Sentences with phrase «poem by»

[28] The etchings refer to themes in a poem by Wallace Stevens, «The Man with the Blue Guitar».

Featuring works by artists including Darren Bader, Yanyan Huang, and Elizabeth Jaeger, the show takes its title from a poem by the Black Mountain College poet Edward Dorn.

Taking its title from the eponymous 2001 poem by Giorno, THERE WAS A BAD TREE brings together three American artists, all rarely exhibited in the UK.

The phrase invokes a wonderful couplet from late in «Byzantium,» a poem by William Butler Yeats, who in 1933 was ceremoniously contemplating «complexity» in a room at the top of a tower in Galway, the literary version of the ascetic space of the studio.

The exhibition title cites a poem by Vladimir Mayakovsky, which was published in the Signals Newsbulletin Vol.

K. Bradford: Works on Paper, a publication focusing on the artist's intimate gouache and collage works along with a new poem by Eileen Myles, accompanies the exhibition.

Composed while the 31 - year - old Franz Schubert was dying of syphilis and not in a very good mood, the 24 - song cycle Winterreise sets to music a poem by Wilhelm Müller about a young man who, spurned by his lover, goes off in search of a lonely death.

One wall is decorated with canvases destined for his upcoming show at the Marian Goodman Gallery in London, his first in the city, which takes its title — «Every dawn, is first» — from a poem by Emily Dickinson.

Martial Raysse: Visages will be complemented by a publication featuring essays by curator and art historian Jane Livingston and sociologist Dr. Eduardo de la Fuente, as well as a specially commissioned poem by Leopoldine Core.

Published in conjunction with Lévy Gorvy's exhibition of the work, this fully illustrated catalogue features a newly commissioned essay by Michael Bracewell based on a recent interview with the artists, an original poem by Kostas Anagnopoulos, newspaper reviews from the inaugural exhibition at the Sonnabend Gallery, and a facsimile of the postal sculpture A Day in the Life of George & Gilbert, the sculptors (1971).

This original poem by University of Chicago student Rachel Harrington was inspired by Leon Golub's 1956 painting The Ischian Sphinx on display in the Smart Museum of Art's special exhibition Monster Roster: Existentialist Art in Postwar Chicago (February 11 — June 12, 2016).

Published in conjunction with Lévy Gorvy's exhibition of the work, this fully illustrated catalogue features a newly commissioned essay by Michael Bracewell based on a recent interview with the artists, an original poem by Kostas Anagnopoulos, newspaper reviews from the inaugural exhibition at the Sonnabend Gallery, and a facsimile of the postal sculpture

For Artist's Choice, Dean has selected a 1939 poem by W. B. Yeats and a passage from a 1995 novel by W. G. Sebald that both capture the elegiac spirit of the her own work.

Also included are texts by Paolo Colombo and Anders Krüger, a poem by Stig Claesson, and an interview with Nordström by Marcel Dzama.

She has been called «a poet of a painter» by the New Yorker, and the exhibition title is a line from a poem by William Carlos Williams.

The title of the piece is inspired by words from a poem by former Kentucky Poet Laureate Frank X. Walker.

The line is from a poem by Asdis Sif Gunnarsdottir.

The publication features a newly commissioned essay on Chung's work by art historian Tim Griffin, an original poem by Yuko Otomo written in response to the temporal encounter with Chung's painting, and a comprehensive chronology situating Chung's life and work within the context of postwar art and culture

The vividly dramatic story of Isabella, from a poem by Keats (in turn from Boccacio's Decameron,) crying over her lover Lorenzo, who, base born, was murdered by her brothers, was much admired by the Victorians.

The exhibition — its title is taken from a poem by Robert Frost and also used by the filmmaker Emile de Antonio for one of his political documentaries — is the most ambitious display to date of the Whitney's collection.

An original poem by University of Chicago student Chi Le, inspired by Leon Golub's 1956 painting Prodigal Son.

to see if time was there, 2017, a new, site - specific commission for The Contemporary Austin's Betty and Edward Marcus Sculpture Park at Laguna Gloria, takes its title from a nineteenth - century poem by Emily Dickinson.

The book also includes «GEGO,» a new poem by writer, visual artist, and composer Anne Tardos, exploring the artist's poetics of the line and performing a linguistic intervention in her work.

Brown included in the same email this excerpt from «To Jane, and in imitation of Coleridge,» a poem by Freilicher's close friend Frank O'Hara:

The exhibition title, which comes from a poem by Anne Waldman written specifically for the show, translates to a propitious moment for decision and action, something integral to Steir's work.

An original poem by University of Chicago student Rachel Covil, inspired by George Cohen's 1962 work Vestibule (Phenomenology of Mirrors III).

Hyperallergic poetry editor, Joe Pan, has selected gallery artists Denis Darzacq and Anna Lüneman's collaborative work Double Mix Nº33 to accompany a poem by Reginald Dwayne Betts.

derives from a 1788 poem by the German poet Friedrich Schiller, later set to music by Austrian composer Franz Schubert in 1819.

An original poem by University of Chicago student Rachel Harrington, inspired by Leon Golub's 1956 painting The Ischian Sphinx.

In conjunction with the exhibition, the galleries will publish a catalogue featuring a newly commissioned essay on Chung's work by art historian Tim Griffin, an original poem by Yuko Otomo written in response to the temporal encounter with Chung's painting, and a comprehensive chronology situating Chung's life and work within the context of postwar art and culture.

The line draws on a late poem by Robert Frost, who traces the difficulty all the way back to Christopher Columbus:

This year's theme is based on a poem by the German poet Friedrich Schiller which asks: «Beautiful world, where are you?»

Marcel Broodthaers, Dites partout que je l'ai dit, 1974, reproduction of a print representing a parrot, stuffed parrot under bell - glass, collage and painting of a poem by Marcel Broodthaers, tape recorder playing the taped poem, «Moi je dis je, moi je dis je...», read by the artist, dimensions variable.

The exhibition of Sybren Renema derives its title from the last sentence of «Kubla Khan», a poem by the 19th century British Lake Poet Samuel Taylor Coleridge, who was infamous for his use of opium and his sprawling public lectures.

In conjunction with the 2016 New York exhibition, Lévy Gorvy published a catalogue featuring a newly commissioned essay on Chung's work by art historian Tim Griffin, an original poem by Yuko Otomo written in response to the temporal encounter with Chung's painting, and a comprehensive chronology situating Chung's life and work within the context of postwar art and culture.

The title of Byron Kim's gorgeous painting «Innocence Over Blue,» along with its image, comes from a poem by the St. Louis writer Carl Phillips describing the color and texture of a bruise on a lover's skin.

The Foundation derives its name from a 1921 poem by Langston Hughes (1902 - 67) titled The Negro Speaks of Rivers, the last line of which is «My soul has grown deep like the rivers.»

The images have been created in conversation with a composition, The last Turn, by the Iranian master Oud player Negar Bouban, based on «Shabaneh,» a poem by Ahmad Shamlou.

The roster is surely multigenerational; Claude Viallat, born in France in 1936 shows a 1970 work characteristic of his signature painters on fabric; the wall piece by Dena Yago, born in 1988 in the US, lends the exhibition its name «Human Applause,» also the title of a 1800 poem by Friedrich Hölderlin that «addresses a poet artist subjectivity and market valuation explicitly» written at the turn of the 20th Century.

In Ed Atkins's 2013 video, Warm, Warm, Warm Spring Mouths, a disembodied male protagonist reads «The Morning Roundup,» a poem by Gilbert Sorrentino (1929 — 2006), while his setting changes around him, transitioning separately from the content of the text.

ADAM PENDLETON's latest exhibition is inspired by a poem by Ron Silliman.

The show is called «The Light of Interiors» after a poem by Kay Ryan.

Recent 2014 titles include Richard Serra: Early Work (text by Hal Foster) and Yayoi Kusama: I Who Have Arrived In Heaven (text by Akira Tatehata, poem by Yayoi Kusama).

He goes on to define what he means by high and low art and as an example he draws the contrast between a poem by T. S. Eliot and a Tin Pan Alley song; or a painting by Georges Braque and a Saturday Evening Post cover; all being examples of contemporaneous culture.

A fully illustrated catalogue featuring an interview of the artist by Hans - Ulrich Obrist, an essay by curator and scholar Hui Kyung An, and a specially commissioned poem by Mónica De La Torre will accompany the exhibition.

Below are selections from these works, along with the complete version of «Death paints a picture,» a poem by Ashbery and Kenneth Koch that first appeared in the September 1958 issue of ARTnews and is loosely based on this magazine's «Paints a Picture» articles.

A poem by Fionna Fox.

We were able to get a first look at gameplay from the upcoming hack and slash title based on the epic poem by Dante Alighieri.

The opening scene begins with a poem by John Hodge about all the mundane things you can choose in life but reminds you to

The building itself is attached directly to part of the Vancouver Convention and Exhibit Centre, and the southern and eastern facades of the building are wrapped by an original poem by British artist Liam Gillick that in part reads «lying on top of a building... the clouds looked no nearer.»