Sentences with phrase «primary space of the exhibition»

The primary space of the exhibition consisted of four separate works, each of which comprised a set of similar components: On the left stood a new, unmodified smeg - brand refrigerator, whose retro design features a sherbety color and Streamline Moderne curves, while to the right hung a trio of monochrome panels, each a different hue.

Not exact matches

1996 Laguna Gloria Art Museum changes its name to Austin Museum of Art (AMOA) and moves its primary exhibition space to 823 Congress Avenue.

Muddying the waters even more is the fact that many Light and Space artists were also included under the greater rubric of Minimalism and showed in exhibitions like «Primary Structures» in New York.

In particular he seems to have sought specific settings for exhibitions of his early wall - mounted sculptures, which, seen together, gave the impression of amply spaced pops of primary color in otherwise white rooms.6 Following the precisely scaled galleries he created for his 1984 exhibition at MoCA's Temporary Contemporary, he made a rotating exhibition of such works at Leo Castelli's New York gallery in 1986 — 87, sometimes forgoing the main gallery spaces for a more intimate basement.7

Were issues of the public space of the museum and the viewer's circulation through the exhibition a primary concern?

LAND supports dynamic and unconventional artistic practices using a tripartite approach: Commissioning public projects of site - and situation - specific works with national and international contemporary artists Collaborating with a variety of institutions and organizations, such as universities, museums, and theaters as well as other types of spaces, industries, and entities Offering additional programs such as performances, workshops, residencies, discussions, and publications LAND is an ongoing endeavor with three primary types of annual programming: LAND 1.0 projects are large - scale, multi-artist, multi-site exhibitions and single - site group exhibitions, LAND 2.0 projects feature a new commission by a single mid-career or established artist, and LAND 3.0 projects feature new work by lesser known or emerging artists

River's primary agenda is to function as a progressive commercial space in Los Angeles that specializes in the exhibition and sale of contemporary art via physical and online systems.

Rather, Soundtracks takes a close look at the relationship between sound and space in various ways, primary among them the relationship between sound - based art and the space of the art exhibition and the museum.

It is true, however, that artists over 35 years of age will have more chances to be selected, trying to respect as much as possible the primary rule of the exhibition space.

Previous Selectors for the White Columns Annuals The inaugural «Annual» exhibition in 2006 was selected by White Columns» Director Matthew Higgs; the second in 2007 was selected by independent curator Clarissa Dalrymple; the third in 2008 was selected by curator and writer Jay Sanders; the fourth in 2009 was selected by Miriam Katzeff and James Hoff of Primary Information; the fifth in 2010 by curator and writer Bob Nickas; the sixth in 2011 was selected by the artists Ken Okiishi and Nick Mauss; the seventh in 2012/13 was selected by Artists Space curator Richard Birkett; the eighth in 2013/14 was selected by independent curator Pati Hertling; the ninth in 2015 was selected by Cleopatra's — Bridget Donahue, Bridget Finn, Colleen Greenan, and White Columns» Deputy Director and Curator Erin Somerville; the tenth in 2016 was selected by White Columns» Director Matthew Higgs.

The ever - rising prices of apartments, rooms and exhibition spaces are the primary reasons young creatives and galleries are forced to leave the London city centre and push towards the outskirts, or even move to other cities and countries.

As RISD's primary venue for exhibiting graduate student work, this inviting space downtown hosts a series of ever - changing exhibitions throughout the academic year.

With all three spaces, Perry Rubenstein Gallery achieves flexibility in its exhibition arrangements and seeks to promote and champion the practice of the artists in its primary program.

[21] In 2010, David Zwirner Gallery, New York presented an historic exhibition titled «Primary Atmospheres,» a term coined by art critic Dave Hickey to describe the contributions of Southern California artists to the Light & Space movement.

Valentine's work has also been included in a number of important group exhibitions that served to introduce the Light and Space artists to a national audience, including Annual Sculpture Exhibition, Whitney Museum of American Art, New York (1966, 1968, 1970); Sculpture Of The 60's, Los Angeles County Museum of Art (1967); Plastic Presence, Jewish Museum, New York, Milwaukee Art Center, and San Francisco Art Museum (1969); The Industrial Edge, Walker Art Center, Minneapolis (1969); and, more recently, Primary Atmospheres: Works From California 1960 - 1970, David Zwirner, New York (2010); Pacific Standard Time: Crosscurrents In L.A. Painting And Sculpture, 1950 - 1970, J. Paul Getty Museum, Los Angeles; and Phenomenal: California Light, Space, Surface, Museum of Contemporary Art San Diego (2011of important group exhibitions that served to introduce the Light and Space artists to a national audience, including Annual Sculpture Exhibition, Whitney Museum of American Art, New York (1966, 1968, 1970); Sculpture Of The 60's, Los Angeles County Museum of Art (1967); Plastic Presence, Jewish Museum, New York, Milwaukee Art Center, and San Francisco Art Museum (1969); The Industrial Edge, Walker Art Center, Minneapolis (1969); and, more recently, Primary Atmospheres: Works From California 1960 - 1970, David Zwirner, New York (2010); Pacific Standard Time: Crosscurrents In L.A. Painting And Sculpture, 1950 - 1970, J. Paul Getty Museum, Los Angeles; and Phenomenal: California Light, Space, Surface, Museum of Contemporary Art San Diego (2011of American Art, New York (1966, 1968, 1970); Sculpture Of The 60's, Los Angeles County Museum of Art (1967); Plastic Presence, Jewish Museum, New York, Milwaukee Art Center, and San Francisco Art Museum (1969); The Industrial Edge, Walker Art Center, Minneapolis (1969); and, more recently, Primary Atmospheres: Works From California 1960 - 1970, David Zwirner, New York (2010); Pacific Standard Time: Crosscurrents In L.A. Painting And Sculpture, 1950 - 1970, J. Paul Getty Museum, Los Angeles; and Phenomenal: California Light, Space, Surface, Museum of Contemporary Art San Diego (2011Of The 60's, Los Angeles County Museum of Art (1967); Plastic Presence, Jewish Museum, New York, Milwaukee Art Center, and San Francisco Art Museum (1969); The Industrial Edge, Walker Art Center, Minneapolis (1969); and, more recently, Primary Atmospheres: Works From California 1960 - 1970, David Zwirner, New York (2010); Pacific Standard Time: Crosscurrents In L.A. Painting And Sculpture, 1950 - 1970, J. Paul Getty Museum, Los Angeles; and Phenomenal: California Light, Space, Surface, Museum of Contemporary Art San Diego (2011of Art (1967); Plastic Presence, Jewish Museum, New York, Milwaukee Art Center, and San Francisco Art Museum (1969); The Industrial Edge, Walker Art Center, Minneapolis (1969); and, more recently, Primary Atmospheres: Works From California 1960 - 1970, David Zwirner, New York (2010); Pacific Standard Time: Crosscurrents In L.A. Painting And Sculpture, 1950 - 1970, J. Paul Getty Museum, Los Angeles; and Phenomenal: California Light, Space, Surface, Museum of Contemporary Art San Diego (2011of Contemporary Art San Diego (2011).

It is as though what has always been our primary work method — encounter and dialogue — has now become the theme of the Exhibition, because this year's Biennale is dedicated to celebrating, and almost giving thanks for, the very existence of art and artists, whose worlds expand our perspective and the space of our existence.»

MINUS SPACE is delighted to present the group exhibition Elements, highlighting several generations of artists whose works investigate primary forms and elementary materials.

11, No. 6 Capps, Kristen, «No Longer Presidents but Prophets», Washington City Paper, March 22 Butler, Sharon «Medium Unspecificity Prevails», Two Coats of Paint, Feb. 27 Peña, Art, «Making [in] Dallas», New American Painting, Feb. 22nd Kimball, Whitney, «This Week's Must - See Art Events», The L Magazine, Feb. 18th McQuaid, Cate, «PAINT THINGS is off the wall», The Boston Globe, Feb. 7th Garza, Evan and Dina Deitsch, «PAINT THINGS, Beyond the Stretcher», January 25 (Exhibition catalog) 2012 «Katie Bell by John O'Connor», Artists on Artists, BOMB, Number 121, Fall 2012 «Primary», City Paper, Baltimore, Aug. 16 Art F City, «We're Going to Open Studios», Art F City, April 25 Labarre, Suzanne, «Katie Bell, An Artist who Paints with Torn Apart Houses», Fast Company 2011 Brennan, Valerie, «Katie Bell» Studio Critical, October 17 Miranda, Lynnette, «Living Arrangements at PLUG Projects», Make Space, Sept. 15 Garza, Evan, «Small Crowd: RISD MFA Painting Grads at Mixed Greens», New American Painting Blog, June 28 Garza, Evan, «New Insight: Top MFA Students on View at NEXT», New American Paintings Blog, April 29 Bergstein, Mary, «RISD MFA Painting 2011 ″, (catalog), June Hamada, Jeff, «Katie Bell», Booooooom!

Recent solo exhibitions and events include: HFT The Gardener, P.P.O.W., New York US; HFT The Gardener, Annely Juda Fine Art, London UK; HFT The Gardener, Exhibition Research Lab (ERL) / Liverpool Biennial 2016, Liverpool UK (all 2016); HEXEN 2.0, Fig - 2, ICA, London UK; Post-Surveillance Art, Acting Out festival, Primary, Nottingham UK; Rosalind Brodsky's Electronic Time Travelling Costumes, Schaufenster am Hofgarten, Kunstverein München Munich DE; HEXEN 2.0, Aksioma Project Space, Ljubljana SL (all 2015); Event: Post-Surveillance Art, Chisenhale Gallery, London UK; Post-Surveillance Art, Maggs Bookshop, London UK; Supper for Snowden, Supper Club, Die AU café / restaurant, Thyssen - Bornemisza Art Contemporary, Vienna AT (all 2014); In The Name of Art and Other Works, Annely Juda Fine Art, London UK; HEXEN 2.0, Cleveland Institute of Art (CIA), Cleveland, Ohio UK; HEXEN 2.0, P.P.O.W, New York US; Grimoir du Futur, Espace Multimédia Gantner, Bourogne RF (all 2013); THE REAL TRUTH A WORLD»S FAIR, Raven Row, London UK; HEXEN 2.0, D21 Kunstraum, Leipzig DE; HEXEN 2.0, Hartware MedienKunstverein, Dortmund DE; HEXEN 2.0, Science Museum, London UK (all 2012).

2017 Builders, Circuit 12, Dallas, TX Fantastic Facade, LVL3, Chicago, IL Deconstructed, Terrault Contemporary, Baltimore, MD 2016 Helter Skelter, Launch F18, New York, NY Water Work, Soho House curated by Patrick Muhundro and Andrea Bergart, New York, NY Transaction, Knockdown Center curated by Elijah Wheat Showroom, Queens, NY Knife Hits, Spring / Break Art Show, New York, NY Faulted Valley Fog, Transmitter, Brooklyn, NY Painting Reassembled, SUNY Westchester Community College curated by Erika Mahr, Westchester, NY 2015 Surface Matters, Knockdown Center curated by Holly Shen and Sam Katz, Queens, NY Handmade Abstract, BRIC, Brooklyn, NY Object» hood, Lesley Heller Workspace curated by Inna Babaeva and Gelah Penn, New York, NY 2014 Ultra Deep Field, Rockford University Art Gallery, Rockford, IL Site Lab, Old Morton Hotel, Grand Rapids, MI BRIC Biennial, BRIC Arts in partnership with LIU University, Brooklyn, NY Insider Joke, Hockney Gallery, Royal College of Art, London, UK 2013 Rushgrove House, Rushgrove House in conjunction with the Royal College of Art, London, UK Limber: Spatial Painting Practices, Herbert Read Gallery, Canterbury UK and the Grandes Galleries de L'Erba, Rouen, France Material, Storefront Bushwick, curated by Liz Dimmitt, Brooklyn, NY Middle Zone, Projekt 722, curated by Corydon Cowansage, Brooklyn, NY No Longer Preseidents But Prophets, Delicious Spectacle, Washington DC Inside Voices, Parallel Art Space, Brooklyn, NY Contemporary Drawing Today, Fort Worth Drawing Center, Fort Worth, TX Paint Things, DeCordova Museum and Sculpture Park, Lincoln, MA 2012 Bleach Blue, FJORD Gallery, Philadelphia, PA Primary, Nudashank, Baltimore, MD Masculinisms, Garden Party / ARTS, Brooklyn, NY Rockford Midwestern Biennial, Rockford Art Museum, Rockford, IL Fakin It, Meyer Gallery, University of Cincinnati, OH 2011 Living Arrangements, PLUG Projects, Kansas City, MO Off the Wall, Visceglia Gallery at Caldwell College, Caldwell, NJ Small Crowd, Mixed Greens, New York, NY Out of Practice, Art Blog Art Blog curated by Nudashank, New York, NY RISD Graduate Thesis Exhibition, Rhode Island Convention Center, Providence, RI New Insights, Art Chicago with NEXT cuarted by Suzanne Ghetz, Renaissance Society, Chicago, IL 2010 Interriuer / Exterieur, Dubois Galerie, Pont - Aven School of Contemporary Art, France Boston Young Contemporaries, 808 Gallery, Boston University Totemic, The Gelman Gallery, RISD Museum, Providence, RI

The Museum houses collections and extensive archives related to these artworks and past exhibitions, and Light and Space has been an ongoing subject of deep interest for MCASD, reinforced most recently by the 2007 exhibition and catalogue curated by Dr. Hugh Davies, Robert Irwin: Primaries and Secondaries.

That being said, the two series on view from Mokgosi in Primary Sources present two disjointed sides — of alluring aesthetics and trenchant critique — that are rather hard to reconcile in the space of a single, small exhibition of his art.

However, letters and other memorabilia displayed at the Courtauld exhibition also reveal that Mondrian was a less forbidding character than his white spaces, precise grids and strict use of primary colours might suggest.