Sentences with phrase «projected over the course of the exhibition»

Not exact matches

Twelve Galleries Project began in 2008 as a roving exhibition series featuring the work of emerging artists over the course of one year.

Guest artists will also be invited by Adams to re-design, animate and «live» in the exhibition space over the course of the project.

His April - May 2009 exhibition at Postmasters Gallery presented five projects based on the same concept (one of them a video), and made over the last several years, with the selection of sites alluding to Thomas Cole's series of allegorical landscape paintings (at the New - York Historical Society), «The Course of Empire.»

kunst scanner is an educational project in which students create, over the course of several weeks, their own interpretations and commentaries relating to the current exhibition at Kunsthalle Basel.

Wong transports the pieces back and forth so that they are swapped four times over the course of the project, approximately every 3 - 4 months, resulting in exhibitions in Cuba and in the U.S. with accompanying programming, e.g., artist talks, panel discussions about the importance of cross-cultural dialogue, workshops that invite artists and / or viewers to collaborate on work together.

The exhibition, which traces the trajectory of 2015 AIA Gold Medal Recipient Moshe Safdie's life and work over the course of his more than 50 - year career, has been specifically updated for the National Academy presentation and features a new focus on projects devoted to issues of dense urbanism, together with an expanded section exploring the firm's recent and ongoing work across Asia.

This exhibition presents Zoe Leonard's Analogue — a landmark photographic project conceived over the course of a decade — which documents, in 412 color and black - and - white photographs, the eclipsed texture of 20th - century urban life as seen in little bodegas, mom - and - pop stores with decaying facades and quirky handwritten signs, and shop windows displaying a mixed assortment of products.

His lecture describes the working process involved for his concurrent exhibitions The Andy Goldsworthy Project and Andy Goldsworthy: Roof, which first showed the permanent sculpture of nine stacked slate domes, completed over the course of nine weeks in the winter of 2004 - 2005.

Over the course of the exhibition, Pelican Bomb's online Art Review will publish essays, interviews, and artist projects, adding additional voices and points of reference beyond the gallery walls.

The Curatorial Intensive participants of the 2017 New Orleans program will each present their exhibition and project proposals, which they have developed over the course of the program.

Over the course of 2014 - 15, several related projects will be presented, including a live performance at DiverseWorks as part of CounterCurrent in collaboration with the University of Houston Cynthia Woods Mitchell Center for the Arts (Saturday April 12, 2014), and a video installation in the exhibition Double Life at the Contemporary Arts Museum Houston (December 19, 2014 — March 13, 2015).

The Los Angeles — based artist is known for creating monumental, temporal paintings beyond the boundaries of the canvas and, in this latest exhibition, Cain is taking on her biggest project yet: one monumental work made across the walls and floors over the course of a week.

In the course of over 20 years she has founded the Israel Museum's international contemporary art collection and curated numerous exhibitions including James Turrell: Two Spaces (1982), Anselm Kiefer (1984), Three British Sculptors: Richard Deacon, Julian Opie, Richard Wentworth (1985), New York Now (Jeff Koons, Sherrie Levine, Allan McCollum and others, 1987), Christian Boltanski: Lessons of Darkness (1989), Life Size: A Sense of the Real in Recent Art (1990), Hidden Reflections (Marylène Negro, Christian Marclay, Hiroshi Sugimoto and others, 1992), Kiki Smith (1994), Gerhard Richter (1995), Marks: Artists Work Throughout Jerusalem (David Hammons, Juan Muñoz, Sarkis and others, 1996) Skin - Deep: Surface Appearances in Contemporary Art (Zoe Leonard, Ana Mendieta, Khalil Rabah, Jana Sterbak and others, 1999), Yinka Shonibare: Double Dress (2002), Nedko Solakov: Alien Auras (2003), Vanishing Point: Hidden Beauty in Contemporary Art (2005), Green Line — A Project by Francis Alÿs (2005), News (2006), Made in China — The Estella Collection (2007), Bizarre Perfection (2008), First Show: Contemporary Art from The Israel Museum, Jerusalem.

Over the course of five years Appendix hosted over 40 exhibitions, performances, and online projects, becoming an internationally recognized venue at which emerging artists could reflect, experiment, and explore the surrounding environs as well as their practOver the course of five years Appendix hosted over 40 exhibitions, performances, and online projects, becoming an internationally recognized venue at which emerging artists could reflect, experiment, and explore the surrounding environs as well as their practover 40 exhibitions, performances, and online projects, becoming an internationally recognized venue at which emerging artists could reflect, experiment, and explore the surrounding environs as well as their practice.

The exhibition was the last project Hamilton directly participated in and illustrates the array of mediums, genres and themes the artist employed and approached over the course of his career: from photography, drawing and prints, to industrial design, advertising and the digital manipulation of images; from portrait, self - portrait and interiors, to metalinguistic investigations — for instance on the limitations of different forms of representation and the relationship between vision and movement — via a political critique and a reflection on consumerism and mass culture.

Other projects have involved gigantic blocks of ice that melt over the course of the exhibition or candles that burn and melt, transforming the work in the process.

The exhibition presents a unique model, a group exhibition displayed as individual solo projects that unfold (or expand) over the course of time, offering the possibility of an exhibition as a temporal experience.

The real thrust of the project is to act as a catalyst for integrating the School's history, library collections and archival resources into the life and work of the Osgoode community by involving the students in developing and curating exhibitions, both physical and virtual, that illustrate the dramatic changes in legal education and the profession over the course of the past century and document Osgoode's role in them.