Sentences with phrase «pieces in a show»

However, there are other pieces in the show which demonstrate that our objections were not victorian prudery.

The pieces in this show were donated from Toronto's socialites or they were taken from the Royal Ontario Museum's permanent collection.

I had a piece in our Show Daily about Beyond the Book on Friday.

Francis Dawson will be exhibiting his living art pieces in the show.

We don't know yet what's in store for us this year, except that Chicago artist Jeremy Tinder has a piece in the show (Mushroom Kingdom Totem, pictured).

It was a storefront, guerrilla sort of gallery, and it was the only piece in the show when it was first seen there.»

The most strictly conceptual piece in the show is by the activist artist collective, called Occupy Museums.

Laundry I (22 by 30 inches) is one of the larger pieces in the show.

The primary and tertiary colors used in Sister / Brother (2014) make this work by far the best piece in the show.

With every piece in the show there was a dramatic ripping apart at the end.

As the biggest piece in the show, the large drawing is actually only lower portion of a huge composition that Verlato started on back in mid 80s, just after the massacre of the Eisel stadium.

Many art viewers will be familiar with several key pieces in the show like Nan Goldin's photographs from Ballad of Sexual Dependency or Schneemann's Interior Scroll.

Each student will have one piece in the show, which is on view at Hunter College / Times Square Gallery at 450 West 41st Street through April 9, 2011.

All of the pieces in this show take their titles from Girl Scout cookies, yielding uncannily accurate descriptive associations with each work and reflecting how daily experience — in this case, his daughter's cookie drive — influences Hawkinson's imagination.

For another installation, he strung up plain white bath towels on a laundry line, cordoning off the nicest piece in the show and unfortunately keeping viewers from seeing it up close.

Another Smith piece in the show, a rippling work on paper, seems to turn the slim silhouette of the sculpture on its side.

Each piece in the show is an individually compelling object, comprised of thick, crackled lacquer on undulating wood, which are large - format, misshapen and sometimes nearly 20 centimeters in depth.

Rafferty began the pieces in this show (all 2016) by printing imagery onto clear acetate film.

The pieces in this show were also born of an exploration of ideas and imagery associated with housing, shelter, aid and economics.

Despite being the smallest piece in the show, this rectangular amalgamation of oil paint, acrylic paint, household paint, varnish and mixed media collage on canvas (then mounted on board) had that rare feeling of monumentality.

In the middle of it all is Robert Rauschenberg's White Painting (1951), one of the earliest pieces in the show and perhaps the one which, in its simple paradox of filled - in blankness, epitomises the cyclical quest for the end of painting.

A baseball cap is anchored down by a chain, or occupied with something so heavy but flexible as if the previous occupant has been reduced to a reproducible system... or as if the cap is like a brain with attached spine... Another piece in the show is a pair of cupped hands that encouragingly, almost plaintively, offer a mix of pills and seeds suggesting that our sustenance is no longer derived from nature alone.

Curated by Dr Jo Melvin, the director of Flanagan's estate, the show focuses on these seminal early works from the 50s, 60s and 70s that came to establish Flanagan's solid reputation — many of the pieces in the show have remained behind closed doors for 30 years.

One of the more illustrative pieces in the show, these oversized bugs function as a brief commentary on the natural world.

The pieces in this show function as souvenirs, commemorating and bearing witness to times past and present.

Almost all the 30 - odd pieces in the show have some kind of sociopolitical charge, but a few are especially compelling and poetic.

Each piece in the show is an homage to an important woman.

On the window itself, drawings of the pieces in the show alongside the artists» names, materials and dates of the works are illustrated with black marker.

Each piece in the show records the artist undertaking one or more of a diverse range of activities from her home, such as singing, dancing, telling stories or expressing her emotions (melancholy, frustration, joy, etc), for example.

The earliest piece in the show is Swimming, Smoking, Crying (2009), whose title — through an evident nod to Philip Guston's 1973 masterpiece Painting, Smoking, Eating — suggests, albeit more indirectly, that this is another of Schutz's allegories of painting.

Each piece in the show encompasses the commonalities of the rough lifestyles that are faced on a day - to - day - bases in inner / urban cities.

«At the end of the day, pieces in the show are empowering,» said Cesarine.

Pfaff described the pieces in this show as a reflection of her age, since they are darker in color and also in mood.

Following in Lozza's footsteps, Romberg created a group of works in 1980 that resemble color charts — there were six such pieces in this show.

The most exciting pieces in the show for me were the most recent works, The Eye Man (2014) and Corner Café (2014 - 2015), large canvases making their public debuts.

Had enough lone standout pieces in shows of relative unknowns?

The newest piece in the show, du voyage, des gens (Travel, People, 2011), is a three - minute video of an anonymous Roma woman playing the fiddle in the tourist - filled space in front of the Centre Pompidou.

And the artist, often associated with his antic performances, is getting credit for his depth lately: the Financial Times called his work in the Whitney's «Blues for Smoke» exhibition the «most poignant piece in the show.»

One of the most notable pieces in the show is the black - and - white film Wildcat (Aunt Janet)(2016).

In the second room is my favourite piece in the show.

The floppy typography acts as a bridge between the two and three dimensional pieces in the show, creating a sense of continuity that is lacking within the paintings themselves.

In other pieces in the show, everyday objects such as books are transformed by applying to them the geometry of paper ornaments and minimalist sculpture (Minimal Bibliography), and photographed window fences with geometric designs are isolated from their functional environment by cutting the prints and flattening the illusionistic space of the photograph, thus relating those specific daily life situations with the idealistic language of modernist geometric abstraction (Popular Geometry).

Each piece in the show is ethereal and fragile.

This 21 - inch square of blue and black gouache on paper is one of the largest pieces in the show.

The best pieces in the show work because, as with the best Hollywood films, they present a glittering surface, beneath which is a strong underlying narrative.

In what might be the most effective piece in the show, dozens of head - sized spheres constructed out of garbage bags and twine are suspended just a foot or two off the floor.

Although disconnection and alienation hover around many of the pieces in the show, López's work never shuts the viewer out.

Rauschenberg passed away in 2008, but Johns is still going strong at 87; the latest piece in the show is dated 2016.

One installation known as Forest, however, is a more somber and reflective piece in the show that features poles representing tree trunks and serves as a memorial of the Holocaust.

Some very strong pieces in the show if you have the time we recommend viewing this show before it is taken down.