Sentences with phrase «past exhibitions like»

Exploring the relationship between water, light, architecture, and color, past exhibitions like Old Masters and Water are founded upon the notion that the way we experience the installation of the exhibition is just as important as the exhibition itself.

Not exact matches

The 3D of my screening and many other exhibitions dulls the vivid colors, but does convey the depth of Rachel McAdams» cheek mole like none of her past movies has.

The superhero blockbuster trend shows no signs of slowing down, with upcoming releases of Thor: The Dark World, Captain America: The Winter Soldier, X-Men: Days of Future Past and dozens of other planned films, including the much - anticipated sequel to Avengers Assemble, and new television series such as Agents of S.H.I.E.L.D. Superheroes are everywhere, from shirts to toys to exhibitions like the Marvel Super Heroes 4D experience at Madame Tussauds.

I guess that's one of the things that makes them different from photographs, in that a photograph might be a record, a snap, one moment — a painting I think is about creating a small world around that photo... I really like that idea of something that you can enter like a box or an exhibition space, and enter these little rooms which for me are memories, but it's not about nostalgia — it's more about setting up something that's still living — so it's almost they're all in the present, rather than in the past.»

For the past quarter century, primarily with his paintings but also, as a recent exhibition title put it, «other stuff,» like photographs, videos, sculptures, and installations, he has been getting black figures onto museum walls.

For this pivotal first exhibition, Firestone chose to display works by an artist who, like the block's artistic past, was fading into the annals of history.

As with previous exhibitions, McGee's installation at MCASB will reflect the surrounding environment and particular histories of the region; references to Santa Barbara's past and cultural oddities like the The Reagan Ranch Center will inform this dynamic exhibition.

Despite most of them having active emerging careers as solo artists, they've produced collaborative solo exhibitions every year for the past seven years (with the exception of 2016) at places like Shoot the Lobster in New York, Queer Thoughts in Chicago (it's since moved to New York), Library Plus in London, and Courney Blades in Chicago.

However, instead of trying to establish a pedigree that approximates the emergence and development of modern art in larger metropolitan areas like New York, Chicago, or Los Angeles, with its requisite local variations of welded steel sculpture and lyrical abstraction, the historic past proposed in this exhibition is one that is just as idiosyncratic as the present it influences.

In this RA exhibition, she focuses on landscape, a category of painting closely tied to the RA's past championed by the likes of Thomas Gainsborough, J.M.W. Turner and John Constable.

Foregrounding a new development in the artist's practice, which moves beyond notions of verisimilitude, the exhibition presents the Rooter series of iron sculptures, all made in the past two years, which apply plant - like branching systems to map a human body in space.

Looking past what he called the «bling bling, sparkle sparkle» factor of the exhibition is a grave theme: the fraught nexus of gun violence and race, in particular the deaths of African - Americans in police custody in places like Ferguson, Mo., and elsewhere.

His latest exhibition was full of what seemed like semi-monuments to past performances, as though they were commemorative gestures that got cut short halfway through, diverted to an alternate scenario.

As far as my exhibition at PC — G is concerned, each work on clear mylar, which are kind of like «mobiles,» are composed of pieces of painted tape from my studio walls, past paintings and installations.

The exhibition title also reflects the current climate of the surreal revival of past forms of prejudice and injustice thought to have been eradicated but resurfacing like a societal necrosis.

What I like about this exhibition is that contemporary works are being shown but there is quite a strong sense of the past about it.

Like John McCracken, Kerry James Marshall, and Charlotte Posenenske, she is an artist whose work appeared at multiple locations throughout Documenta 12 this past summer — an ennoblement closely followed by her first solo exhibition in an American museum, currently on view at the Museum of Contemporary Art, Los Angeles.

This exhibition is like stumbling into a captivating lost archive of crumpled papers and stories from a time gone past.

The Art of the Collector @ Halcyon Gallery This exhibition is inspired by great art collectors of the past, but that's just the excuse to display a fantastic range of works by Picasso, Andy Warhol's pop prints of Marilyn Monroe and Chairman Mao, Joan Miro's colourful abstract paintings and Marc Chagall's dream - like figures.

I wanted this show to feel like an exhibition created out of inspiration and respect for both the past and the future».

The structure of the exhibition unites recollections of the past like long immersions in the Mexican countryside, the work reminiscent of her voyages by train from Monterrey to Los Mochis, to those months spent in Oaxaca on the...

Past Wish You Were Here exhibitions have included work by notable artists like Mary Beth Edelson, Dottie Attie, Mary Grigoriadis, and Barbara Zucker.

As she wrote in her East Hampton studio this past July for the exhibition catalogue: «Aging people like me still love, still paint, still write, still care, and still hope.

But compared to Al - Hadid's more grandiose sculptures of exhibitions past, these three works on view feel more like one - off studies, highlighting the experimentation that's integral to the artist's process.

In a current exhibition highlighting works from the permanent collection made during the past 40 years, SFMOMA is beginning to look like a real museum with a real collection, not just a kunsthalle that hosts touring shows with a few pictures of its own hanging in the leftover spaces.

An exhibition of 11 new sculptures and 20 recent works on paper that opens May 7 at Matthew Marks's 22nd Street gallery may at first seem like classics from the past, but on closer inspection there is much that is new about this work.

Fürstenberg likes to point out that the proof that universals both exist and mitigate disputes can be witnessed at the opening of her exhibitions, where in the past such opposing heads of states as Yasser Arafat and Jacques Chirac could be seen conversing with artists Alfredo Jaar, Chen Zhen and Robert Rauschenberg.

With Charline von Heyl's presentation, Bonner Kunstverein builds on the exhibition practice from the past decades that has repeatedly taken up renowned and influential positions like Christopher Williams and Matthias Poledna in 2009, Leiko Ikemura in 2006, Bas Jan Ader in 2000 or Alighiero Boetti in 1992.

While signaling a liberation from modernist doctrines of autonomy and specificity that held firm almost until the end of the past century, exhibitions like The Waning of Justice also make clear the ambivalences and pitfalls within this turn — here most clearly evident in the gallery's untenable claim that the five individual works remain autonomous despite their syncing, shared components, and unified installation.

At the same time, the exhibition functions as a group portrait of Pearlstein's art world, bringing together historical and recent works portraying the artist's friends and colleagues — figures like Al Held from the past, and Patterson Sims, the curator, still working.

The «city posters», much like the «diplomas» are part of the exhibition's past tense, referring to an earlier innocence / naivety, an unattainable state, in order to throw us all the more into a complex unresolved present.

A step, by the way, that sounds an awful lot like steps taken at one time or another in the past, «with two in - house curators acting in the role of advisors and three external curators asked to organize the exhibition.»

Her beguiling female nudes, traversing canvases, murals, and neons, have charmed the art world over the past year, as highlights at MoMA PS1's «Greater New York» exhibition, and the buzz of major international art fairs like Frieze London and Art Basel in Hong Kong.

Young «Texas talent» like Grayson Chandler debuted this past summer with a «sell out» exhibition.

Given Scott's frequent recontextualization of historic events and icons, the exhibition's purview, suggested by the title Past, Present & Future, would comfortably accommodate many of the artist's works, like his Slave Rebellion Reenactment and I Am Not a Man.

Over the past few years, as her work has gradually transitioned more and more into the three - dimensional, real space of the white cube with group and solo exhibitions of her video along with other works like a series of flags and «paintings» on aluminum, Cortright has also continued to become more and more infamous within Internet communities of artists and other visually - minded, new media thinkers who are utilizing the unique terrain of the Internet to modify how art can be made, disseminated and even bought and sold.

Hovnanian created this exhibition under her male pseudonym, Ray Lee, assigned by her peers during adolescence to reflect her interest in stereotypically masculine outdoor past - time like camping and fishing.

Nari Ward, «LIVESupport,» at Lehmann Maupin, 540 West 26th Street, through April 17, opening February 25, 6 — 8 p.m. Nari Ward has built an impressive exhibition record over the past decade, with appearances ranging from an eerie, cage - like installation in Minneapolis's Walker Art Center Sculpture Garden in 2000 and a star turn at Documenta XI to a show - stealing group of enormous, diamond - shaped sculptures in the Battle Ground Baptist Church at Prospect.1 in New Orleans.

Like Burr's past work, which gave priority to Minimalist forms, characters, and discourses, the five new interrelated installations presented at SculptureCenter focus on moments in American art history - in this case, those involving the stateside reception of European modernism as filtered through figures like «Chick» Austin, director of the Wadsworth Atheneum from 1927 to 1944, and members of the New York School, particularly Frank O'Hara, whose poem «Addict - Love» provides the exhibition tiLike Burr's past work, which gave priority to Minimalist forms, characters, and discourses, the five new interrelated installations presented at SculptureCenter focus on moments in American art history - in this case, those involving the stateside reception of European modernism as filtered through figures like «Chick» Austin, director of the Wadsworth Atheneum from 1927 to 1944, and members of the New York School, particularly Frank O'Hara, whose poem «Addict - Love» provides the exhibition tilike «Chick» Austin, director of the Wadsworth Atheneum from 1927 to 1944, and members of the New York School, particularly Frank O'Hara, whose poem «Addict - Love» provides the exhibition title.

«In this RA exhibition, she focuses on landscape, a category of painting closely tied to the RA's past championed by the likes of Thomas Gainsborough, J.M.W. Turner and John Constable,» the organisers say.

Rather than organize the exhibition chronologically — the work ranges from French Romantic Pierre - Jean David d'Angers» dramatic 1837 gilded bronze rendering of the Greek general and statesman Philopoemen to American artist Kiki Smith's 2005 porcelain Alice - in - Wonderland - like «Woman with Arm Raised» — Chiego decided to frame it in themes embodying ways sculptors have dealt with the human form over the past 200 years.

The exhibition presents photographic, video and audio documentation of seminal early performances such as Like, 1969, Lax / Relax, 1969 - 1995, and Past Future Split Attention, 1972.

«With a career grazing the 50 - year mark,» Holland Cotter wrote of that exhibition in The Times, «Jack Whitten is still making work that looks like no one else's, which is saying something, given the flood of abstract painting in New York in the past few years.

A few elements I've evinced from Smith's past exhibitions and around the city (including his painted - directly - on - the - wall installation at Deitch in Long Island City): gestural subject matter (fish, leaves, his name), seriality (in canvas size, subject matter, and hanging — like his 2011 show at Luhring Augustine featured panel grids), synthesized flatness and depth (the mixed - media compositions in his 2009 show Currents resembled large - scale flatbed scans, while neighboring canvases maintained every brushy, gloopy instance of Smith's hand).