Sentences with phrase «piece in the exhibition with»

Then in 2011 I was lucky enough to have a piece in an exhibition with her entitled «Night Scented Stock» at the Marianne Boesky Gallery in New York.

There is one piece in the exhibition with a woman and a baby, but that piece is not really in the same subject as the show, it's an older piece from last year.

This expansive, detailed companion book to The Aztec Empire documents every piece in the exhibition with 400 thumbnail images.

documents every piece in the exhibition with 300 thumbnail images.

Not exact matches

When it gets hot outside, you can go of indoor cultural options such as The Atlanta Symphony Orchestra performing 230 days a year, the High Museum of Art with more than 10 000 pieces in its collection and for sure numerous exhibitions to enjoy and titillate your imagination and brain at The High.

With all these pieces in play, «Louder Than Bombs» sometimes strains from juggling too many pieces at once, but Trier manages to thread them together nicely with a reasonable linking device — an exhibition of Isabelle's work that brings Jonah back home, instigating various conversations with his father about whether or not they should fill in angry Conrad about their mother's depressed stWith all these pieces in play, «Louder Than Bombs» sometimes strains from juggling too many pieces at once, but Trier manages to thread them together nicely with a reasonable linking device — an exhibition of Isabelle's work that brings Jonah back home, instigating various conversations with his father about whether or not they should fill in angry Conrad about their mother's depressed stwith a reasonable linking device — an exhibition of Isabelle's work that brings Jonah back home, instigating various conversations with his father about whether or not they should fill in angry Conrad about their mother's depressed stwith his father about whether or not they should fill in angry Conrad about their mother's depressed state.

More than 200 pieces of artworks by city students dealing with «Women's History Month» will be on display in an exhibition that will open on Thursday at the Paterson Museum.

In turn, that led to a number of smaller competitors intensifying their efforts to take a piece of the market; during January's Consumer Electronics Show, a variety of e-reader prototypes appeared in booths throughout the exhibition hall, with airy promises that the devices would make their debut sometime in 201In turn, that led to a number of smaller competitors intensifying their efforts to take a piece of the market; during January's Consumer Electronics Show, a variety of e-reader prototypes appeared in booths throughout the exhibition hall, with airy promises that the devices would make their debut sometime in 201in booths throughout the exhibition hall, with airy promises that the devices would make their debut sometime in 201in 2010.

Originally planned as an exhibition center, with several architectural pieces of industrial design already in place, it turned out to be one of the most horrific places.

Both Solomon's Cornell exhibition checklist and a 1958 inventory in Castelli's archive refer to the piece as «Construction with J.J. Flag.»

I have been filling sketchbooks with designs in thatch for some time, but in creating this new piece of work, I was able to spend time with a thatcher (called Stewart Alexander) and design and make a unique piece of work for my exhibition as a result, albeit relatively small - scale for the time being until my skills and experience increase — my experience of thatching is at the absolute beginning.

Writing a few years ago about the large - scaled, full - bodied works in Voulkos's late»50s solo exhibition in Pasadena, ceramics specialist Frank Lloyd noted, «The structured, volumetric pieces seemed at once raw and primitive, yet forged with a modern sensibility.

An exhibition, either solo or shared has been the most profitable experience in galleries but I found that it was too long between drinks just having a few pieces on their walls surrounded by many other works, often made up of pieces that had been created to fit in with that years interior design colour schemes and priced accordingly.

For many recent exhibitions, including Portrait of a Young Man at the Bass Museum of Art, Miami Beach, URANIBORG at the Galerie nationale du Jeu de Paume, Paris, France and the Montreal Museum of Contemporary Art, Canada and, most recently, Disasters and Miracles at the Kunsthaus Baselland, Switzerland, Grasso has acted as a co-curator in conjunction with the museums, altering the architecture of the exhibition spaces and merging his works with pieces in the permanent collections of the institutions in order to create a unique and dynamic viewing experience.

Here, the group exhibition format is approached as a work in and of itself, with all of the included pieces echoing Stockholder's idiosyncratic method, and in many cases approximating her work.

An abstract foam sculpture, a group of bloated glow - in - the - dark skeletons, and a rock - climbing painting relief share little in common with one another, yet they are all a part of Puff Pieces, an ongoing group exhibition at Rachel Uffner Gallery.

Among the pieces shown at his first solo exhibition in 1950 was the canvas entitled Chief that indubitably referred his childhood, maybe the locomotive with the same name, her power, sound and steaming engine he remembered, or, as some also believed, that the artists fascination with dark color was the result of his growing up in the mining community.

The resulting pages, complete with typos and hand - written notes, form an array of possible, and sometimes impossible, propositions for artworks, which collectively form the initial piece in every Liversidge exhibition.

We did the whole exhibition with almost no mental thinking at all, everything just flipped in my head like a finished piece.

Spanning two floors of the 24 Grafton Street location in London, the exhibition will feature works that relate to the artist's ongoing series of «collage sculptures» begun in 2016, characterized by square steel tubing that has been crushed and bent into soft folds that belie their material construction, then painted in a uniform color and variably combined with found pieces of scrap metal and a smooth, highly polished steel disk.

New York — Pace Gallery is pleased to present an exhibition of new wire pieces by Richard Tuttle created in response to and installed with grey paintings by Agnes Martin.

Indeed, Liu, who will open a new solo exhibition on November 2 at the Lehmann Maupin gallery, in Manhattan, is known for working within a variety of mediums — painting, photography, video, sculpture, installation — and experimenting with all manner of materials, letting the concept dictate the form a piece will ultimately take.

The Nevelson piece, Sky Cathedral / Southern Mountain, 1959, which was borrowed from LA MoCA, is installed somewhat differently than these other works, directly on the floor in a portion of the room where the ceiling is lower.It looks consistent with similar Nevelsons I viewed at Pace Gallery or the Jewish Museum in New York during the»80s and»90s, before the advent of the enormity of scale that typifies so many of the new exhibition spaces of today.

Karsten Schubert, in association with Richard Saltoun Gallery, announces an exhibition of Roelof Louw's Rolled Lead Piece (1970).

In the basement, a sculptural installation by Marc Andre Robinson weaves together formalism with black cultural history, while another, «Lorraine O'Grady: Art Is...» offers a fantastic exhibition of photographs documenting Ms. Grady's performance piece during the 1983 African - American Day Parade, in which she skillfully weaves together art, activism and participatioIn the basement, a sculptural installation by Marc Andre Robinson weaves together formalism with black cultural history, while another, «Lorraine O'Grady: Art Is...» offers a fantastic exhibition of photographs documenting Ms. Grady's performance piece during the 1983 African - American Day Parade, in which she skillfully weaves together art, activism and participatioin which she skillfully weaves together art, activism and participation.

Photographs and video - installations are some of the technological mediums that expose Taquini's trajectory, becoming not only a collection of pieces that take part in a visual art exhibition, but also the portrait of a life in the art, in which the curatorial practice that took place during a great part of her professional development converges with her more recent artistic practice.

Transfer's limited edition pieces are offered in tandem with each exhibition, and can be acquired online or in the gallery.

Featuring groundbreaking pieces by Alvar Aalto, Marcel Breuer and Charles and Ray Eames, the exhibition reflects on the material's specialist origins in 1760s furniture workshops; its developments in World War II and the post-war period; up until the present - day, where plywood is used on digital platforms and cut with computer - controlled machinery.

In Mungo Thomson's solo exhibition at Kadist Art Foundation, Wall, Window, or Bar Signs, the gallery is filled with neon works that appropriate the form of Bruce Nauman's spiraling neon text piece, The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign) from 1967.

The Artist and the Model, a portfolio of twelve intaglio prints, is published by Sylvan Cole at Associated American Artists, New York; receives a Tamarind Artist Fellowship and travels to the Tamarind Lithography Workshop in Los Angeles, where he produces thirty - four editions of primarily black - and - white lithographs that continue the Artist and the Model theme; begins using the airbrush, which he had learned from the artist Billy Al Bengston while at Tamarind; sees the exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington,exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington,Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington,Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, Kentucky.

Commissions for this exhibition include Michel Paysant's VOX SILENTII (Eye Composing), a series of scores created with an eye tracker, a co-production with the Nouveau Musée National de Monaco; and a new piece by Em» Kal Eyongakpa using sound material from recent field recordings in Cameroon.

The pieces in this exhibition, with their battered, war - weary aura, dominate a 1500 - square - meter space.

The exhibition will feature 170 works of art, including more than 60 paintings, sculptures, and ceramics by Picasso alongside more than 20 works of African and Oceanic art that were part of his personal collection — pieces that he collected, lived with and kept with him in his studios, many of them featured for the first time in the Americas.

In addition to the new works in the show, Richter has punctuated and augmented the exhibition with a selection of paintings on canvas, glass and photographs made over the last 15 years — including his «Abstraktes Bild» and «Farben» paintings — which inform and re-contextualize his more recent pieceIn addition to the new works in the show, Richter has punctuated and augmented the exhibition with a selection of paintings on canvas, glass and photographs made over the last 15 years — including his «Abstraktes Bild» and «Farben» paintings — which inform and re-contextualize his more recent piecein the show, Richter has punctuated and augmented the exhibition with a selection of paintings on canvas, glass and photographs made over the last 15 years — including his «Abstraktes Bild» and «Farben» paintings — which inform and re-contextualize his more recent pieces.

The exhibition brings together over 100 works, including several large - scale illustrated books by Kiefer (b. 1945) made in homage to Rodin (1840 — 1917) from materials like plaster; a series of large paintings titled Cathedral Towers; and vitrines filled with assorted objects including molds, dried plants, stones, and pieces of fabric.

My piece is currently on display in the «Art from Detritus: Upcycling with Imagination» group exhibition at the Willaimsburg Art and Historical Center through May 29th.

The exhibition in STUK focuses on the impressive 3 - channel video piece Neochronophobiq with the contributing actor Tómas Lemarquis, shown for the first time in Europe after its premiere in the Istanbul Biennale in 2015.

Prieto also curated an exhibition with Direlia Lazo and Gretel Medina of «site - specific interventions... that re-configure, deconstruct, re-interpret, re-contextualize and confront the physical and intangible heritage» in the abandoned Vedado Bicycle Factory, where multimedia talents like Pierre Huyghe, Ryan Gander, and Abraham Cruzvillegas installed a range of lyrical pieces.

This exhibition will feature key works from the Museum's collection, including sculptures in stone, a selection documenting Noguchi's experimentation with stainless steel and aluminum sculptures from the 1950s, as well as rarely shown pieces from the early 1940s incorporating string and wood elements.

Through his close relationship with this successful printer, Grasset met the highly talented jeweler Henri Vever, who later commissioned designs by him for 20 pieces of jewelry for the international exhibition in Paris in 1900.

To illustrate their ongoing relevance in contemporary dialogues, MOCA Jacksonville invited a handful of artists to engage with the collection and participate by either the creation a new work of art or presenting an existing piece for inclusion in the exhibition.

The exhibition included both freestanding sculptures and wall works combining text and image; exhibited as well were examples of «interactive sculptures» (some produced in collaboration with Esther Shalev - Gerz), pieces either re-created, presented in the form of photographic documentation, or made accessible by computer.

Tolle, who's celebrated for his public art installation Irish Hunger Memorial in New York's Battery Park City, is presenting eleven of these poetic pieces, along with a whimsical model of the façade of a 17th - century Flemish canal house, in his current solo exhibition, BENT, at C24 Gallery in New York.

The exhibition comes with the acquisition of more than 100 pieces of art from the Gilbert and Lila Silverman Fluxus Collection Gift and was organized, in part, by Klaus Biesenbach, MoMA's chief curator at large who also worked on the museum's upcoming Björk exhibit.

That piece, an emblematic expression of his community - geared work, will be present in the Polish artist's first major American exhibition when it opens at the New Museum this month, along with a new installation featuring sculptures that the artist will make over the show's duration, to be shown alongside drawings accumulated from the exhibition's visitors.

Nicole Cherubini presentation on contemporary ceramics where paint acts as the union between disparate mediums presents painting as a verb, creating some of the most successful pieces in the exhibition, Cherubini follows suit with Apfelbaum, merging the disciplines of sculpture and painting.

The exhibition also features First Sounds (2012), a piece Tang created in collaboration with astronomer Mark Whittle, who used computer calculations rooted in the Cosmic Microwave Background data to recreate the fundamental tone and higher harmonics of the sound of the early universe.

A small side room of the exhibition is devoted to a new VR piece by KATSU that is an «homage» to the Tenderloin area of San Francisco, a region «with deep roots in graffiti culture» that is slowly being sanitized and gentrified.

The exhibition includes twenty - six pieces by thirteen pairs of artist - mentors and the emerging artists who have studied with them in recent years.

She bought from galleries with whom she had long - standing relationships — M. Knoedler, Fine Arts Associates, Galerie Louis Carré — and it is likely that she purchased particular pieces after she saw them in exhibitions on 57th Street or in the 8th arrondissement.