Sentences with phrase «person exhibition there»

In 1969 he was invited to exhibit large, aluminum, spray - painted sculptures at the Metropolitan Museum of Art becoming the first living American artist to be given a one - person exhibition there.

Not exact matches

The Labor Day weekend is a great one for baseball, and so there were more than 600,000 people screaming their heads off watching pro football exhibitions.

It may not be filled with high profile exhibitions but every place has its own story and the people who work there are more than likely to chat up a foreigner who's interested in their local history.

If a lady is a city person, who actively participates in the city rich social life (night clubs, exhibitions, museums, concerts and so on), there is a tiny chance she will be happy living in a small town, on a farm or in the country.

There are exhibition on the history of Byzantine / Constantinople / Istanbul and from all the peoples that used to live in the region.

What kind of bugged me though was that the Donkey Kong cabinet was occupied during the entire time we were there and by the same 2 people which were hosts working at the exhibition..

Exhibition Mode is useless because, frankly, who would want to play a tennis match against a computer opponent when there are thousands of people playing online?

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.

There's been a slew of exhibitions honouring that 50 year point, including the superb Queer British Art exhibition at Tate Britain, Manchester's People's History Museum's Never Going Underground, and now Gay UK: Love, Law and Liberty over at The British Library.

Felix Salmon on the phenomenon of institutions around the world putting on art exhibitions that have high budgets and low quality standards: «If a museum becomes popular by putting on blockbusters, then people start to think of it as a place to check out temporary exhibitions and see no reason to go there at any other time.»

There's an image in the exhibition of Neel in her seventies, standing outside the Whitney Museum, picketing the institution — just three years before it would give her a solo retrospective — for failing to involve people of color in the making of its exhibition «Contemporary Black Artists in America.»

There are currently several small one - person and group exhibitions of women artists and installations of discrete works by women artists scattered around MoMA although perhaps secreted might more accurately reflect the stealth approach to the serious engagement with curation, presentation, and acquisition of works by women artists that the museum is currently engaged in.

I just had this exhibition recently, this year, of a lot of my early work, and in the book there are a few thousand Polaroids of people who would come over.

Fengler is also showing in another three - person exhibition, It's There But It's Not There at Berlin's Scotty Enterprises, which runs concurrently and includes Andreas Gloël and Ani Schulze.

From the Turkish people to whom I talked in the exhibition, there were a few comments on the film There are no Syrian refugees in Turkey (2016) that has been carried out especially for the exhibithere were a few comments on the film There are no Syrian refugees in Turkey (2016) that has been carried out especially for the exhibiThere are no Syrian refugees in Turkey (2016) that has been carried out especially for the exhibition.

Truitt's first one - person exhibition was at the André Emmerich Gallery, New York, in February 1963, and in many senses her work also hews to what was emerging there.

JG Matthew, when you curate exhibitions that mingle work by marginalized or developmentally disadvantaged people with that of other contemporary artists, surely there is a special ethical responsibility to protect their interests?

Yeah, there was a three - person exhibition I curated that included Cheryl Donegan and Tom Meacham.

I'd like to think that people were there for the actual art exhibition, which was billed as an all - female, all - nude art show where 20 women artists, aged 21 to 60 - something, from Russia, Chile, and beyond, «explore a perspective less chartered, that of a woman's eye on another,» and in the process «challenge the status quo with a liberating and authentic beauty.»

Curated by Veronique Wiesinger, the exhibition captures Giacometti's dynamic, energized relationship with his adopted city and the people who inhabited his life there.

Gallery artist Simone Shubuck is featured in this exhibition that offers the notion that there are different ways, methods, and styles in which a person expresses themselves depending on their motivation, circumstance, influences, or simply by conscious choice.

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.

There have been all these traveling exhibitions from the Saatchi Gallery or other big - time galleries with top names and third - rate work, and obviously some people have been privileged in that they are able to travel and visit galleries and museums in other cities.

There are two enormous cast aluminum sculptures suspended from the oculus whose knotted forms are informed by a spiral and whose reflections are of the spiral ramp, which in the several times I visited the exhibition was always crammed with people.

There is also a conference held in conjunction with each exhibition creating a platform for debate; an event created especially for people starting out their careers offering them the opportunity to respond critically to the exhibition.

This exhibition explores a selection of Whistler's etchings and lithographs describing major European cities, their waterways, and the working class people living there.

Among the many solo, two - person and thematic exhibitions being presented at the ADAA Art Show 2015, there are a few names that immediately catch the eye.

There will also be a «cantina... a stone - covered plywood bar where 15 people can just hang out» in a hallway near the exhibition space.

The exhibition was free and open to the public and there was no specific tracking mechanism in place to count how many people actually attended.

There is perhaps no greater indicator of changing tastes in London's contemporary art scene and the West's hunger for fresh cultural and artistic influences than the masses of people who came to witness the «Korean Eye: Moon Generation» Exhibition, which showcases the finest contemporary Korean art at the renowned Saatchi Gallery in London.

There will also be a section called Collections curated by Sir Norman Rosenthal, the former exhibitions director of the Royal Academy, which shines a light on the collecting passions of various people in the art business.

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.

Surface and the larger issues surrounding topology have been central concerns in her recent paintings, drawings, photographs and artist books... «The title of the exhibition refers to a theory that there may be a small percentage of people — for genetic reasons, only women — who have a fourth type of colour receptor on their retinas.

There was so much visual information to reckon with from the jump that a person could get her fill of exhibitions — and the competing social events around them — without ever setting foot in the Giardini.

Oh Chicago, how I wish I was there to see this exhibition in person, but due to pockets with eternal holes at the bottom I find myself surfing the net for my art fix...

I feel obliged to point out that except for the Jewish Museum, which is mounting Lee Krasner's work in a two - person exhibition, there are conspicuously few museum retrospectives featuring work by women this fall.

Recent solo exhibitions include: There's No Place Like Home, CGP, London (2017), My biggest fear is that someone will crawl into it, SPAACE, London (2017), Love Life: Act 2 (touring 2 person show with Emma Hart), The Grundy, Blackpool (2017), Jonathan Baldock, OneWorkGallery, Vienna (2017) and The Skin I Live in, Nicelle Beauchene, New York (2016), SUCKERZ, (two person show with Emma Hart), L'Etrangere, London (2015), Notes from the Orifice, VITRINE Gallery, London (2014) and The Soft Machine, Chapter Gallery, Cardiff (2014).

There's a reason I named the space Deli Gallery and not Max Marshall Gallery; my interest in complex and progressive exhibitions over time goes beyond what one person can do as a curator.»

There have been so many articles written as of late about exhibitions that are taking place in commercial galleries and I certainly asked myself the question, but was told consistently by all the people who mentored me and whom I respect, that this was a great place to do it, an important place to do it.

Art Museum of Estonia Kumu Art Museum Press release 23.04.2018 Kumu Art Museum welcomes you to the exhibition But There's No Door..., which has been compiled by ten young people On Thursday, 26 April at 5 p.m., the exhibition But There's No Door..., which was put together as a result of the international collaboration project...

Some people say its reminds them of a dystopian Christmas, others notice that the exhibition shows that «there is nothing more permanent in the world then the temporary things».

Although he had a one - person show in Paris in 1951, there was scant response and he was turned down for several group exhibitions.

[9][108] Although there has been a long history of Rockwell detractors, during this Norman Rockwell: Pictures for the American People touring exhibition attendance was record - setting and critical reviews were quite favorable.

I suggest that there are many people who do enjoy visiting contemporary or conceptual art exhibitions, but Thomson expresses skepticism.

No — there was a lively experimental art scene in Britain much earlier than most people think and this exhibition unveils its secret history.

Many people who come from Chicago and see the exhibition talk about seeing it there and missing it there.

The exhibition offers the notion that there are different ways, methods, and styles in which a person expresses themselves depending on their motivation, circumstance, influences, or simply by conscious choice.

Was there any interest from other museums or an effort to show it in other venues so more people could see this important exhibition?

There are some people who come specifically to see the exhibitions.

Along with Julien, Abdoulaye Konaté, Shonibare, Gallagher and Yiadom - Boakye — attesting to the fact that there are people of colour in the exhibition.