Sentences with phrase «person exhibition using»

Flavin's first one - person exhibition using only fluorescent light opened at the Green Gallery in 1964.

His first one - person exhibition using only fluorescent light opened at the Green Gallery in 1964.

Not exact matches

For example, if you only use organic or sustainable materials, use recycled packaging, or your paintings have been included in exhibitions, magazines or blogs, tell people.

Premier Exhibitions says that Sui Hongjin, the Chinese doctor who oversaw the preservation process, has assured the company that he used unclaimed corpses of people who died of natural causes.

Worldwide, people can use the exhibition's Skype interface to get involved.

Every year we use the exhibition to connect with thousands of young people, their schools and their parents who attend the show and showcase engineering as a rewarding career path.»

HB 2880 by Rep. Harold Dutton / Sen. José Menéndez reduces the penalty for the threatened exhibition or threatened use of a firearm on school property or on a school bus from a third degree felony to a Class A misdemeanor, unless the person actually possesses or has immediate access to the firearm (in which case it remains a third degree felony).

The Animal Welfare Act ensures that animals are provided with humane care and treatment during transportation, purchase, sale, housing, care, and handling by persons or organizations using them for research or exhibition purposes or as pets.

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

24 - hour reception with multilingual staff, Concierge desk, free - service currency exchange, elevators, Wi - Fi Internet access available throughout the hotel, room service, laundry facilities, safe deposit box, wedding services, business services, fax and photocopy service, plenary room of a maximum capacity of 1000 people in theatre style, 256 square - meter exhibition hall which can be used to organize workshops, and eight smaller rooms with a capacity of 12 to 20 people each.

Two art historians presented «E-visitors» with virtual re-creations of 18th - century exhibitions; one used a first - person - shooter video - game engine, the other, Google Sketchup.

At the Contemporary Art Museum St. Louis, an exhibition of works by Kelley Walker, a white, Georgia - born artist, sparked a boycott over his use of racially and sexually charged images of black people.

This exhibition seeks to correlate directly with How to Read El Pato Pascual: Disney's Latin America and Latin America's Disney at MAK Center for Art and Architecture at the Schindler House and The Luckman Fine Arts Complex at Cal State L.A., through the idea of creating identity and using iconography as political and cultural tools to represent the experiences of the people who have most suffered from corporate imperialism.

Art A-listers like Ian Davenport, Tracey Emin and Brian Eno will be taking part in an online auction and one - day exhibition, Art on the Mind, in order to support and raise awareness of Cardboard Citizens, a charity which uses theatre and wider creative means to help people who have experienced homelessness.

NEWS At the Contemporary Art Museum St. Louis, an exhibition of works by Kelley Walker, a white, Georgia - born artist, spark a boycott over his use of racially and sexually charged images of black people.

In the wake of the 2016 presidential election, where news media was deemed the «the enemy of the people,» and The New York Times directly attacked and labeled as «fake news,» FLAG began developing an exhibition examining how seminal artists, such as Robert Gober, Ellsworth Kelly, Lorraine O'Grady, Fred Tomaselli, and others, who have used and been inspired by this newspaper in their practice.

As the title of the exhibition suggests, lapses in Thinking By the person I Am, one is confronted with not only typographical fragmentation, but also disconcertion for placing the work together with the train in some kind of logical context; by using the story of her body and objects that she interacts with, Pryde literally derails the misconceived notion that we are what we own.

Using the U.S. Constitution and the fall presidential elections as catalysts for conversation and debate, the exhibition will be a dynamic laboratory for exploring constitutions as a process, embodied by the people who create them and for whom they serve.

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.

For this exhibition she has selected some of her most significant landscape drawings and collections of found natural objects and has created a body of new work culminating in a major, one hour - long, two - screen 35 mm Cinemascope film, Antigone, which uses multiple exposures to combine places, people and seasons into a single cinematographic frame.

What I found people at the exhibition commented on most was the range of different media used by the young -LSB-...]

Like most people, I had been using Yelp mainly to find out about restaurants, but in January 2012, when I was searching for information on Ai Weiwei's exhibition of millions of porcelain sunflower seeds at Mary Boone Gallery, the top result on Google was a four - star review on Yelp, by Lisa Jane C. «During my visit, many people were mesmerized by the seeds, which are beautiful,» she wrote.

Simmons's career - long exploration of archetypal gender roles, especially women in domestic settings, is the primary subject of this exhibition and is a topic as poignant today as it was in the late 1970s, when she began to develop her mature style by using props and dolls as stand - ins for people and places.

«What's fascinating about Rafman's work is the way he uses the very familiar visual language of the internet, social media, and computer games to create immersive narratives that reveal the anxieties and desires of contemporary life,» says Maitreyi Maheshwari, program director at Zabludowicz Collection and curator of the exhibition, which also offered up a waterbed, ball pit, massage chair, and filing cabinets streaming video games in first - person shooter.

Critically this exhibition highlights how Parks» photography informed the sense of responsibility he felt and the way he used his position to provide both agency and voice for his people.

At first, people were offended by Lichtenstein's use of commercial subject matter, but this exhibition brings us closer to understanding the work of this iconic artist.

Practice different techniques of portraiture with photographer Siri Kaur, and get ready to snap photos of the people you know using techniques from the exhibition Catherine Opie: Portraits.

The Art Center first exhibited her work in 1987 as part of a three - person exhibition also organized by Richard Born who then described her tapestries as «simultaneously utilitarian objects and works of independent beauty intended both for use and appreciation at the same time.»

Pierogi intends to use the old location for one - person exhibition and Pierogi's Flat Files, while the more expansive Boiler allows Pierogi to mount larger - scale sculpture, painting, and installation exhibitions and present performances, readings and other events.

El Museo de Los Sures and the International Studio & Curatorial Program (ISCP) are pleased to present the exhibition I use people for what I write by artist and ISCP alum Itziar Barrio.

EXHIBITIONS / SCREENINGS / READINGS (* solo or two - person) Apparatus for a Utopian Image 2.0, Center and Foundation for Contemporary Arts, Prague, 2018 CV, YYZ Artist's Outlet, Toronto, 2017 * Artist's Rendering (DISTRESSED, RELAXED), AXENÉO7, Quebec, 2017 * You can tell that i'm alive and well because I weep continuously, Knockdown Center, New York, 2017 Apparatus for a Utopian Image, Elizabeth Foundation for the Arts Project Space, New York, 2016 Self - Titled (Materials for a 21st Century Room — or SWAMPED, EXHAUSTED, HESITATING), 8 - 11, Toronto, 2016 * Self - Titled (w / Aryen Hoesktra & Shane Krepakevich), Modern Fuel, Ontario, 2016 Local Tide (curated by PARALLELOGRAMS and Francesca Capone), S1, Portland OR, 2016 Double Visions, Elizabeth Foundation for the Arts Project Space, New York, 2015 From Line to Constellation, Granoff Center, Providence, 2015 Maximum Sideline: Postscript, Proxy, Providence, 2015 Use Values, SPRING / BREAK Art Show, New York, 2015 An Earthquake at the Race Tracks, Museo de la Cuidad, Santiago de Querétaro, Mexico, 2014 Classroom, NY Art Book Fair, PS1, New York, 2014 Almost Everything, Eric Arthur Gallery, Toronto, 2014 Milieu, Skol Centre des Arts Actuel, Montreal, 2013 * More Than Two (Let It Make Itself)[w / Josh Thorpe], The Power Plant, Toronto, 2013 Cultural Fluency, BRIC Rotunda Gallery, Brooklyn, 2013 Sediment, G Gallery, Toronto, 2012 Survive.Resist, CAFKA Biennial, Kitchener - Waterloo, Canada, 2011 On Printed Matter, [w / Josh Thorpe], Printed Matter, New York, 2011 * Around YYZ [w / Josh Thorpe], YYZ Artist's Outlet, Toronto, 2010 - 11 * House Broken, Flux Factory, NY 2010 Reading the Garden [w / Josh Thorpe], Toronto Sculpture Garden, Toronto, 2010 * Titles, Art Metropole, Toronto, 2009 On Convenience [w / Josh Thorpe], Convenience Gallery, Toronto, 2009 * Vehicle [organized by WayUpWayDown curatorial collective], Nuit Blanche, Toronto, 2008 ERI 3: Eyelevel Re-Shelving Initiative, Eyelevel Gallery, Halifax, 2008 AT WORK, Toronto Free Gallery, Toronto, 2007 Rip Current, Eyelevel Gallery, Halifax, 2007 Tales from the Cyclop's Library, Third Space Gallery, Saint John, 2007 Unsurprising Geographies [w / Andrea Williamson], Eyelevel Gallery, Halifax, 2006 Alectric 3, Alectric Audio [online exhibition] 2006 a / s / l, Anna Leonowens Gallery, Halifax, 2006 * RESIDENCIES Interrupt 3, Brown University, Rhode Island 2015 SHIFT, Elizabeth Foundation for the Arts, New York, 2014 - 15 Artist - in - Residence, Workspace, Lower Manhattan Cultural Council, 2013 - 14 Visiting Scholar, NYU Advanced Media Studio, 2013 - 14 The Decapitated Museum, The Banff Centre, 2012 Making Artistic Inquiry Visible, The Banff Centre, 2008 AWARDS Canada Council for the Arts, Research and Creation, 2018 - 19 Banff Centre, Residency Scholarship — The Decapitated Museum, 2012 Foundation for Contemporary Art, Emergency Grant, 2011 Ontario Arts Council, Exhibition Assistance Grant, 2011 Ontario Arts Council, Exhibition Assistance Grant, 2009 University of Toronto, Graduate Fellowship, 2007 - 09 Social Sciences and Humanities Research Council, Canada Graduate Scholarship, 2007 - 08 Banff Centre, Residency Scholarship — Making Artistic Inquiry Visible, 2008 University of Toronto, David Buller Memorial Scholarship, 2007 NSCAD University, Simon Chang and Phyllis Levine Foundation Scholarship, 2006 New Brunswick Arts Board, Arts Scholarship, 2005 WRITING «Panorama of Our,» Plot, Claudia Weber, ed., 2015 «Anodyne: or X of Demarcation,» Rearviews II, Xenia Benivolski & Danielle St - Amour, eds., 2014 «On Printed Matter» Artefact:, C Magazine C122, 2014 «Lana Turner Has exhibition] 2006 a / s / l, Anna Leonowens Gallery, Halifax, 2006 * RESIDENCIES Interrupt 3, Brown University, Rhode Island 2015 SHIFT, Elizabeth Foundation for the Arts, New York, 2014 - 15 Artist - in - Residence, Workspace, Lower Manhattan Cultural Council, 2013 - 14 Visiting Scholar, NYU Advanced Media Studio, 2013 - 14 The Decapitated Museum, The Banff Centre, 2012 Making Artistic Inquiry Visible, The Banff Centre, 2008 AWARDS Canada Council for the Arts, Research and Creation, 2018 - 19 Banff Centre, Residency Scholarship — The Decapitated Museum, 2012 Foundation for Contemporary Art, Emergency Grant, 2011 Ontario Arts Council, Exhibition Assistance Grant, 2011 Ontario Arts Council, Exhibition Assistance Grant, 2009 University of Toronto, Graduate Fellowship, 2007 - 09 Social Sciences and Humanities Research Council, Canada Graduate Scholarship, 2007 - 08 Banff Centre, Residency Scholarship — Making Artistic Inquiry Visible, 2008 University of Toronto, David Buller Memorial Scholarship, 2007 NSCAD University, Simon Chang and Phyllis Levine Foundation Scholarship, 2006 New Brunswick Arts Board, Arts Scholarship, 2005 WRITING «Panorama of Our,» Plot, Claudia Weber, ed., 2015 «Anodyne: or X of Demarcation,» Rearviews II, Xenia Benivolski & Danielle St - Amour, eds., 2014 «On Printed Matter» Artefact:, C Magazine C122, 2014 «Lana Turner Has Exhibition Assistance Grant, 2011 Ontario Arts Council, Exhibition Assistance Grant, 2009 University of Toronto, Graduate Fellowship, 2007 - 09 Social Sciences and Humanities Research Council, Canada Graduate Scholarship, 2007 - 08 Banff Centre, Residency Scholarship — Making Artistic Inquiry Visible, 2008 University of Toronto, David Buller Memorial Scholarship, 2007 NSCAD University, Simon Chang and Phyllis Levine Foundation Scholarship, 2006 New Brunswick Arts Board, Arts Scholarship, 2005 WRITING «Panorama of Our,» Plot, Claudia Weber, ed., 2015 «Anodyne: or X of Demarcation,» Rearviews II, Xenia Benivolski & Danielle St - Amour, eds., 2014 «On Printed Matter» Artefact:, C Magazine C122, 2014 «Lana Turner Has Exhibition Assistance Grant, 2009 University of Toronto, Graduate Fellowship, 2007 - 09 Social Sciences and Humanities Research Council, Canada Graduate Scholarship, 2007 - 08 Banff Centre, Residency Scholarship — Making Artistic Inquiry Visible, 2008 University of Toronto, David Buller Memorial Scholarship, 2007 NSCAD University, Simon Chang and Phyllis Levine Foundation Scholarship, 2006 New Brunswick Arts Board, Arts Scholarship, 2005 WRITING «Panorama of Our,» Plot, Claudia Weber, ed., 2015 «Anodyne: or X of Demarcation,» Rearviews II, Xenia Benivolski & Danielle St - Amour, eds., 2014 «On Printed Matter» Artefact:, C Magazine C122, 2014 «Lana Turner Has Collapsed!

This exhibition is concerned less with the disciplined life - drawing tradition of nudity than with the intimacy of one person reflecting on the presence of another using the medium of sketching.

Note to curators and artists: The New Art Center has a 31 - year tradition of using the Main Gallery for group exhibitions (two persons or more) curated by an exhibiting artist or independent curator.

The two - person exhibition «Slipstream» explores the parallel use of botanical imagery and motifs with abstracted and geometrical elements in both by Ken Buhler's and Ellen Driscoll's paintings and works on paper.

«Because people saw my work here,» Carlson said, «I've had my work (used as illustrations) in cookbooks and have a current exhibition in a San Francisco corporate lobby.»

For many years people have said that I am an artist who uses the medium of the exhibition like someone else uses photography or painting.

Adjusting the frame of reference and context in order to encompass architecture, people, and traffic, and using materials that withstand the harsh conditions of climate, the artists included in this exhibition have redefined the public landscape with their monumental outdoor works.

• Late lunch available between 3 pm — 5 pm until 16 August • Standard price # 11.00 per person for a glass of bubbly • Entry to the exhibition is 10.00 — 18.00 Sunday — Thursday (last admission 17.30) and 10.00 — 10.00 Fridays • Consult the website for any days of closure • The offer can be booked through the RA Restaurant over the phone • This offer is not available online • At least 48 hours» notice prior to booking is required • A discretionary 12.5 % service charge will be added to your bill • The offer is as stated, no cash alternative and non-transferable • The RA has the right to withdraw this offer at any time • The offer is provided by the Royal Academy of Arts and Peyton & Byrne • Offer is subject to availability • This offer can not be used with any other promotion

I make stools and benches for people to sit on in my exhibitions, using the same materials as my sculpture.

Some of the exhibitions Haring presented were tied to his own artistic interests, such as black - light art and Xerox art, and many were created through open calls for artist submissions — in keeping with his desire for a more inclusive art world and the use of new channels to reach more people.

Jeremy Deller: Joy in People will include a number of his pioneering collaborative works with fans and amateur cultural practitioners, such as The Uses of Literacy (1997), an exhibition created by fans of The Manic Street Preachers, which brings together paintings, collages, drawings, books, poetry and ephemera inspired by the band's lyrics.

Opening: «Melissa Kretschmer / Russell Maltz: Plywood» at Minus Space A two - person exhibition, «Plywood» presents new paintings, sculpture, and installation works by Melissa Kretschmer and Russell Maltz, artists that have been using these common construction materials for decades.

The exhibition presents eighty - seven works created between 2007 and 2014, including Muholi's Faces and Phases portrait series, which uses firsthand accounts to speak to the experience of living in a country that constitutionally protects the rights of LGBTI people but often fails to defend them from targeted violence.

Recent solo and two - person exhibitions include New / Used / Wet / Broken, 1708 Gallery in Richmond, VA and Microwave Mint at Helper in Brooklyn as well as For an Abstraction: Christopher Culver & Jeff Williams at Co-Lab in Austin, 11 week interval, at the The Contemporary Austin in Austin, Texas and 9 week interval at Spaces in Cleveland.

Over the past decade Tillmans has been intermixing in his exhibitions his compelling photographs of people and things with purely abstract prints made using only chemicals and light.

From a social media - based sci - fi drama about a new global health epidemic, to a look at the «unpredictable nature of physical attraction» using statistical analysis, Neïl Beloufa's exhibition, Counting on People, will keep you guessing.

Double Agent is a group exhibition featuring seven artists who use other people as a medium.

Pioneer Works will present «White Man on a Pedestal: Kenya (Robinson) and Doreen Garner,» a two - person exhibition questioning prevailing western history that uses white - male heteronormativity as its persistent model.

While local artists attend Open Studios like this one, the themes also are «geared toward people who aren't artists to come in and respond to the exhibitions using materials that are familiar to them.»

Lowery Stokes Sims — co-curator of a Colescott exhibition scheduled to open at the Contemporary Arts Center in Cincinnati next year — writes in the catalogue for the Seattle exhibit that Colescott uses «satire and parody of art - historical masterpieces with the idea of interjecting black people into art history and tricking us into a conversation about what constitutes the art - historical canon.»