In autumn 2011 and until the end of the year, the permanent collection exhibition will feature photography and
photographic art only.
Not exact matches
Goldsworthy goes out into nature and uses ephemeral materials to create his work, which many times because of the temporal aspect of his
art, exist
only in
photographic documentation.
2003 African American Artists in Los Angeles — A Survey Exhibition: Fade (1990 - 2003), Luckman Gallery, California State University Los Angeles, Los Angeles, CA The Alumni Show, Zilkha Gallery, Wesleyan University, Middletown, CT American Tableaux: Many Voices, Many Stories, Miami
Art Museum, Miami, FL Love Supreme, La Criée Centre d'
Art Contemporain, Rennes, France
Only Skin Deep: Changing Visions of the American Self, International Center of Photography, New York, NY (catalogue), traveled to Seattle
Art Museum, Seattle, WA; Museum of
Photographic Arts, San Diego, CA; San Diego Museum of
Art, San Diego, CA The Squared Circle: Boxing in Contemporary
Art, Walker
Art Center, Minneapolis, MN
As the
only one of its kind on the North Fork, we exhibit and sell contemporary fine
art photographic works by established and emerging artists.
More recently, a plethora of
photographic exhibition catalogues has emerged from museums and artist - run centres like Montréal's Dazibao, which exhibits
only photography, and articles on photography have become a regular feature of
art magazines such as Parachute and Canadian A
art magazines such as Parachute and Canadian
ArtArt.
The bulletin boards that Tom Burr has been arranging since the late 1990s reference not
only art historian Aby Warburg's Mnemosyne Atlas strategy of employing a black panel backdrop in order to heighten thematic arrangements of
photographic images — including reproductions from books, and visual materials from newspapers and popular culture — but also reflect a setting typical of early cinematic and
photographic motion studies.
By integrating drawing into his
photographic and video works, the artist has not
only made a lasting contribution to the field of
art, but equally has made a powerful commentary about the human condition and its creative potential.
Since 2008, the Mexican artist has been creating
photographic cutouts in which the focal point of an image is stripped away to leave
only a blank silhouette — first eliminating notable architectural sites from his own photographs, then later applying the same process to recognizable pieces of modern
art.
Baltz's minimalist and reduced image compositions explore the
photographic style as a process, and refer not
only to the
art of photographers like Lee Friedlander or Robert Frank but also to painters and sculptors of his day such as Donald Judd, Frank Stella, Jasper Johns or Sol LeWitt.
Director, Ryerson Image Centre: an opportunity to expand the vision of an important, multi-faceted centre that is not
only a major gallery, but also an academic force in the world of
photographic arts.
«American
Art Today: Faces and Figures,» The Patricia & Phillip Frost
Art Museum (formerly The
Art Museum at FIU), Florida International University, Miami, FL, January 17 — March 9, 2003 «The Harlem Renaissance and Its Legacy,» Worcester
Art Museum, Worcester, MA, January 18 — April 13, 2003 «A Century of Collecting: African American
Art in the
Art Institute of Chicago,»
Art Institute of Chicago, Chicago, IL, February 15 — May 18, 2003; catalogue «Structures of Difference,» Wadsworth Atheneum Museum of
Art, Hartford, CT, February — April 13, 2003 «The Space Between: Artists Engaging Race and Syncretism,» Davis Museum and Cultural Center, Wellesley College, Wellesley, MA, March 18 — June 8, 2003 «Visual Poetics:
Art and the Word,» Miami
Art Museum, Miami, FL, April 25 — November 16, 2003; brochure «Visualizing Identity,» The Jack S Blanton Museum of
Art, University of Texas at Austin, Austin, TX, August 27, 2003 — January 4, 2004 «Drawing Modern: Works from the Agnes Gund Collection,» Cleveland Museum of
Art, Cleveland, OH, October 26, 2003 — January 1, 2004; catalogue «Skin Deep,» Numark Gallery, Washington, D.C., March 15 — April 26; brochure «
Only Skin Deep: Changing Visions of the American Self,» curated by Coco Fusco and Brian Wallis, International Center of Photography, New York, NY, December 12, 2003 — February 29, 2004; traveled to Seattle
Art Museum, Seattle, WA, 2004; Museum of
Photographic Arts, San Diego, CA, 2005; catalogue «Supernova,» San Francisco Museum of Modern
Art, San Francisco, CA, 2003 «Fast Forward: Twenty Years of White Rooms,» White Columns, New York, NY, 2003; catalogue «Today's Man,» curated by John Connelly, Hiromi Yoshii Gallery, Tokyo, Japan, 2003 «The Disembodied Spirit,» curated by Alison Ferris, Bowdoin College Museum of
Art, Brunswick, ME, 2003; catalogue «The Alumni Show,» curated by Nina Felshin, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT, 2003; catalogue «Crimes and Misdemeanors,» Contemporary
Arts Center, Cincinnati, OH, 2003 «DL: The Down Low in Contemporary
Art,» Longwood
Art Gallery at Hostos, Bronx, NY, 2003 «The Paper Sculpture Show,» organized by ICI, Sculpture Center, Long Island City, NY, 2003; traveled to Contemporary
Art Center of Virginia, Virginia Beach, VA; Hunter Museum of American
Art, Chattanooga, TN; Southeastern Center for Contemporary
Art, Winston - Salem, NC; Orange County Museum of
Art, Newport Beach, CA «An American Legacy:
Art from the Studio Museum,» The Parrish
Art Museum, Southampton, NY, 2003 «Stranger in the Village,» Guild Hall, East Hampton, NY, organized by the Museum of Modern
Art, NY, 2003 «On the Wall: Wallpaper and Tableau,» The Fabric Workshop and Museum, Philadelphia, PA, 2003 «Family Ties,» curated by Trevor Fairbrother, Peabody Essex Museum, Salem, MA, 2003 «Influence, Anxiety, and Gratitude (Toward and understanding of trans - generational dialogue as a gift economy),» curated by Bill Arning, MIT List Visual
Arts Center, Cambridge, MA, 2003 «American
Art Today: Faces & Figures,» The
Art Museum at Florida International University, Miami, FL, 2003
curated by David Hunt 2005 NAPOLI PRESENTE Posizioni e Prospettive dell - Arte Contemporarea, PAN Contemporary
Art Museum, Naples Italy (Oct) Wish, COCA Center of Contemporary
Art, Seattle WA (Sept)
Only Skin Deep: Chancing Visions of the American Self, San Diego Museum of
Art and Museum of
Photographic Arts, CA, curated by Coco Fusco (catalogue) Crossings: 10 artists from Kaohsiung & Chicago Chicago Cultural Center (July), Museum of Fine
Art, Kaohsiung, Taiwan (Nov), co-curated by Greg Knight & Tseng Fangling International Biennale of Contemporary
Art 2005, Prague (May - Sept) In Search of a Continuous Present curated by Lynne Warren, MCA Chicago Not Too Loose and Not Too Tight, DCKT Contemporary, New York 2004
Only Skin Deep: Chancing Visions of the American Self, Seattle
Art Museum, WA curated by Coco Fusco (catalogue) A Perfect Union... More or Less, Renaissance Society at the University of Chicago curated by Hamza Walker About Face:
Photographic Portraits from the Collection,
Art Institute of Chicago Common Ground: Discovering Community in 150 Years of
Art, Corcoran Museum of
Art, Washington, DC Inside Out: Portrait Photographs from the Permanent Collection, Whitney Museum, NY The Perfect Number, 404contemporanea, Naples, Italy 2003
Only Skin Deep: Chancing Visions of the American Self, ICP New York curated by Coco Fusco (catalogue) The Squared Circle: Boxing in Contemporary
Art, Walker
Art Center Minneapolis curated by Olukemi Ilesanmi A Century of Collection: African American
Art,
Art Institute of Chicago curated by Daniel Schulman 2002 Manumission Papers, Sunrise Museum, Charleston, WV Cut, Pulled, Colored, and Burnt, Hyde Park
Art Center, Chicago, IL curated by Michael Rooks 2001 Freestyle, Studio Museum in Harlem, NY curated by Thelma Golden Bastard (son of hot sauce), Law Office, Chicago IL Musings: Contemporizing Tradition Gallery 312, Chicago, IL curated by Kathryn Hixson and Nathan Mason 2000 A Decade of Acquisitions, Detroit Institute of
Arts, Detroit, MI 1999 Seeing In the Dark, G.R. N'Namdi Gallery, Birmingham, MI, Chicago, IL New Artists, Old Techniques, Schneider Gallery, Chicago, IL
Anthony Shostak, curator of education for the Bates College Museum of
Art, shares that, ``... the images in Starstruck are nothing less than overwhelming — depicting humbling, glorious delights that are often invisible to both the naked eye and even the telescope, and are revealed
only through
photographic means.»
At New York's Whitney Museum, a full - scale 1970
photographic projection by Michael Heizer brings home the immersiveness, the being - there (even if
only vicariously), that is essential to the Land
art aesthetic.