Sentences with phrase «painting exhibitions seen»

In 1923, when Mainie Jellett and Evie Hone staged one of the first abstract painting exhibitions seen in Ireland at the Society of Dublin Painters, critics were horrified at the show's absence of realism.

Not exact matches

HRT: The portrait that I will always remember the most, and that many people have been moved to tears when they saw it in the exhibition, is a painting of Abdul Rahman.

I had a lot of photos inside the palace including beside the wall painting of Queen Marie - Antoinette but having the opportunity to pose beside these great shoes by Joana Vasconcelos which I first saw in June from an exhibition photo, is timeless.

He's seeking a commission for an exhibition of paintings that comparatively few will see, that in any case will be hard - pressed to summon the galvanizing power of a well - made film (or song, as we see in one lovely scene), which Mrs. Cole's slop is turning out to be.

A lifelong love painting Haystack Rock en Plein Air (on location and in natural light) can be seen in this exhibition.

Featuring 60 paintings and collages made between 1954 and 2013, the exhibition was monumental in both scope and effect: by showing a less frequently seen side of Katz's work, it prompted the viewer to reconsider the artist's overall project, now well into its sixth decade.

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.

I'd seen his paintings in a few exhibitions, and had researched to learn more about them.

Tomorrow (November 15) is the last day to see an exhibition of recent paintings by John Walker at Alexandre Gallery, New York.

I'd seen his paintings in a few exhibitions,... Read More

Thus, an exhibition now on view at Lori Bookstein Fine Art in New York that showcases a number of Müller's mature, large - scale paintings is a welcome, if short lived, opportunity to see his monumental Abstract Expressionist allegories.

As I teach, judge, visit exhibitions and look at work in books or across social media, I see bits and pieces of paintings that cause me to think about how a particular effect or even a type of brush stroke could impact my own work.

Fishman is currently the subject of two large exhibitions: «Louise Fishman: A Retrospective» at the Neuberger Museum of Art acts as the 77 - year - old's first comprehensive show, while «Paper Louise Tiny Fishman Rock» at the Institute of Contemporary Art, Philadelphia displays an entirely different body of work, focusing on sketchbooks, smaller paintings and sculptures, and other rarely - seen items.

In the introduction to her much - needed and admirable exhibition Black Paintings at Haus der Kunst, Munich (2006), Stephanie Rosenthal states that the creation of these paintings «revolve [d] around not being able to see (anything), or focus [ed] on the inwardly directed gaze of the viewer or on the artist's own existential state&raPaintings at Haus der Kunst, Munich (2006), Stephanie Rosenthal states that the creation of these paintings «revolve [d] around not being able to see (anything), or focus [ed] on the inwardly directed gaze of the viewer or on the artist's own existential state&rapaintings «revolve [d] around not being able to see (anything), or focus [ed] on the inwardly directed gaze of the viewer or on the artist's own existential state» (2).

The exhibition, with more than 50 paintings dating to 1964, was seen in New York at the Studio Museum in Harlem.

Presented through all of MUMA's recently designed galleries, the inaugural exhibition sees artists explore performative, media and event cultures, and the post-industrial architecture of the urban fringe, whilst others work with sound, light, sculpture, film, and painting in its diverse and expanded forms, offering a multi-sensory register of art and everyday life, from complex cultural perspectives.

As seen in the second half of Monet in the 20th Century the exhibition currently at the Museum of Fine Arts, Boston, Monet's paintings of 1914 - 1926 are equaled only by those of Picasso, Matisse and Pollock in this century.

The exhibition Mernet Larsen: Getting Measured will feature never - before - seen early drawings, a select group of studies and works on paper, and a survey of paintings from the 1960s to the present.

I am reposting it now in 2016 seeing the painting is finally completed and showing in my solo exhibition at Castang Art Project.

The night before we meet had seen the opening of his latest exhibition of paintings, at Carl Freedman Gallery in east London (Emin was there).

Over the last decade there have been a very few exhibitions that have attempted to explore this history from a New York perspective («High Times Hard Times: New York Painting 1967 - 1975» in 2007, «Conceptual Abstraction» in 2012, my own «Reinventing Abstraction» in 2013), and if there have been any books on the subject, I haven't yet seen them.

Perhaps the mannerism found in Varejão's new tropical / orientalist banana - leaf painting series can be seen as being part of a negative phenomena found in many international galleries based in Hong Kong and China, where «the Orient,» as a subject, seems to be enforced on artists debuting a solo exhibition at these spaces.

In his 1950 exhibition at the Betty Parsons Gallery, he put up a notice that while there is a tendency to look at large paintings from a distance, these works were intended to be seen from close up.

Gill & Lagodich has provided both period and replica frames for paintings from the Terra Foundation for exhibition or long - term loan to other esteemed institutions (see details of some exhibitions below).

Few people saw that coming in New York in 1965, when she had her first solo exhibition, featuring her versions of a Frank Stella concentric painting, a Jasper Johns flag, and dozens of Andy Warhol silk - screened flowers.

Featuring rarely seen works by major American artists — including James Peale, John F. Peto, Thomas Hart Benton, Georgia O'Keeffe and Andrew Wyeth — this exhibition celebrates the history of still - life painting in the United States.

This season alone has seen top - drawer exhibitions of painting, and artists continue resolutely to dab at their canvases.

This was evident in the two paintings, «John Constable's Tree» (2014) and «Bird Strike» (2009), that I saw in the 2015 Invitational Exhibition of Visual Arts, hosted by the Academy of American Arts and Letters (March 12 — April 12, 2015).

The opportunity to see 86 paintings by Claude Monet at the Museum of Fine Arts, Boston in its exhibition: Monet In The 20th Century, September 20th to December 27th 1998, shouldn't be missed by any serious viewer of important contemporary painting.

This exhibition of rarely - seen paintings by Konrad Lueg (1939 — 1996), also known as Düsseldorf - based gallerist Konrad Fischer, includes 18 paintings produced from 1963 to 1968, the five - year period during which the gallerist also worked as an artist.

Nikki Maloof at Jack Hanley Gallery, Independent The Brooklyn - based artist Nikki Maloof is building out her menagerie - like solo exhibition at Jack Hanley at the end of last year with an actual porch, plus her usual fare of animals, most fittingly seen in paintings of moth screens.

«The history of painting has seeped into the portraits», Opie says, describing how seeing Lady with an Ermine (1489 — 90) at the National Gallery's 2011 Da Vinci exhibition in London immediately evoked her son Oliver holding his pet mouse.

Kerry James Marshall: Look See, an exhibition of new paintings by the artist, marked his first gallery solo show at David Zwirner in London that same year.

The exhibition will feature never before seen canvas oil paintings; tulle portraits, a continuation of the artist's «Gaze» series presented by C24 Gallery in 2012.

Building on Artists Space's history as an institution whose program has increasingly emphasized community participation and political organization (see last year's Decolonize This Place, which turned the gallery into a weekly activist meeting hub), Coop Fund foregoes traditional media like painting or sculpture in favor of video, art - science hybrids, updated junk sculpture, and institutional critique, making an implicit statement about these media that, for their associations with high - modernist seriousness, are appropriate to a politically engaged exhibition.

According to art historian Jane Livingston, Diebenkorn saw both Matisse paintings in an exhibition in Los Angeles in 1966, and they had an enormous impact on him and his work.

The Aspen Times, December 18, 2008, pp. 6 - 7 Zuckerman Jacobson, Heidi, «Now You See It,» Aspen Magazine, Holiday 2008 - 09, p. 66 Bankowsky, Jack, «Best of 2008: Guyton / Walker (LAXART, Los Angeles),» Artforum, December 2008, p. 273 Calderoni, Irene, Wade Guyton, «50 Moons of Saturn: T2 Torino Triennale,» catalogue, pp. 294 - 299 Garrels, Gary, «Oranges & Sardines,» Hammer, Exhibitions calendar, Fall 2008, p. 9 Serafin, Amy, «The Perfect Antidote,» Art & Auction, October 2008, pp. 178 - 183 & 215 Frankel, David, «Painting: Now and Forever, Part II», Artforum, October 2008, pp. 379 - 380 Grosenick, Uta.

The book, edited by Trevor Schoonmaker, Curator of Contemporary Art at the Nasher, brilliantly presents a masterful look at the figurative painting, a selection of which can be seen in the next iteration of Soul of a Nation, which opened earlier this month at the Crystal Bridges Museum of American Art in Bentonville, Arkansas, as well as in the exhibition catalogue, available from the Tate, which features Hendricks» painting «What's Going On» (1974) on the cover.

A funny coincidence happened on my way to see Cheyney Thompson's exhibition of new Quantity Paintings, entitled Somewhere Some Pictures Sometimes.

The event is your last chance to see all of MoMA PS1's winter exhibitions including Carolee Schneemann: Kinetic Painting, Cathy Wilkes, and Naeem Mohaiemen: There Is No Last Man.

Head a few blocks over, and seize the opportunity to see some more top - shelf art by heading to Hammer Galleries to admire their exhibition dedicated to the masters Matisse and Picasso, or to Leslie Feely, currently displaying a selection of paintings by Jules Olitski that explore light and color through his diverse painting techniques, processes, and materials.

For this exhibition the pieces were chosen not only because of their life and vibrancy, but because of their small size; I feel that there is an immediate transaction that takes you into them and because they are small, the relationship of the paintings to the body is different — one has to get up close to see them, find the complexity, detail and subtlety that lies in wait for the patient observer.

The extensive exhibition will trace the origins of these highly operatic text - based paintings back to Hanson's earliest works, showing rarely seen examples from the»60s and»70s alongside his vibrantly colorful, buoyantly playful recent paintings.

2015 Ten Year Anniversary, GAVLAK, Los Angeles, CA & Palm Beach, FL A Painting is a Painting isn't a Painting, curated by Hamza Walker, Kadist Art Foundation, San Francisco, CA Summer Group Exhibition, GAVLAK, Los Angeles, CA America Is Hard To See, Whitney Museum of American Art, New York, NY

In the exhibition, Collage as Painting: Kate Abercrombie and Trevor Winkfield, currently on view at Fleisher / Ollman Gallery, Abercrombie's paintings reflect the financial anxieties and desires I see in my neighbors, and in myself.

Described as «definitely an exhibition to go see», Yau summarizes the work from Chen's «Light Space Intimacy» series as:» [she] likens the viewer's experience of her painted constructions to «exploring a newly acquired digital device,» but they have much more staying power than that.»

Johns had seen Munch's painting for the first time at the New York exhibition in 1950 and again, in Washington, in 1978.

Blockbuster exhibitions tend to attract huge crowds that make seeing the paintings difficult, if not sometimes unpleasant and this show is no exception.

The exhibition includes Simmons's first chalk drawings on blackboards done in the artist's «erasure» technique along with sculptures, paintings, photographs and a 1992 wall drawing not seen since it's first presentation at the Drawing Center.

Among a selection of her small scale collage paintings, you'll see three fabric - based modular books she made for her recent exhibition at the State Silk Museum in Tbilisi, Georgia.