Sentences with phrase «painting survey show»

I'm struggling to think of a decent abstract painting survey show (from any period) outside London since the «Indiscipline of Painting» at Warwick.

Not exact matches

To measure historical empathy, we included three statements on the survey with which students could express their level of agreement or disagreement: 1) I have a good understanding of how early Americans thought and felt; 2) I can imagine what life was like for people 100 years ago; and 3) When looking at a painting that shows people, I try to imagine what those people are thinking.

Opening: Alberto Burri at the Guggenheim This exhibition, titled «The Trauma of Painting,» represents the first U.S. survey in over 35 years — and the most comprehensive show — of the works of post-World War II Italian painter and sculptor Alberto Burri.

Opening: «Kerry James Marshall: Mastry» at Met Breuer This mid-career survey, one of the most hotly anticipated New York museum shows of the year, focuses on the work of Kerry James Marshall, the Chicagoan painter whose paintings and drawings, for the past 35 years, have focused on the position of black artists in art history.

A broad survey of rare and never - before exhibited large - scale paintings, the exhibition centers around the artist's monumental «map paintings» created between 1967 and 1971, the year they were first shown at the Whitney Museum of American Art.

The Swiss - based Hauser & Wirth Gallery has delivered a coup — the thematic survey loan show «Philip Guston and the Poets,» which not only presents that American artist in sovereign form, but also enshrines him in the Vatican of Venetian painting, the Gallerie dell» Accademia (through Sept. 3).

BEST EXHIBITION SCHEDULE AT A MUSEUM IN UPHEAVAL The Met's, which included shows of camera - phone images exchanged by 12 pairs of artists; the nearly abstract etchings of the 17th - century Dutch artist Hercules Segers; Marsden Hartley's Maine paintings; an astounding survey of Japanese bamboo art and basketry (through Feb. 4); and, of course, the recently opened shows of David Hockney's paintings (through Feb. 25) and Michelangelo's drawings.

Renowned art curator, historian, and Artistic Director of the Serpentine Galleries, Hans Ulrich Obrist, will be in conversation with American artist Dan Colen on «Sweet Liberty», Colen's first major solo show in London, which surveys the entirety of the artist's career to date and also features new paintings and large - scale installations.

A small survey at George Adams Gallery in New York last spring, Joan Brown: Major Paintings from the 50s, 60s, and 70s, gave shape to Brown's enthusiastic reception of Bischoff's example, showing how she searched her immediate environment for things to paint.

Selected Group Exhibitions 2017 Ted Stamm / Gerrit Rietveld, OV Project, Brussels, Belgium 2017 Painting on the Edge: A Historical Survey, Stephen Friedman Gallery, London 2012 Times Square Show Revisited, Hunter College Art Galleries, New York, NY 2010 Black & White, Galleri Weinberger, Copenghagen, Denmark 1987 Recent Acquisitions, Guggenheim Museum, Brooklyn, NY 1987 Recent Acquisitions, Brooklyn Museum, New York, NY 1985 Art Heritage at Hofstra, Emily Lowe Gallery, Hofstra University, Hempstead, NY 1985 Constructures: New Perimetries in Abstract Painting, Nohra Haime Gallery, New York, NY 1984 Fourth Annual Anniversary Show, John Davis Gallery, Akron, OH 1984 Fifteen Abstract New York Painters, Susan Montezinos Gallery, Philadeiphia, PA 1984 Small Works, Muhlenberg College, Allentown, PA 1984 Mail Art, Franklin Furnace, New York, NY 1984 Artists Call, Judson Memorial Church, New York, NY 1984 Process Black, LIU South Hampton, New York, NY 1984 A Decade of Art, Artists Space 105 Hudson, New York, NY 1984 Offset: A Survey of Artists Books, New England Foundation for the Arts, Wakefield, RI 1983 David Reed, Sean Scully, Ted Stamm; Zenith Gallery, Pittsburgh, PA 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; 1708 East Main Street, Richmond, VA 1983 Abstraction Two Views: Davis and Stamm, The Contemporary Arts Center, Cincinnati, OH 1983 Second Anniversary Exhibition, Harm Bouckaert Gallery, New York, NY 1983 Hundreds of Drawings, Artists Space, New York, NY 1983 A More Store, Jack Tilton Gallery, New York, NY 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; Condeso / Lawler Gallery, New York, NY 1983 Artists for Nuclear Disarmament, Colburn Gallery, Burlington, VT 1982 A Look Back: A Look Forward, Aldrich Museum, Ridgefield, CT 1982 Pair Group, Art Galaxy, New York, NY; travelled to Jersey City Art Museum, Jersey City, NJ 1982 Destroyed Prints, Pratt Manhattan Center, New York, NY 1982 Annual Holiday Invitational, A.I.A. Gallery, New York, NY 1982 Group Exhibition, Roy Boyd Gallery Chicago, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL 1982 Pair Group II, Jersey City Museum, Jersey City, NJ 1982 Black and White, Freeport Mc Mo Ran, New York, NY 1982 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post, Greenvale, NY 1981 Drawings, Roy Boyd Gallery, Chicago, IL 1981 Abstract Painting: New York, Hofstra University, Hempstead, NY 1981 Arabia Felix, Art Galaxy, New York, NY 1981 Words and Images: Contemporary Artist's Books, Southern Alleghenies Museum of Art, Loreto, PA 1981 Love: Hate: Fear and Suicide, University of Brussels, Brussels, Belgium 1981 New Directions, Commodities Corp..

«Functioning as a survey of recent developments in abstract painting, the show spans a diverse range of work culled from 25 New York - based artists.

At Ad Reinhardt's prodding, in late 1961 his Parisian dealer Iris Clert offered him a solo show in her gallery, but because of expenses and scheduling it did not become a reality until June 1963.1 Reinhardt was elated about how great his painting looked as part of the Guggenheim survey exhibition, Abstract Expressionists and Imagists, which had opened October 13, 1961.

Tiffany Bell and Frances Morris — the loving curators who put the London survey of her work together — include 1954's Untitled, with its Adolph Gottlieb — like shapes and a few other paintings of its kind, the better to show what it looked like as Martin moved away from the body and into drawing something more ineffable — nature, or more specifically, the cosmos at the heart of the natural world.

With «Richard Estes: Painting New York,» its survey of a pioneering photorealist, the Museum of Arts and Design has mounted the first painting show in its 60 - year Painting New York,» its survey of a pioneering photorealist, the Museum of Arts and Design has mounted the first painting show in its 60 - year painting show in its 60 - year history.

The most important show that I did at MOCA, for me, was «The Painting Factory,» a survey of new abstraction.

These successes launched Hoptman back to MoMA in 2010 as curator of contemporary art in its painting and sculpture department, and since then her landmark show has been «The Forever Now: Contemporary Painting in an Atemporal World,» the 2014 conversation - starter billed as the first contemporary painting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previopainting and sculpture department, and since then her landmark show has been «The Forever Now: Contemporary Painting in an Atemporal World,» the 2014 conversation - starter billed as the first contemporary painting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previoPainting in an Atemporal World,» the 2014 conversation - starter billed as the first contemporary painting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previopainting survey at the institution in some 30 years, featuring 17 contemporary abstract painters — including Mark Grotjahn, Kerstin Brätsch, and Mary Weatherford — who notably remix the techniques of painters from previous eras.

At ABMB, Pace showed (and sold, at prices ranging from $ 75,000 to $ 1m) 16 signature black Louise Nevelsons; Mitchell - Innes & Nash gave a wall to Jessica Stockholder's 14 - element assemblage; Rosalyn Drexler's canvas collages of magazine strips took over Garth Greenan's Survey booth; a Kiki Smith white car - painted bronze anchored Timothy Taylor's space; Noga, the sole Israeli gallery (why?)

The New Museum show is a small survey that traces Ms. Eisenman's steady development in 22 paintings, from 1996 to 2014, and three recent sculptures.

Surveys of Thomas Demand, Lee Friedlander, and Odilon Redon have shown a dedication to making media beyond painting and sculpture central to the collection.

On September 17, Clark will inaugurate the talent agency UTA's new 4,500 - square - foot art space in downtown Los Angeles, in a show that will survey his films, photographs, paintings, and collage.

In the number and quality of paintings on view from this period, the show parallels Guston's important 1966 survey at the Jewish Museum in New York, a half century ago.

That exhibition was a highly subjective, celebratory survey of contemporary painting, and it is in this spirit that the current show has been organized.

Monographic shows of Hume's work were organized at the Kestnergesellschaft, Hannover, and the Kunsthaus Bregenz, Austria, in 2004, and Modern Art Oxford mounted a survey show of his Door paintings in 2008.

2009 TIME + TEMP: Surveying the Shifting Climate of Painting in South Florida, Art and Culture Center of Hollywood, curated by Jane Hart, Hollywood, FL Inaugural Exhibition, Florida Museum for Women Artists, Deland, FL Dog Days of Summer, Bernice Steinbaum Gallery, Miami, FL Summer Show, Boca Raton Museum Of Art, FL Through the Lens: Contemporary Photography from The Permanent Collection, Jacksonville Museum of Contemporary Art, FL

Martin's work has been the subject of nearly 100 solo shows and two retrospectives including the survey Agnes Martin organized by the Whitney Museum of American Art, New York, which later traveled to Milwaukee, Miami, Houston, and Madrid (1992 — 94), and Agnes Martin: Paintings and Drawings 1974 — 1990 organized by the Stedelijk Museum, Amsterdam, with subsequent venues in France and Germany (1991 — 92).

Several galleries in Survey will feature strong political presentations, including The Box who will show early drawings and paintings by Judith Bernstein (b. 1942), an artist who explores political landscapes and elements of power and aggression in society.

This may be why Josh Smith's current handsome show of paintings that look pretty much like Cy Twombly's work can sell out, be included in museum surveys, and be fawned over by collectors: His work says to these people, «These paintings look just like Twombly, but they're good because I know this, and the paintings also exist as ideas of paintings, and you are in on it.»

Happily, the Tate's expansive exhibition recognizes the centrality to Hamilton's work of print as idea and printmaking as process — a welcome antidote to the many surveys that concentrate on painting and sculpture to the exclusion of graphic art — and showed the prints as fully integrated within the larger body of Hamilton's wide - ranging oeuvre.

By 1937, the show was a success, and the museum quickened its pace, putting on two surveys a year: one in the fall for painting and another of sculpture in the spring.

The artist Louise Fishman, primarily known for her large - scale abstract paintings, is the subject of two forthcoming exhibitions: «Louise Fishman: A Retrospective,» a fifty - year survey show at the Neuberger Museum of Art at SUNY Purchase, opening on April 3, 2016, and running through July 31, 2016; and «Paper Louise Tiny Fishman Rock,» an idiosyncratic presentation -LSB-...]

Long celebrated for his peppy still life paintings and fantastical landscapes, the 96 - year - old California native is currently in London for a survey show at the city's White Cube gallery.

He has been the subject of numerous retrospectives, including William Wegman: Paintings, Drawings, Photographs, Videotapes (Abrams) in 1990, a 20 - year survey of his work presented at the Kunstmuseum Lucerne as well as shows at the ICA London, the Stedelijk Museum, the Frankfurt Kunstverein, the Centre Pompidou, the ICA Boston, the Whitney Museum, and the Contemporary Arts Museum in Houston.

So we thought it would be interesting to do an exhibition where we showed these different positions, but not as a staged show — in the «80s there were a lot of staged shows, like Kasper himself had done «From Here Out» [a 1984 survey of «two months of new German art»]-- but rather as a quite nonhierarchical exhibition where it would just be a couple of paintings by each artist.

This has given us extraordinary new discoveries, like the late gay Indian painter Bhupen Khakhar, who recently had a stunning survey at Tate Modern, and the ecstatic mystical paintings of Hilma af Klint that you showed at the Serpentine.

We knew that the show couldn't be an exhaustive survey of self - portraiture but we started by thinking about the Van Dyck painting and what makes it so important: the fact that the artist caused such a seismic shift in the approach to portraiture in the 17th century that was to last for at least the next three centuries; that his portraits were a form of «self - advertisement» and show an acute awareness of his identity and public image as a successful artist; that it was his final self - portrait, made in the last year of his life at the age of 42 and that his various self - portraits (there are seven known in total) trace his life as an artist.

From 2003 until 2011 he was a curator at the Antwerp Museum of Contemporary Art (MuHKA), where he organized large - scale group exhibitions as well as monographic shows, including Emotion Pictures (2005); Intertidal, a survey show of contemporary art from Vancouver (2005); The Order of Things (2008); Auguste Orts: Correspondence (2010); Liam Gillick and Lawrence Weiner — A Syntax of Dependency (2011); A Rua: The Spirit of Rio de Janeiro (2011); Chantal Akerman: Too Close, Too Far (2012) and the collaborative projects Academy: Learning from Art (2006), The Projection Project (2007), All That Is Solid Melts Into Air (2009), and Kerry James Marshall: Paintings and Other Stuff (2013).

Current projects include the group show Rose Ocean: Living with Duchamp, the solo exhibition Njideka Akunyili Crosby: Predecessors; a two - year performance - based residency / installation with Kamau Amu Patton, and the career - survey Dona Nelson: Stand Alone Paintings.

For two decades, David Hammons's angle on survey shows could be précised by one of fellow Chouinard Art Institute alumnus Ed Ruscha's painted axioms: «I don't want no retrospective» (sic).

Weller, Allen S, «Chicago: French Classic and Three Americans», Arts Digest (New York), February, volume 29, no. 10, pp. 14 - 15 Morris, J.A, Two Hundred Years of American Painting, catalogue, Vancouver Art Gallery Williams, Hermann Warner, The 24th Biennial Exhibition of Contemporary American Painting, catalogue, Corcoran Gallery of Art, Washington D.C. Three Young Americans, catalogue, Allen Memorial Art Museum, Oberlin College, Ohio Whiteside, Forbes, «Three Young Americans», Oberlin College Bulletin, volume 12, no. 3, pp.91 - 97 Preston, Stuart, «The Artist in Europe — And in America», New York Times, 8 May, section 6, pp.28 - 29 Devree, Howard, «About Art and Artists: Painting and Sculpture: American Show at Whitney, European at Modern Art», New York Times, 11 May, p. 29 Devree, Howard, «Modern Surveys» Development Since 1920 Seen in Three Shows», New York Times, 15 May, section 2, p. 9 Rosenblum, Robert, «The New Decade», Arts Digest (New York), 15 May, volume 29, no. 16, pp.20 - 33 Devree, Howard, «Response to Today: Museum Surveys Reveal Artists» Reactions», New York Times, 22 May, section 2, p. 11 Coates, Robert M, «The Art Galleries: The Grand Tour», New Yorker, 28 May, volume 31, no. 15, pp.90 - 92 Hess, Thomas B, «Mixed pickings from 10 fat years», Art News (New York), Summer, volume 54, no. 4, pp.36 - 39 & 77 - 78 Ashton, Dore, «Young Painters in Rome», Arts Digest (New York), 1 June, volume 29, no. 17, pp.6 - 7 Baur, John I.H, The New Decade: 35 American Painters and Sculptors, catalogue, Whitney Museum of American Art, New York Laverne, George, «Joseph Glasco», Arts (New York), November, volume 30, no. 2, pp.32 - 36 Hodgins, Eric and Lesley Parker, «The Great International Art Market», Fortune (New York), December, volume 3, no. 6, p. 118

Organized by Paul Schimmel, it includes 36 paintings and 53 drawings, many of them exhibited in the artist's 1966 survey at the Jewish Museum (a touchstone for this show).

Focusing variously on his paintings, his collages and his role as a mentor and teacher at the New York Studio School, these shows constituted a survey of his wide - ranging practice over the course of nearly 50 years.

The centrepiece of this concise, country - hopping survey of abstract painting is a large untitled 2010 canvas by du jour abstractionist Zander Blom, which explicitly quotes Mondrian; it is also the oldest work on show.

The first exhibition of the autumn season is a critically engaged survey show that takes as its subject the materiality of paint and its transformative potential.

Does he even need another show, after the Rauschenberg retrospective at the Guggenheim twenty years ago and a survey of the combine paintings at the Met in 2006?

No. 286,» an inscription denoting the work's catalogue number, was added in white chalk to the back of Collection when it was shown at the Tate Gallery, London, in 1964 as part of the group survey Painting and Sculpture of a Decade, 1954 — 1964.

But one painting holds pride of place: Henry Taylor's «The Sweet William Rorex Jr.,» from 2010, which Mr. Lumpkin lent to MoMA PS1 for its survey show in 2012.

This is the first major solo show in London, surveying the entirety of the artist's career to date and also featuring new paintings and large - scale installations.

As the Royal Academy presents the first major British survey of Johns» work in 40 years, its co-curator Edith Devaney discusses the genesis of the exhibition, the new painting prepared for the show by the 87 - year - old artist, and the UK's renewed interest in post-war American art

The «black square» that opens the show is actually Kazimir Malevich's Black Quadrilateral (undated), borrowed from the Greek State Museum of Contemporary Art, and painted around the same time as Malevich's Black Square (1915), making this a centennial survey of geometric abstraction.

Gagosian presented two major exhibitions of de Kooning's work in the years since acquiring control of the estate, «Willem de Kooning: A Centennial Exhibition,» a 2004 survey, and «Willem de Kooning: The Last Beginning,» a critically acclaimed 2007 show that focused on the artist's late work — a body of paintings that until recently were dismissed as inferior due to the waning mental health of his final years.