Sentences with phrase «problems of making art»

Sometimes I think our paintings are a little bit different, but on the other hand it seems that they're dealign with the same old problems of making art.

Hopper developed themes in pairs or serially over decades, and understanding these continuities is crucial to enlightening us about Hopper's approach to the problem of making art.

Not exact matches

The true art comes in making sure these meetings aren't just updates or immediate problem - solving sessions, but also strategic and proactive exchanges of ideas.

Conventional wisdom says that Niebuhr photographed the problem of evil and displayed the photograph in the public art gallery, that he made his strongest appeal to the pessimists, and that his faith in sin left him devoid of a program of redemption.

The owner, the board have been making us look idiotic for years, it wasn't the fans that sold us a dream that leaving Highbury and selling all our top players just so we can sit in the state of the art stadium, with over priced tickets and watch mediocre football, it wasn't the fans that said we would be able to compete with the top teams just to watch us get smashed by them, it wasn't the fans that said we will be able to buy top players and make a profit in the transfer window, its not the fans who take 4 year's to address a problem position and neglect other areas, its not the fans who let most of there best players enter the final year of there contracts, if it takes people to look idiotic and entitled to make a point, so be it

«Today's announcement to make it compulsory will exacerbate the already evident problems that far too many children and young people are being denied the opportunity to study a broad and balanced range of subjects, particularly creative subjects such as music, art and drama.

Rubik's cubism Ernö Rubik, a lecturer at the Academy of Applied Arts and Design in Budapest, Hungary, made the prototype of his famous cube in 1974, as an exercise in design and structural problem solving.

Ernö Rubik, a lecturer at the Academy of Applied Arts and Design in Budapest, Hungary, made the prototype of his famous cube in 1974, as an exercise in design and structural problem solving.

The key point I'm trying to make is that once I removed the foods that are known to cause problems for a lot of people and my immune system had time to take a breather from the constant influx of dietary antigens passing through my intestinal barrier, my body was finally able to start * doing what it was designed to do... the art of healing.

Described as a «make - along, create - along, interactive art adventure series,» this production from Angela Santomero, co-creator of «Blue's Clues,» follows the characters Arty and Epiphany as they travel through the cosmos attempting to solve problems through art, music and dance.

There's an art to making audiences care about the problems of glossy Manhattanites who are suffering photogenically in their Architectural Digest - ready apartments, but neither Loeb nor director Marc Webb («The Amazing Spider - Man») seems to have the first idea of how to make these characters anything but insufferable.

When you start out embedding making in the curriculum, it is essential to share with teachers the relevance of making as problem solving and the importance of process so that they don't end up with glitter catapult assignments or extra crafty English language arts assignments that turn out more like craft experiments than true project - based learning.

Sure, you want readers, sure you want your art to be seen, sure you are tired of beating your head against the problems of traditional publishers, but this is a business and businesses don't exist for the most part unless they make money.

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The art style that overstated everything making it easy to see meant that visually disabled gamers had no problem enjoying the diversions of Columbia.

It was cool to be able to call myself a professional artist, but the problem was, although I made my living from my art, I found myself spending only a tiny percentage of my time actually creating art.

MIDTOWN & UPTOWN & HARLEM Freak Flag curated by Kim Uchiyama / Morris / 29 E 32 (new, second location) / thru 12/13 Marina Abramovic; Jose Davila / Kelly / 475 Tenth Avenue @ 36 / thru 12/6 Emily Noelle Lambert; Lael Marshall / Dieu Donne / 315 W 36 / thru 1/10 Opening 11/20 Spencer Finch thru 1/11; CyTwombly thru 1/25; Etc. / Morgan Library / 225 Madison @ 36 Margaret Lanzetta / Heskin / 443 W 37 / thru 12/13 A Wicked Problem / EFA Project Space / 323 W 39 / thru 12/20 Inseparable Borders: Elisa Lendvay; Valentina Loseva curated by Nechama Winston / The 125 / 125 E 47 / thru 11/29 Opening 11/18 (6 - 9 PM) Anna Schuleit Haber / German Consulate / 871 United Nations Plaza @ 49 / thru 1/2 Opening 12/2 (6:30 - 8:30) Big Picture Show organized by the International Print Center / 1285 6th Avenue @ 52 / thru 12/5 R.Gober thru 1/18, H.Matisse thru 2/8, Sturtevant thru 2/22; J.Dubuffet thru 4/5; Etc. / MoMA / 11 W 53 Nina Tryggvadottir / Findlay / 724 Fifth Ave. @ 57 — floor 8 / thru 12/6 Sarah McEneaney; Hannah Wilke / de Nagy / 724 Fifth Ave. @ 57 — floor 12 / thru 11/22 Andy Warhol / Hirschl & Adler / 730 Fifth Ave. @ 57 / thru 12/6 Pablo Picasso / Pace / 32 E 57 / thru 1/10 Black & White: Vince Contarino; David Rhodes; Joan Witek; Adolph Gottlieb / McCoy / 41 E 57 / thru 12/12 Will Barnet / Alexandre / 41 E 57 / thru 1/10 Opening 11/20 (5 - 7 PM) Joseph Montgomery / Blum / 20 W 57 — floor 2 / thru 12/6 Nicolas Carone / Washburn / 20 W 57 — floor 8 / thru 1/17 John Baldessari / Goodman / 24 W 57 — floor 4 / thru 11/22 Dorata Jurczak / Jancou / 24 W 57 — floor 6 / thru 12/6 Ruud van Empel / Stux + Haller / 24 W 57 — floor 6 (new location) / thru 12/20 Bernardo Torrens; Anthony Brunelli; Antonio Caroria / Bernarducci - Meisel / 37 W 57 / thru 11/26 Richard Estes; Tom Otterness / Marlborough / 40 W 57 / thru 11/25 Kiln: A.Angell; R.Kneebone; W.O» Brien; A.Shechet; J.Smith; J.Wine curated by T.Zabludowicz / Heller / 43 W 57 (new, second location) / thru 12/20 An Albers Legacy: Artists at Yale in the 1950's curated by Francis Frost / 57W57ARTS / 57 W 57 -1206 / thru 12/20 Marcel Eichner / McKee / 745 Fifth / thru 12/20 Alexander Kaletski / Boone / 745 Fifth / thru 12/20 Assenting Voices: Agitprop Art from North Korea / John Jay CUNY / 860 Eleventh Ave. @ 58 / thru 1/23 New Territories thru 4/6, Etc. / Museum of Art and Design / 2 Columbus Circle @ 59 Joel Carreiro / St. Paul / Columbus @ 60 / 9/30 thru 11/29 Leo Villareal / Gering / 14 E 63 (new location) / thru 1/10 ZERO in vibration — vibration in ZERO / Moeller / 35 E 64 / thru 1/9 Please Enter curated by Beth Rudin Dewoody / Franklin Parrasch / 53 E 64 / thru 12/20 Something Beautiful curated by Khary Simon & Nicolas Wagner / Boesky / 118 E 64 / thru 12/20 Five From Fourteen: James Case - Leal, Anna Glantz, Ali Harrington, Heidi Howard, and Alyssa Piro / Bernstein / 21 E 65 / thru 12/12 Ha Chonghyun / Blum & Poe / 19 E 66 / thru 12/20 Jasper Johns / Dickinson / 19 E 66 / thru 12/12 Miyoko Ito / Baumgold / 60 E 66 / thru 12/20 Douglas Gordon / Park Avenue Armory / 643 Park @ 66 / $ / thru 1/4 Opening 12/10 Terence Gower / Faria / 35 E 67 / thru 1/10 Opening 11/20 Gego; Gerd Leufert / Hunter / West Building, 68 & Lexington (SW corner) / thru 11/22 Freezer Burn organized by Rita Ackermann / Hauser & Wirth / 32 E 69 / thru 12/20 Ray Johnson / Feigen / 34 E 69 / thru 1/16 Ishiuchi Miyako / Roth / 160A E 70 / thru 11/21 Nam June Paik / Asia Society / 725 Park @ 70 / thru 1/4 Food for Thought curated by H.Cohen & M.Falcaro / Marymount / 221 E 71 / thru 12/4 Maurizio Cattelan curated by Adam Lindemann / S - 2 / 1334 York @ 71 / thru 11/26 Local History: Castellani; Judd; Stella curated by Linda Norden / Levy / 909 Madison @ 73 / thru 1/3 Claude Rutault / Perrotin / 909 Madison @ 73 / thru 1/3 Opening 11/20 Jasper Johns / Starr / 5 E 73 / thru 1/23 Richard Diebenkorn / Van Doren Waxter / 23 E 73 / thru 1/16 Art in the Making / Freedman / 25 E 73 / thru 1/31 Duane Hanson / Gagosian / Park & 75 / thru 12/3 Jan Maarten Voskuil / Geranmayeh / 956 Madision @ 76 — floor 3 / thru 12/10 Berend Strik; Henk Peeters / Tilton / 8 E 76 / thru 12/19 Robert Raushenberg / Castelli / 18 E 77 / thru 12/20 Mario Schifano / Luxembourg & Dayan / 64 E 77 / thru 1/10 Carlo Mollino / Gagosian / 976 Madison @ 77th (new location) / thru 12/20 Blair Thurman; Walter De Maria / Gagosian / 980 Madison @ 77th / thru 12/20 Letha Wilson / Higher Pictures / 980 Madison @ 77 / thru 12/20 Opening 11/20 Sigmar Polke / Nahmad / 980 Madison — floor 3 / thru 1/15 Maurizio Cattelan curated by Adam Lindemann / Venus Over Manhattan / 980 Madison @ 77 / thru 1/10 Enrico David / Werner / 4 E 77 / thru 1/24 Chris Martin / Half / 43 East 78 / thru 12/13 El Anatsui / Mnuchin / 45 E 78 / thru 12/13 Roy Lichtenstein / Mitchell - Innes & Nash / 1018 Madison @ 78 / thru 12/19 Wayne Thiebaud / Acquavella / 18 E 79 / thru 11/21

Of course talking about «work» shares a root problem with «practice» in its relation to economics — it makes art your «job».

The problem with figurative art at the time was that it had run out of steam, but the polemic was that you couldn't do it any more, which seemed absurd after 4,000 years of people making representations of each other.

As facilitator of emergent forms, the Goodman Gallery works with curators and artists who question the current status of the art world, specifically problems that emerge from restrictive labels and one dimensional readings of the process of making of art in African contexts.

Purity, another key modernist mark espoused by the critic - theorist Clement Greenberg, is also travestied as Vaisman deflates the spiritual, essentialist aura associated with reductive abstraction (as in the art of Barnett Newman or Robert Ryman) and instead makes reference to mass production, commodity fetishism, and the problem of representation in the postmodern, post-industrial arena.

In my experience, inspiration comes not just from spending time with so - called masterpieces but also from seeing the way other, less brand - name artists have dealt with the problems and challenges of making art.

at Rob Tufnell, London; Maid in Heaven / En Plein Air in Hell (My Beautiful Dark and Twisted Cheeto Problem) at White Cube Masons Yard, London; Eustachy Kossakowski and Goshka Macuga: Report from the Exhibition at Kate McGarry, London; GENERATION: 25 Years of Contemporary Art in Scotland at Scottish National Gallery of Modern Art, Edinburgh; Hayley Tompkins: Digital Light Pools at the Common Guild, Glasgow; Douglas Gordon: Pretty much every film and video work from about 1992 until now, at Glasgow Museum of Modern Art; Mood Is Made / Temperature Is Taken at Glasgow Sculpture Studios.

Innovative responses outside the art community to entrenched financial problems — whether cohousing, where housing space is shared and community activities and decision - making are prioritized, or crowdsourcing the purchase of debt and then cancelling it — should motivate others.

Using humor, satire, and perturbation to comment on serious problems that effect the art world at large, Andrea Fraser has helped create a dialogue around systemic issues, paving the way for groups like W.A.G.E. (established in 2008) that advocates for a more equitable distribution of the art world's economy (i.e. fair wages for artists), and Occupy Museums, an activist group that sprung from the Occupy Wall Street Movement and that made an instillation about artist's debt at the 2017 Whitney Biennial.

McGee was a painter of courageous ability and range... this show provided an art history lesson as we saw McGee working out the picture making problems that captivated the art world for some 40 years.

Problem was, Stella's half - century - plus of making art — he's worked in wildly different styles and mediums — had produced quite the hefty oeuvre to take on singlehandedly.

Anna Rosen, with her use of the marbling technique, Nick Irzyk, with his incorporation of marble dust, and his idiosyncratic, jig - saw method of constructing and deconstructing paintings with foam core and plaster, and Nicholas Cueva, by painting against the irregular textures of a wide assortment of textiles typically used to make clothing, all use both art and non-art materials, alike, in order to set up material problems to resolve — but also to produce (5) enzymatic phenomenon to respond to in painterly fashion.

In this interview Rauschenberg speaks of his role as a bridge from the Abstract Expressionists to the Pop artists; the relationship of affluence and art; his admiration for de Kooning, Jack Tworkov, and Franz Kline; the support he received from musicians Morton Feldman, John Cage, and Earl Brown; his goal to create work which serves as unbiased documentation of his observations; the irrational juxtaposition that makes up a city, and the importance of that element in his work; the facsimile quality of painting and consequent limitations; the influence of Albers» teaching and his resulting inability to do work focusing on pain, struggle, or torture; the «lifetime» of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in art.

Because the artists are working so close to one another over such a concentrated period of time, conversations are readily formed about the nature and approach to making art: to problems, struggles and validations of what constitutes appropriate criticism at any given time or situation.

As the organizer of this residency, QCA's view is that artists are creative and valuable community members who are often experts at creative problem solving and encouraging neighbors to interact, in addition to being specialists who make works of art.

Bataille contends that the main problems we face as a species derive not from shortage, but from an excess of cosmic energy, which we must unlock: it is either «spent luxuriously» on the arts, non-procreative sexuality or sumptuous moments; or, if we try to make it profitable, it will derive in a sort of violence which pose a threat to the foundations of the society from which it springs.

She believes deeply in art making as a way for all kinds of learners to solve problems and share what they care about.

I think a big problem with art school is that it makes people feel like they have to be interested in everything that's of high quality.

The problem at the center of this type of art - making process is not the lack of original material.

We're thrilled to announce a solution to this problem: the first - ever Torpedo Factory ART MATERIAL MARKET — a place for artists, art students, and curious newcomers to buy, sell, make new contacts, and become part of our communiART MATERIAL MARKET — a place for artists, art students, and curious newcomers to buy, sell, make new contacts, and become part of our communiart students, and curious newcomers to buy, sell, make new contacts, and become part of our community.

Taking on the seemingly unsolvable problem of illegal firearms, McComb uses photographs and video to reach people from the street level to the legislative arena and to help provide communities an outlet where they feel safe enough to seek help, empowered enough to give help, provoked enough to work harder to unify, and unified enough to make change collectively through art.

Solo Exhibitions 2016 «Drunk Brown House», Serpentine Sackler Gallery, London 2016 «Eucalyptus, Let us in», Greene Naftali, New York 2014 «Orchids, or a hemispherical bottom», Johann König, Berlin 2014 «Parrot Problems», Fridericianum, Kassel 2014 «Oreo St. James», Sadie Coles HQ, London 2013 «No borders in a wok that can't be crossed», CCS Bard, New York 2012 «Plank Salad», Chisenhale Gallery, London 2012 «Evian Disease», Palais de Tokyo, Paris 2012 «Almost the exact shape of Florida», Kunsthalle Zurich, Zurich 2011 «Park Nights», Serpentine Gallery, London 2011 «Fruits, Flowers, and Clouds» (with T293), Museum of Applied Arts, Vienna 2011 «Take a stick and make it sharp», Johann König, Berlin 2010 «I like my heroes marble chested», Carl Kostyál, London 2010 «Wicked patterns», T293, Naples Group exhibitions 2018 «Faithless Pictures», The National Museum of Art, Architecture and Design, Oslo 2018 «The Body Electric», The Walker Art Centre, Minneapolis 2017 «Suspended Animation», Les Abattoirs, Toulose 2017 «made on the table», Sadie Coles HQ, London 2017 EuroVisions: COntemporary ARt from the Goldberg Collection, NAS gallery, Sidney, Australia (touring exhibition in Australia to 2019) 2017 «Second Nature», K11 Art Foundation, Hong Kong 2016 «The Hepworth Prize for Sculpture», The Hepworth Wakefield 2016 «NO MAN»S LAND: Women Artists from the Rubell Family Collection», National Museum of Women in the Arts, Washington 2016 «Turner Prize 2016», Tate Britain, London 2016 «OVERPOP: New Art from Yuz Collection and Beyond», Yuz Museum, Shanghai 2016 «The future is already here — it's just not evenly distributed», 20th Biennale of Sydney 2016 «THE NEW HUMAN: Knock, Knock, is Anyone Home?&raqArt, Architecture and Design, Oslo 2018 «The Body Electric», The Walker Art Centre, Minneapolis 2017 «Suspended Animation», Les Abattoirs, Toulose 2017 «made on the table», Sadie Coles HQ, London 2017 EuroVisions: COntemporary ARt from the Goldberg Collection, NAS gallery, Sidney, Australia (touring exhibition in Australia to 2019) 2017 «Second Nature», K11 Art Foundation, Hong Kong 2016 «The Hepworth Prize for Sculpture», The Hepworth Wakefield 2016 «NO MAN»S LAND: Women Artists from the Rubell Family Collection», National Museum of Women in the Arts, Washington 2016 «Turner Prize 2016», Tate Britain, London 2016 «OVERPOP: New Art from Yuz Collection and Beyond», Yuz Museum, Shanghai 2016 «The future is already here — it's just not evenly distributed», 20th Biennale of Sydney 2016 «THE NEW HUMAN: Knock, Knock, is Anyone Home?&raqArt Centre, Minneapolis 2017 «Suspended Animation», Les Abattoirs, Toulose 2017 «made on the table», Sadie Coles HQ, London 2017 EuroVisions: COntemporary ARt from the Goldberg Collection, NAS gallery, Sidney, Australia (touring exhibition in Australia to 2019) 2017 «Second Nature», K11 Art Foundation, Hong Kong 2016 «The Hepworth Prize for Sculpture», The Hepworth Wakefield 2016 «NO MAN»S LAND: Women Artists from the Rubell Family Collection», National Museum of Women in the Arts, Washington 2016 «Turner Prize 2016», Tate Britain, London 2016 «OVERPOP: New Art from Yuz Collection and Beyond», Yuz Museum, Shanghai 2016 «The future is already here — it's just not evenly distributed», 20th Biennale of Sydney 2016 «THE NEW HUMAN: Knock, Knock, is Anyone Home?&raqARt from the Goldberg Collection, NAS gallery, Sidney, Australia (touring exhibition in Australia to 2019) 2017 «Second Nature», K11 Art Foundation, Hong Kong 2016 «The Hepworth Prize for Sculpture», The Hepworth Wakefield 2016 «NO MAN»S LAND: Women Artists from the Rubell Family Collection», National Museum of Women in the Arts, Washington 2016 «Turner Prize 2016», Tate Britain, London 2016 «OVERPOP: New Art from Yuz Collection and Beyond», Yuz Museum, Shanghai 2016 «The future is already here — it's just not evenly distributed», 20th Biennale of Sydney 2016 «THE NEW HUMAN: Knock, Knock, is Anyone Home?&raqArt Foundation, Hong Kong 2016 «The Hepworth Prize for Sculpture», The Hepworth Wakefield 2016 «NO MAN»S LAND: Women Artists from the Rubell Family Collection», National Museum of Women in the Arts, Washington 2016 «Turner Prize 2016», Tate Britain, London 2016 «OVERPOP: New Art from Yuz Collection and Beyond», Yuz Museum, Shanghai 2016 «The future is already here — it's just not evenly distributed», 20th Biennale of Sydney 2016 «THE NEW HUMAN: Knock, Knock, is Anyone Home?&raqArt from Yuz Collection and Beyond», Yuz Museum, Shanghai 2016 «The future is already here — it's just not evenly distributed», 20th Biennale of Sydney 2016 «THE NEW HUMAN: Knock, Knock, is Anyone Home?»

Mostre Personali 2016 «Drunk Brown House», Serpentine Sackler Gallery, Londra 2016 «Eucalyptus, Let us in», Greene Naftali, New York 2014 «Orchids, or a hemispherical bottom», Johann König, Berlino 2014 «Parrot Problems», Fridericianum, Kassel 2014 «Oreo St. James», Sadie Coles HQ, Londra 2013 «No borders in a wok that can't be crossed», CCS Bard, New York 2012 «Plank Salad», Chisenhale Gallery, Londra 2012 «Evian Disease», Palais de Tokyo, Parigi 2012 «Almost the exact shape of Florida», Kunsthalle Zurich, Zurigo 2011 «Park Nights», Serpentine Gallery, Londra 2011 «Fruits, Flowers, and Clouds» (con T293), Museum of Applied Arts, Vienna 2011 «Take a stick and make it sharp», Johann König, Berlino 2010 «I like my heroes marble chested», Carl Kostyál, Londra 2010 «Wicked patterns», T293, Napoli Mostre Collettive 2018 «Faithless Pictures», The National Museum of Art, Architecture and Design, Oslo 2018 «The Body Electric», The Walker Art Centre, Minneapolis 2017 «Suspended Animation», Les Abattoirs, Tolosa 2017 «made on the table», Sadie Coles HQ, Londra 2017 EuroVisions: COntemporary ARt from the Goldberg Collection, NAS gallery, Sidney, Australia (touring exhibition in Australia to 2019) 2017 «Second Nature», K11 Art Foundation, Hong Kong 2016 «The Hepworth Prize for Sculpture», The Hepworth Wakefield 2016 «NO MAN»S LAND: Women Artists from the Rubell Family Collection», National Museum of Women in the Arts, Washington 2016 «Turner Prize 2016», Tate Britain, Londra 2016 «OVERPOP: New Art from Yuz Collection and Beyond», Yuz Museum, Shanghai 2016 «The future is already here — it's just not evenly distributed», 20a Biennale di Sydney 2016 «THE NEW HUMAN: Knock, Knock, is Anyone Home?&raqArt, Architecture and Design, Oslo 2018 «The Body Electric», The Walker Art Centre, Minneapolis 2017 «Suspended Animation», Les Abattoirs, Tolosa 2017 «made on the table», Sadie Coles HQ, Londra 2017 EuroVisions: COntemporary ARt from the Goldberg Collection, NAS gallery, Sidney, Australia (touring exhibition in Australia to 2019) 2017 «Second Nature», K11 Art Foundation, Hong Kong 2016 «The Hepworth Prize for Sculpture», The Hepworth Wakefield 2016 «NO MAN»S LAND: Women Artists from the Rubell Family Collection», National Museum of Women in the Arts, Washington 2016 «Turner Prize 2016», Tate Britain, Londra 2016 «OVERPOP: New Art from Yuz Collection and Beyond», Yuz Museum, Shanghai 2016 «The future is already here — it's just not evenly distributed», 20a Biennale di Sydney 2016 «THE NEW HUMAN: Knock, Knock, is Anyone Home?&raqArt Centre, Minneapolis 2017 «Suspended Animation», Les Abattoirs, Tolosa 2017 «made on the table», Sadie Coles HQ, Londra 2017 EuroVisions: COntemporary ARt from the Goldberg Collection, NAS gallery, Sidney, Australia (touring exhibition in Australia to 2019) 2017 «Second Nature», K11 Art Foundation, Hong Kong 2016 «The Hepworth Prize for Sculpture», The Hepworth Wakefield 2016 «NO MAN»S LAND: Women Artists from the Rubell Family Collection», National Museum of Women in the Arts, Washington 2016 «Turner Prize 2016», Tate Britain, Londra 2016 «OVERPOP: New Art from Yuz Collection and Beyond», Yuz Museum, Shanghai 2016 «The future is already here — it's just not evenly distributed», 20a Biennale di Sydney 2016 «THE NEW HUMAN: Knock, Knock, is Anyone Home?&raqARt from the Goldberg Collection, NAS gallery, Sidney, Australia (touring exhibition in Australia to 2019) 2017 «Second Nature», K11 Art Foundation, Hong Kong 2016 «The Hepworth Prize for Sculpture», The Hepworth Wakefield 2016 «NO MAN»S LAND: Women Artists from the Rubell Family Collection», National Museum of Women in the Arts, Washington 2016 «Turner Prize 2016», Tate Britain, Londra 2016 «OVERPOP: New Art from Yuz Collection and Beyond», Yuz Museum, Shanghai 2016 «The future is already here — it's just not evenly distributed», 20a Biennale di Sydney 2016 «THE NEW HUMAN: Knock, Knock, is Anyone Home?&raqArt Foundation, Hong Kong 2016 «The Hepworth Prize for Sculpture», The Hepworth Wakefield 2016 «NO MAN»S LAND: Women Artists from the Rubell Family Collection», National Museum of Women in the Arts, Washington 2016 «Turner Prize 2016», Tate Britain, Londra 2016 «OVERPOP: New Art from Yuz Collection and Beyond», Yuz Museum, Shanghai 2016 «The future is already here — it's just not evenly distributed», 20a Biennale di Sydney 2016 «THE NEW HUMAN: Knock, Knock, is Anyone Home?&raqArt from Yuz Collection and Beyond», Yuz Museum, Shanghai 2016 «The future is already here — it's just not evenly distributed», 20a Biennale di Sydney 2016 «THE NEW HUMAN: Knock, Knock, is Anyone Home?»

Beware Wet Paint, ICA, London Beware Wet Paint, Fondazione Sandretto re Rebaudengo, Turin, Italy Deliverance, The Brant Foundation Art Study Centre, Greenwich, CT Variations: Conversations in and Around Abstract Paintings, LACMA, Los Angeles, CA Urban Theatre: New York Art in the 1980s, The Modern Art Museum of Fort Worth, Fort Worth, TX Beware Wet Paint, ICA, London, UK Halftone: Through the Grid, Galerie Max Hetzler, Berlin, Germany; Paris, France Made in New York, Charles Riva Collection, Brussels, Belgium No Problem, Cologne / New York 1984 - 1989, David Zwirner, New York, NY Dries Van Noten — Inspirations, Les Arts Decoratifs, Paris, France Love Story — The Anne and Wolfgang Titze Collection, Belvedere, Vienna, Austria Andratx on Paper, CCA Andratx, Mallorca, Spain Damage Control: Art and Destruction since 1950, Hirshhorn Museum, Washington, D.C., USA

The Daily Telegraph suggested that this typified a problem in British art, namely: «None of it makes any sense until you are told what it is about.»

Selected solo exhibitions include Two Body Problem at Steve Turner Contemporary Art Gallery Los Angeles (2010), Wishful thinking Wishful (part of Plastic poetics) at Miller Gallery, Carnegie Mellon University, in Pittsburgh, Pennsylvania (2008); We Make It Harder Then It Has To Be at the Glass Pavilion in Berlin (2007); Happy Endings at Meádiáum Gallery in St. Barthlemy, French West Indies (2007); Just Thinking at Devin Borden Hiram Butler gallery in Houston, Texas (2007); The New Deal at Anna Helwing Gallery in Los Angeles (2006); and In Confidence at South First in Brooklyn (2006).

Red Eye: L.A. Artists from the Rubell Family Collection, Rubell Family Collection, Miami, FL Modern Primitivism, Shane Campbell Gallery, Chicago, IL The Monty Hall Problem, curated by Slater Bradley, Blum & Poe, Los Angeles, CA Dark Matter, White Cube, London, UK The Last Time They Met, Stephen Friedman Gallery, London, UK Whitney Biennial: Day for Night, Whitney Museum of American Art, New York, NY Delete / How to Make a Perfect Ghost, Anton Kern Gallery, New York, NY Figures in the Field: Figurative Sculpture and Abstract Painting from Chicago Collections, Museum of Contemporary Art, Chicago, IL Mark Grotjahn, Richard Hawkins, Jay Heikes, Shane Campbell Gallery, Chicago, IL Gone Formalism, Institute of Contemporary Art, Philadelphia, PA Painting in Tongues, curated by Michael Darling, Museum of Contemporary Art, Los Angeles, CA [cat.]

What was a problem is now a solution: de Kooning stuck to his always - simmering «soup» of art history and his sustaining «cuisine» of painting not only to resist the nasty business of sausage making, but also to prove once again that the long view still matters even — or especially — now that he's gone (and especially in painting), providing continuity with his contradictions and vice versa.

The Art Club Nepal eventually hopes to raise enough funds to have the trash sculptures installed on permanent display in the Everest region — perhaps even along the trekking and mountaineering routes on which they were discarded — in order to make visitors and locals alike more conscious of the problem.

It (hopefully) solves the «racist problem» and it would remove any lingering doubt about the compatibility of our law of self - defence with Art 2 (right to life) of the European Convention on Human Rights, which anticipates that any mistakes made by agents of the state should be based on reasonable grounds (see Caraher v United Kingdom (Application 24520 / 94) and 157 NLJ 7261, pp 286 — 87).

Chief Justice Lamer accepted «that the art of predicting recidivism and future dangerousness is, at the very least, a somewhat inexact process», but responded to this problem by asserting that «the bail system does not aim to make exact predictions about future dangerousness because such predictions are impossible to make».

Executive Business Management Good management is the art of making problems so interesting and the solutions so constructive that everyone wants to get to work and deal with them.

Personal Data: SKILLS / QUALIFIERS: Proven skills in strategic and tactical sales, business development, planning, organizingOEM Design and project managementAdvanced consultative, problem solving, negotiation and decision making skillsStrong PC skills; demonstrated proficiency with a variety of software program applications including Microsoft Office (Word, Excel, PowerPoint, Access), Windows, Photoshop, word art, and InternetExcellent listening and communication skills; the ability to comprehend and clearly communicate in written, discussion and presentation formatsDemonstrated ability to work effectively with a wide range of individualsExceptional skills in collaborating with clients and staff and in developing and maintaining long - term supportive relationshipsAbility to organize time effectively, priorities, meet deadlines, and move work forwardAbility to assess the effectiveness of processes and procedures and recommend improvementsAbility to calculate figures and amounts such as discounts, interest, commissions, and percentages.National Account ManagerNovember 2005 to currentDirected & managed sales efforts, set objectives for retail sales force consistent with company goals and objectives, recruited and trained new support and sales staff.

Resume samples in the field make display of the following qualifications: administrative skills, art history knowledge, problem solving, teamwork, being able to work under pressure, and decision - making.