Sentences with phrase «recent commercial exhibition»

Not exact matches

Employment opportunities offered to our recent BFA grads include working as an artist's assistant, starting their own design / build firm, art handling and preparing, development assistant at the Rothko Chapel, web design, display design and installation, curating exhibitions, assisting with commercial photo and film shoots, interning at the Contemporary Arts Museum, Houston, and teaching, just to name a few.

Recent group exhibitions include Gray matters, Wexner Center for Arts, Columbus, Ohio, 2017; Commercial break, Public Art Fund, New York, 2017; The arcades: contemporary art and Walter Benjamin, Jewish Museum, New York, 2017; Hey you!

Weiner has presented a number of projects and exhibitions across the UK since the early 1970s: at ICA, London; Pier Arts Centre, Orkney; The Fruitmarket Gallery, Edinburgh; The Henry Moore Sculpture Trust, Halifax; Art Transpennine, Hull; Inverleith House in Edinburgh; several engagements with Bury Art Gallery, including their Text Festivals; a solo show at the National Maritime Museum, London; and occasional shows in commercial galleries, the most recent at Lisson Gallery in 2013.

Curiously some of the commercial galleries that represent the apotheosis of the contemporary art industry and market, such as, here in NY, Gagosian and Zwirner, have been able to mount museum quality shows the past few years, including for example excellent Picasso and Frankenthaler exhibitions at Gagosian and the recent exhibition of Ad Reinhardt's work at Zwirner, in spaces that either are as beautiful as any museum or that are just functional in a good way, with few frills, just good walls and space.

Featured in the Modern's exhibition Haunt is Keasler's most recent photographic exploration, commercial haunted houses throughout the United States.

The exhibition also includes a broad range of drawings and collages, and more recent, immersive installations featuring such materials as commercial advertising posters, large - scale photographs, films, and books.

This exhibition will provide a seamless journey through his landmark fashion and commercial photography from the 90's, presenting classic images of celebrities such as Lily Cole, Kurt Cobain and Vivienne Westwood, as well as more recent landscapes and family portraits..

Wall Street International has published a conversation between Sylvain Baumann, Justin Eagle and Raja'a Khalid about their recent three - person exhibition at VITRINE, Basel, which explored the artists» shared concerns with trust and safety and the relationship between society, architecture and the commercial object.

The exhibition features three recent videos: Over the Rainbow, a single - channel loop of vehicles endlessly crossing multiple highway overpasses, an engineering impossibility; Flight Patterns, a two - channel image, one of a flock of seagulls and the other of a set of commercial planes, clones that mimic the other; and 28 years in the implicate order, a single channel work in which dozens of balls bounce, each to its own rhythm which at one moment, converges in a single bounce

Because the work in this show isn't as slick or as commercial as the stuff we saw in Saatchi's recent exhibition of contemporary art from China, this is the stronger show.

In recent years, both within and outside Japan, interest in the post — World War II Gutai art movement has increased considerably, with major museum exhibitions appearing at such venues as the Museo Cantonale d'Arte in Lugano, Switzerland, the National Art Center in Tokyo, and the Guggenheim Museum in New York, as well as solo and group shows at commercial galleries in New York (Paula Cooper, McCaffrey Fine Art, Hauser & Wirth, Galerie Richard), London (Hauser & Wirth), Antwerp (Axel Vervoordt) and elsewhere.

You can read Chris Fite - Wassilak in our latest Dispatch from London on the evolution of exhibition spaces in the capital over recent years, with a spate of smaller, younger commercial galleries closing their doors this spring: «if we want a diversity of art spaces», Fite - Wassilak writes, «we need to vote with our feet».

Featuring selected works by recent graduates from DIT, IADT and NCAD 2012, this year's exhibition will provide a unique opportunity for the chosen artists to engage with a wider public in a commercial gallery context.

Recent exhibitions, performances, and projects include Flint Water Project at What Pipeline, Detroit (2017); Whispering Campaign at documenta 14, Athens and Kassel (2017); Claim (Whitney Version) at the 2017 Whitney Biennial (2017); PLAMA (The Spot), a commercial commissioned for On the Tip of the Tongue at Museum of Modern Art Warsaw (2016); Baile at the 32nd Biennal de São Paulo (2016); The Freedom Principle at ICA Philadelphia (2016) and MCA Chicago (2015); The Public Body at Artspace, Sydney (2016); Less than One at Walker Art Center, Minneapolis (2016); Trinket at The Geffen Contemporary, Museum of Contemporary Art, Los Angeles (2015); Black Pulp!

A magnificent incarnation of these dichotomies was presented in the artist's most recent exhibition, titled «Campo Santo», at Galeria Anita Schwartz, the only commercial gallery space in Rio de Janeiro that rivals the expanse and grandeur of New York's Chelsea «art temples».

In recent years Dzama has in fact expanded his reach, and embarked upon collaboration projects with artists from other fields: bands Arcade Fire and Department of Eagles; music video and commercial director Patrick Daughters; singer - songwriter Beck — for whom he designed two important albums; José Noé Suro's ceramic workshop in Guadalajara, Mexico; and artist Raymond Pettibon, with whom Dzama worked last year to produce the joint exhibition Let Us Compare Mythologies, presented for the first time at the David Zwirner Gallery in New York.