Biennale, Venice, Italy (2003 & 1999); The 7th International Istanbul Biennial, Istanbul, Turkey (2001), among others.

He has had individual exhibitions at the following institutions: Modern Art Museum of Fort Worth, Texas, United States (2014); Yerba Buena Center for the Arts, San Francisco, United States (2013); Tate Modern, London, United Kingdom (2013); Singapore Art Museum, Singapore (2012); Centre Pompidou, Paris, France, (2012); MoMA (Museum of Modern Art), New York, United States (2012); Bonnierskonsthall, Stockholm, Sweden (2011); Mildred Lane Kemper Art Museum, St. Louis, United States (2009); Drawing Center, New York, United States (2008), among others.

The following exhibitions were displayed at MAM (or will be displayed at MAM) and are now on view at other institutions.

Nick Cave @ St. Louis Art Museum, St. Louis Oct. 31, 2014 — March 8, 2015 Following the September publication of Nick Cave's «Epitome,» the Midwest is in for a fabulous experience when «Currents 109,» the Missouri - native's exhibition of new colorful, embellished Soundsuits, wearable sculptures melding fashion and fantasy, and other works opens this week at the St. Louis Art Museum.

Collaborations include an exhibition with the Picker Art Gallery, Colgate University, followed by collaborations with the Reading Public Museum, Demuth Museum, Stetson University and New Art Centre in UK, among others have extended the ability to show artists of international scope.

The next installment of INK will offer further thoughts on the role of these marginalized formats in culture and art, with discussion of the following exhibitions, among others.

Featuring Adam Fearon, Vanessa Safavi, Richard Frater, Renata Har and Clémence de La Tour du Pin among others, the exhibition follows last year's Blue Majik, which aqnb reviewed here as the second iteration a project series exploring «the ongoing dissolution between the biologic and the synthetic.»

«100 % Other: Artists and Psycho - Demographic Transitions» follows several recent critically acclaimed exhibitions, including «Patriot Acts» (the first installment of «Future of Nations») and «Incognegro,» which offered a contemporary critique of race through the exploration of infamous black - face performance.

In line with other recent reappraisals of the culture of the British underground scene (most recently an exhibition of drawings by doomed club kid Trojan at the ICA), Bowie Nights at Billy's Club, London, 1978 forms a revealing portrait a half - forgotten milieu that presaged the cultural trends of the following decades.

Following its premier at Dallas, the exhibition will travel to VMFA and one other venue.

It became a launch pad for Oiticica's other Nest projects, which became his trademark for the following five years, presented in other important exhibitions of his career, including Information, curated by Kynaston McShine in the Museum of Modern Art in New York in 1970.

Many other performances followed, and in the meanwhile, her work was also featured in many large - scale international exhibitions, such as the Venice Biennale and Documenta VI, VII and IX.

The exhibition, like Serra's Hand Catching Lead, is largely ««one thing after another»... like days simply following each other without anything having given them a form or a direction.»

Apart from the single photo of Cody, a skater kid Quawson has been following around among other local characters, the exhibition consists only of a three - channel video installation faced by a convenient bench.

Pouran Jinchi in the following group exhibition: Third Eye / I Iranian Contemporary Art Curated by Raul Zamudio March 17 - April 17, 2011 Other Gallery Shanghai, China

His first retrospective was held at the Smithsonian Institution in Washington, D.C. in 1962 and was followed by solo exhibitions at the Minneapolis Institute of Art (1970), The Museum of Modern Art, New York (1974), the Amon Carter Museum of American Art (1985), and the Whitney Museum of American Art (1994), among others.

Most Notable Exhibition: «do it,» a still - ongoing project begun in 1993 consisting of a set of instructional works — contributed by artists including Rirkrit Tiravanija, Marina Abramović, Christian Marclay, and Olafur Eliasson, among many others — that anyone can follow to create an open exhibition in anyExhibition: «do it,» a still - ongoing project begun in 1993 consisting of a set of instructional works — contributed by artists including Rirkrit Tiravanija, Marina Abramović, Christian Marclay, and Olafur Eliasson, among many others — that anyone can follow to create an open exhibition in anyexhibition in any location.

Her recent solo exhibitions were held at the following institutions, among others: Kunsthaus Graz (2017/2018), KINDL — Centre for Contemporary Art, Berlin (2017); Centre Pompidou, Paris (2016); Serralves Museum of Contemporary Art, Porto (2016); Hamburger Kunsthalle (2016); Ullens Center for Contemporary Art, Beijing (2015); Leeum, Samsung Museum of Art, Seoul (2015); Bonner Kunstverein (2014); Aubette 1928 and Museum of Modern and Contemporary Art, Strasbourg (2013); Haus der Kunst, Munich (2012); Kunsthaus Bregenz (2011); New Museum, New York (2010); and Walker Art Center, Minneapolis (2009).

4 The integration of net art with other practices from the 1990s in Art in the Age of the Internet follows the example of recent exhibitions like the Montclair Art Museum's 2015 Come As You Are: Art of the 1990s.

This was soon followed by a string of national and international solo exhibitions at, among others, the Whitechapel Gallery, London (1967); the Picker Gallery, Colgate University, Hamilton, New York (1972); the Serpentine Gallery, London (1979); the Royal Academy, London (1999); and the Graves Art Gallery, Sheffield (2001).

Recent exhibitions were held in the following venues, among others: Palazzo delle Esposizioni, Rome (2001 - 2002); the 55th Venice Biennial (2013), and Fondazione Arnaldo Pomodoro, Milan (2013).

The exhibition, featuring Agnes Calf, Dorota Gawęda & Egle Kulbokaite, Mikko Kuorinki, and Tabita Rezaire among others, takes French anthropologist Claude Lévi - Strauss» «The Savage Mind» text as a starting point, citing the term bricolage as an associative practice experienced by many non-western societies, wherein «solutions are invented following paths made of fortuitous, unstable and contingent discoveries».

In 1964, she opened her first exhibition at the Galleria Aleph in Rome, followed by many others throughout Italy over the years.

Following the exhibition it will be displayed in rotation with other collection works at the National Portrait Gallery and the Royal Academy, and will be available for loan to exhibitions elsewhere, including the Cartwright Hall Art Gallery in Hockney's home town of Bradford where it is hoped it will be shown later this year.

In 1953, following successful solo exhibitions at the Frumkin Gallery in Chicago and the Stable Gallery in New York, Burri was included alongside Karel Appel and Pierre Soulages, among others, in James Johnson Sweeney's «Younger European Painters» at the Solomon R. Guggenheim Museum.

Other Exhibition ： Ellie Omiya «This is forest speaking» Saturday, April 22 — Sunday, June 11, 2017 Kanaz Forest of Creation, Fukui, Japan For more information, please visit the following link.

The price achieved cements Hlobo's place on the secondary market, now in tandem with his strong institutional presence following the exhibition of his work at the Centre Pompidou, the Smithsonian National Museum of African Art, Tate Modern, and the Boston ICA, among others.

Is this a desperate attempt by the Royal Academy to cash in on Monet's name, following on from many other exhibitions that featured him?

Solo exhibitions by the artist took place at the following institutions (amongst others): Kevin Space, Vienna (2017); mother's tankstation limited, Dublin; Chisenhale Gallery, London (2016); Helga Maria Klosterfelde Edition, Berlin; Cell Projects, London (2014); Arcadia Missa, London (2012).

While MFA exposure and real - world experience are at the core of the Welch Aqua Art Miami program, more than a dozen works were acquired including paintings by Larkin Ford, Joe Hadden and Elham Masoudi, ceramic / DVD works by Rachael Ballard, and photographs by MFA photo graduates, Tyler Mann, John Prince and Ben Lee, among others, as well as follow - up with potential collectors and exhibition leads.

Exhibition and event series Stedelijk at Trouw: Contemporary Art Club Following the acclaimed program of the Temporary Stedelijk 3 — Stedelijk @, which included four major events at the impressive spaces of the night club TrouwAmsterdam, the Stedelijk continues the series «Contemporary Art Club» with three new installments, exhibiting the monumental video work of Cheryl Donegan, Tracey Emin, Cyprien Gaillard, Sarah Morris, Elizabeth Price, Jeremy Shaw, and others.

Joyce J. Scott: Harriet Tubman and Other Truths is supported in part by the following funders: National Endowment for the Arts Art Works, Bank of America, New Jersey Council for the Humanities, Agnes Gund Foundation, Art Alliance for Contemporary Glass, The Coby Foundation, LTD., Rotasa Foundation, PNC Fund of the Princeton Area Community Foundation, Goya Contemporary, Shirley and Arthur Martin Family Fund, and the following Exhibition and Education Supporters: Robbye D. Apperson, Jackie & René Copeland, Gordon and Lulie Gund, Barbara Lawrence and Allen Laskin, Mike De Paola and Alan White.

The exhibition includes a ranting mop, a music box, a sculpture made of twisted plastic that rhythmically drums as it drops water into steel buckets, a whistling tree branch, an amalgamation of sensory organs made from bondo that rises more than 7 feet tall, and a drawing of a record that the artist produced by following the melody of a song with one hand and the rhythm with the other.

First presented at The Metropolitan Museum of Art, New York, in 2016, The Critical Edge follows two other major exhibitions of Tuttle's work.

Installed throughout the Museum's Upper Galleries — and including examples of Ai's signature wallpaper combining timely subjects and traditional motifs — the exhibition features the following large - scale works, among others:

In 1961, following an invitation to participate along with artists Jean Dubuffet, Mark Rothko, Sam Francis, and others in an exhibition of contemporary painting entitled «Art and Contemplation», held at Palazzo Grassi in Venice, he created a series of 22 works dedicated to the lagoon city.

This exhibition, following the Kemper Art Museum's 2011 exhibition Island Press: Three Decades of Printmaking, presents a survey of artworks created in the last decade by over a dozen visiting artists, including Radcliffe Bailey, Orly Genger, Trenton Doyle Hancock, Nina Katchadourian, Dario Robleto, James Siena, and Paula Wilson, among others.

Drawing on the extraordinary Princeton University Jewish American Collection, gift of Mr. Leonard L. Milberg, Class of 1953, and Mr. Leonard L. Milberg's personal collection, together with art, objects, and documents from the New - York Historical Society and other collections, the exhibition follows the familiar and unfamiliar pathways taken by Jews to these shores, as well as their efforts to adapt to their new homeland.

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.

This is in essence the basic procedure followed by Carol Bove, even if the other works on show in the exhibition are not directly related to ZERO but present instead a picture of the intellectual atmosphere of the time in which ZERO also attained its zenith.

Amongst other works, the exhibition also includes a new commission The Ballad of Special Ops Cody (2017) as well as his well - known «The invisible enemy should not exist» (2007 — ongoing) a series of sculptures that represent an attempt to reconstruct archaeological artifacts from the National Museum of Iraq, following the 2003 US invasion.