Sentences with phrase «people do exhibitions»

Not exact matches

It certainly did spark a conversation, particularly on Twitter, where hundreds of people posted comments either supporting or angrily denouncing the exhibition.

That's what Meetings Mean Business is all about: showing the real power of what business meetings, conferences, conventions, incentive travel, trade shows and exhibitions collectively do for people, businesses and communities.

Dier who grew up in Portugal was seen fluently responding to the post-match presser queries in Portuguese and the exhibition of the bilingual ability from the Spurs midfielder sure did leave a lot of people impressed.

Four people who watched my very modest Christmas skating exhibition last month told me they were inspired to change their diets and lifestyle so they might enjoy life as much as I do!

For now, I'll just say that after I exhibit my «best off» photos at Cafe Rouge starting next Monday, I'll start preparing a new cycle of photos for the new solo exhibition which I've envisioned to be a «travelling» one so that my art can reach some new destinations and people that don't live in Helsinki or New York can see these works too.

Single people who are interested in art often come alone to such places and they usually don't mind admiring the exhibition together with some attractive person.

I prefer truth always and don't like artful people, I like music, theaters, exhibitions, different shows and meetings with friends.I dream to find my right woman to be (i pray is you) happy with the rest of my life.

Games that invite visitors to interact with each other — even people they don't know — can create a community in your exhibition that may lead to great conversations later for families.

I was a believer of «follow your passion» so I painted, I did exhibitions, I wrote books that I wanted to write, I tried really hard to market them and connect with people.

In a similar spirit, I also took the time to get the Consulting page up to date with details of my recent consultancy and exhibitions (which hopefully will prove equally useful for people who want to hire me to do comics things for money).

We apologize because on 9th until 11th April, we do not special performance, but you can find the unique painting that made by our local people at our exhibition hall.

Many people don't understand the effort it takes to market a game, let alone book, build, and run an exhibition...

To give people the chance to meet devs and talk to them personally is something special and bigger exhibitions like Gamescom doesn't even have it.

Julian Cox, co-curator of the exhibition, believes Mandel did not become better known because «she was a very private person, very modest by nature, and she really created her greatest work before there was such a thing as an art market for photography.

I came home, staged an exhibition in London which loads of people came to, and I thought, right — this is what I want to do from now on.

Or you could do it in person, by running an exhibition or salon, or some other kind of event.

The exhibition is recommended to people who profess a love for art but don't much enjoy looking at it.

Lesley Heller Workspace, New York, NY Claxons (four - person exhibition, curated by Walter Robinson), Haunch of Venison, New York, NY Grey Area, New York, NY The Queen's Feathers (one - person exhibition), John Tevis Gallery, Paris France 2011 Peacocks and Bottles (one - person exhibition) Organized by Nana Kipiani in conjunction with Artisterium, National Gallery of Georgia, Tbilisi, Georgia Forever and Never, One More Time (two - person exhibition), Season, Seattle, WA Color Theory, Storefront, Brooklyn, NY 2010 Birdbaths and Birdhouses (one person exhibition), Le Petit Versailles, New York, NY The Visible Vagina, Francis M. Naumann Fine Art & David Nolan Gallery, New York, NY 2009 Modern & Contemporary Ceramics, A.M. Richard Fine Art, Brooklyn, NY Bazvalon (one person exhibition), Rose Burlingham Living Room Gallery, New York, NY 2007 Momenta Art (one person exhibition), Brooklyn, NY French Kiss, organized by Rob Wynne, JGM Galerie, Paris The Demoiselles Revisited, Francis M. Naumann Fine Art, New York, NY NADA Art Fair, Miami, FL (Momenta Art booth) 2006 The Studio Visit, Exit Art, New York, NY 2005 Picture Window, (site specific, city organized), Baltimore, Maryland 2004 Hall of Portraits, Pinkard Gallery, Maryland College Institute of Art, Baltimore, MD 2003 The Recurrent, Haunting Ghost, Francis M. Naumann Fine Art, New York, NY Sleight of Hand, Salena Gallery, Brooklyn Campus, Long Island University, Brooklyn, NY 2002 Kismet, The Work Space, New York, NY 2001 Bad Touch, Lump gallery / projects, Raleigh, NC (also traveled to Keith Talent Gallery, London, Rose Museum, Brandeis University, Boston, Space (1026, Philidelphia & UIMA, Chicago) Beautiful You, curated by Larry Krone, Mark Pasek Gallery, New York, NY Your Humble Servant the Genius (two person exhibition with Rob Wynne), Rupert Goldsworthy Gallery, New York, NY Nijinsky, Rupert Goldsworthy Gallery, New York, NY 1999 The Fin - de-Siécle Salon, curated by J. A. Poisson, P.S. 122, New York, NY 1998 Re: Duchamp (organized by Mike Bidlo), Abraham Lubelski Gallery, New York, NY Bowie, Rupert Goldsworthy Gallery, New York, NY 1997 Galerie du Tableau, Marseille, France (one person exhibition) The Whole World in a Small Painting, Trans Hudson Gallery, New York, NY 1996 Cadmium Cathode, Sauce, Brooklyn, NY

the object is usually kept outside the UK the object is not owned by a person who is resident in the UK the import of the object does not contravene any law the object is brought into the UK for the purpose of a temporary public exhibition at an approved museum or gallery the museum or gallery has published information about the object where required to do so by Regulations.

an exhibition curated by Nick Tremley, originating at Pace London, focusing on works done in the spirit of Mingei, or «people's art,» folk art, a Japanese philosophical and aesthetic movement conceptualized in the 1920s by Japanese theorist Sōetsu Yanagi.

Group exhibitions include What People Do For Money, MANIFESTA 11, Zurich, Switzerland (2016); 9th Berlin Biennial, Berlin, Germany (2016); Billboard, Whitney Museum of American Art, New York, United States (2016); The Elephant Test, Lothringer13 Städtische Kunsthalle München, Munich, Germany (2014); Altars of Madness, Casino Luxembourg Forum d'art Contemporain, Luxembourg (2013); The Eye is a Lonely Hunter: Images of Humankind, Heidelberger Kunstverein, Heidelberg, Germany (2011); N'importe quoi, Musée d'Art Contemporain de Lyon, Lyon, France (2009); Disturbance, Johannesburg Art Gallery, Johannesburg, South Africa (2008); Trials and Terrors, Museum of Contemporary Art, Chicago, United States (2005); Elysian Fields, Purple Institute, Musée National d'Art Moderne, Centre Pompidou, Paris, France (2000); and dAPERTutto, 48th International Exhibition of Contemporary Art, La Biennale di Venezia, Italy (1999).

«We decided to do more of an introductory exhibition that will let people get to know my work,» he told me through his translator who works regularly with the artist Xu Bing in Beijing.

This exhibition rings true because it addresses our personal struggles and demonstrates the artist's ability to work things out, to find a way to combine seemingly irreconcilable opposites, such as art and life, thinking and doing, creating things and relating to people.

The first day I went to work, an artist had just canceled an exhibition, and he gave me six sets of 35 mm slides and he asked, «Which one of these people do you think I should give a show to.»

The exhibition (11 February — 8 April 2018) considers what it takes for people in marginalised positions to speak out and the mechanisms that get used to stop them from doing so.

We see that in the breadth of people included in major recurring exhibitions, in the interests of younger artists, critics and curators, in the editorial choices made by the most current magazines, in the increasing visibility of artists emerged in the 60s and 70s, but did not enter the canon.

Guest Contributor Jonathan Stevenson / «Cuts Noon Light,» the challenging three - person exhibition at Brian Morris Gallery on Chrystie Street, gets its title from a Pablo Neruda poem in which those words seem to refer to what a lover does, and especially what is missed when the lover is absent or gone.

And I realized pretty quickly that in my new role as a director - slash - fundraiser - slash - janitor of Participant, when curating solo exhibitions, most people don't even really see the curator, if you're doing a good job.

KJM If we agree that making paintings and the compulsion to depict things is not unique, not particularly special, and you're describing some exhibitions that get made about painting, that then reduce the pictures to something like wallpaper, and if we go back to the original point I was trying to make when we started the conversation, about what people want to hear when they hear artists talk about what they do, the question persists: When you're looking at paintings, what are you looking for?

For example, while the press release presents «Proof» as «a three - person show featuring prints and artist's books made by master printers Ruth Lingen, Jennifer Melby and Leslie Miller,» the exhibition checklist does not credit individual works to particular printers but, as is conventional, credits only the «artists,» e.g. Elizabeth Murray, James Siena, Vija Celmins, Henrik Drescher (See the images above from Planthouse's website.

During my student years, people like [Royal Academicians] Carel Weight and Roger de Grey and Rodney Burn would encourage me to send in to the Summer Exhibition, and when I graduated I continued to do that.

Lehmann Maupin has given some of contemporary art's most highly respected artists their first one - person exhibitions in New York, including Anya Gallaccio, Shirazeh Houshiary, Klara Kristalova, Liu Wei, Do Ho Suh, Juergen Teller, and Adriana Varejão.

It basically let me curate solo exhibitions in the space, so people don't just see one piece by an artist here and there in a mishmash, but can see a solo exhibit of Jon Rafman, a solo exhibit of Chris Hood, a solo exhibit of Charlie Billingham, a solo exhibit of Oscar Murillo.

Ann B. Kim is an accomplished artist and an active member of the Dayton arts community, but I didn't reach out to meet her until I learned she was participating in a two - person exhibition in the Dutoit Gallery this September with my friend Rebecca Sargent.

Selected recent and upcoming exhibitions include The Waiting Room, New Museum, New York; Greater New York 2015, MoMA / PS1, Long Island City, New York; The Free People's Medical Clinic, Creative Time, New York; I ran to the rock to hide my face the rock cried out no hiding place, Kansas City Art Institute; Radical Presence: Black Performance in Contemporary Art, Contemporary Arts Museum Houston (traveled to The Studio Museum in Harlem, Grey Art Gallery at NYU, and Walker Art Center); Gone South, Atlanta Contemporary Art Center; and You Don't Know Where Her Mouth Has Been, The Kitchen, New York.

The gallery has given some of today's most respected artists their first one - person exhibitions in New York, including Tracey Emin, Anya Gallaccio, Shirazeh Houshiary, Klara Kristolova, Liu Wei, Do Ho Suh, Juergen Teller, and Adriana Varejão.

At the time of the exhibition, Hirst described «Gambler» as being: «Just when people start doing things for themselves.

Scanlan's own name does not appear in exhibitions that include «Donelle Woolford,» who is represented as if a real person.

Lennon describes his 1972 making of Folded / Unfolded in an essay, Self - making in a Post-Colonial Culture, written for the IMMA exhibition; «I had been experimenting with ways of making paintings by pouring paint into canvases and shaping them by handling and folding them in ordinary everyday ways that most people do.

A.E. Gallatin declared, «Mr. Shaw is doing the most important work in abstract painting in America today,» and in 1935, he broke his own rule against one - person shows at the Gallery of Living Art and mounted a Shaw exhibition.

I've been in two two - person shows before this show, one with Hao Ni and one with Nadia Haji Omar, who will be doing the next On the Wall exhibition at Providence College Galleries, and both were great experiences.

Recent solo and two person exhibitions include: Love Life: Act 1, with Jonathan Baldock, Peer, London, The Grundy, Blackpool, De La Warr Pavilion, UK (2016 - 17), Big MOUTH, Grand Union, Birmingham (2015); Sticky, Austrian Cultural Forum, London (2015); Spread, Art Exchange (2015); SUCKERZ, L'etrangere, London (2015), with Jonathan Baldock; Giving It All That, Folkestone Triennial (2014); Dirty Looks, Camden Arts Centre (2013); M20 Death Drives, Whitstable Biennale, Whitstable (2012); TO DO, Matt's Gallery, London, 2012.

Exhibitions include Dos Mundos: Worlds of the Puerto Ricans 1973, Mira, Mira, Mira, Museum of the City of New York 1974, Ten Japanese Artists, 1975; Legacy of James Vanderzee, 1977; Sacred Artifacts: Objects of Devotion, 1982; Disinformation: The Manufacture of Consent, 1985; Repulsion: Aesthetics of the Grotesque, 1987; Foreign Affairs: Conflicts in the Global Village, 1988; Dia De Los Muertos, 1988; Prisoners of Image: Ethnic and Gender Stereotyping, 1989; Mon Reve: Haiti after the Duvaliers, 1989; Artists of Conscience, 1992; Peoples Choice: Komar & Melamid, 1994; Expansion Arts, I, II, III, 1995 - 1998; (Mickey) Mouse: An American Icon, 1998; The Artists as Patron, 1999; Honeymoon Series by Yoshio Itagaki, 2000; Between the Real and the Unreal: Recent works by Simen Johan, 2000, Genochoice an installation by Virgil Wong, 2000.

JR: For this two - person exhibition, I understand that you did not collaborate with Graham McDougal in the process.

For the wooden piece in this exhibition, Bourgeois describes a «human kind of radar,» in which individual units relate as people do, «aware of each other, perceiving each other, and constantly adjusting to each other, as if by radar.»

The exhibition title, Situations does not suggest a theatrical scene consists of props and actors, but rather draws from its Latin root situs, referring to, here, this place, and the lively people and the scenes in the life around them.

From loneliness to collaboration, I ended up re-reading Cassavetes on Cassavetes (2001), a printed essay that was brought to my attention while curating a group exhibition, which, at its core, prompted the artists to question or evaluate their collaborative impulses.8 In the text, the director John Cassavetes writes plainly about how he works with actors: «I just think that you give somebody something they can do, and allow them to be a person.»

People are waiting to see what Tate Britain will do with its collection of Turner paintings to warrant the entrance fee to «Late Turner» (opening 10 September), and also to see which of Britain's cherished Old Masters will come out on top when the V&A opens its Constable exhibition 10 days later (20 September).

There was a famous exhibition done in 1977 and ironically a lot of the people identified with the Pictures Generation were not in the Pictures Generation show, but that's okay.

** Regarding this specificity, did you notice any difference in the way London audience engaged with works as opposed to the way people in Bari have with previous exhibitions?