Sentences with phrase «remember seeing your gallery»

Not exact matches

When you also remember that many showcase powerful, driver - pleasing V8 engines, it's easy to see why many are enjoying strong sales for the 2016 model year, too — especially if you check out the following gallery.

The train moves slowly and sweetly across the Sacred Valley of the Incas, offering the chance to take in some of the most scenic views one can imagine: mountains all around, some lovely villages, the Rio Urubamba on one side, galleries and the railways even follows the path of the Inca Trail for some parts (I remember seeing the train when I actually hiked the Inca Trail).

For instance, I remember being at Pace Gallery for your opening in 2004, and seeing Philip Seymour Hoffman there.

So it was there, at the age of 10 or 11, that I saw the first painting I remember in a gallery context — a painting of a boat on the water by Paul Resika.

I have a history of constructing vivid but sometimes revealed to be false memories of favorite paintings by artists I love: a painting will be a lodestar in my mind, and I will remember not just it, but the wall of the museum or gallery that it hung on, and perhaps at the core of my memory is my memory of myself at the instant of seeing it.

Those who have seen the previous exhibition of Antony Gormley in this gallery will surely remember the «Insiders», the minimal, skeletonlike sculptures that visualize the core of the human figure.

The first thing I showed was Super Mario Clouds in a summer group show in 2003, and I remember looking up one day and seeing Deb Singer and Chrissie Isles and Shamim Momin in the gallery looking at this Super Mario thing, and I thought to myself, «Oh my God, they're going to put him in the Whitney Biennial.

He had an indelible arc with Feature, but I still remember him as the first performance curator at Randolph Street Gallery, as well as for his own irreverent works — brave, naked, patriotic for the spaces he helped us see and believe in.

I remember seeing Lorrie Fredette's installation, The Great Silence, in the main gallery at the Cape Cod Museum of Art in 2011.

When I first saw the work, I remember leaving the gallery feeling numb.

Virginia Dwan, who offered him support at that time, remembers that he had a largely «underground» reputation.1 Dwan recalls first seeing Reinhardt's nine - foot black paintings at the Betty Parsons Gallery in New York and, later, visiting the artist in his studio.

I remember having seen his work in a little gallery in the sixth arrondissement.

Dorothy Moss, curator of painting and sculpture at the National Portrait Gallery, remembers seeing Sherald engage with young African American girls at a gallerGallery, remembers seeing Sherald engage with young African American girls at a gallerygallery talk.

If you saw his delicate, haunting drawings at Agnes Scott College's Dalton Gallery or at Marcia Wood Gallery in past years, you probably remember them.

In a recent letter to the Hoxton Gallery, Auerbach remembers that Cunningham «looked into the college to look at the model, then sprinted to his room to paint the model he had seen from memory».

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

At Annely Juda Fine Art, the celebrated public sculptor Richard Wilson has gone unpublic on us with the first show of his in a private gallery that I remember seeing.

I remember the same sense of outrage the first time I saw Frank Stella's black paintings and to a lesser extent the first show I saw of Warhol's at the Stable Gallery.

Not actually visiting, I can imagine seeing the work, and I can also remember other works by Dower that I have seen before, like the one I saw here once at the Eagle Gallery, and where, in a conversation with the gallery owner Emma Hill, she noted the beautiful, subtly «faulted» quality of the painted sGallery, and where, in a conversation with the gallery owner Emma Hill, she noted the beautiful, subtly «faulted» quality of the painted sgallery owner Emma Hill, she noted the beautiful, subtly «faulted» quality of the painted surface.

This may be a bit left field, but I was in London for Bernard Cohens breakfast at the Tate Britain, where I went straight to see the Cezannes at the NPG and then to Garys show at Paisnal.Let me say I take my hat off to the Paisnal gallery for showing an artist so obviously alive and kicking.Ive known Gary since we showed together at MOMA oxford straight out of college.I also remember his big show at the ACME gallery, where he mixed drawing and paint very successfully.I have to say I was a little disappointed, particularly the way an abstract expressionist activity stresses the surface, particularly the Rhoplex PVA, which looked frothy..

I remember for my show at the Tibor de Nagy gallery, Hilton Kramer, the art critic of The New York Times, wrote a review that said something like, «For those people who are aficionados of boredom, they should go to the Tibor de Nagy gallery in 1965 and see the exceedingly boring work of Carl Andre.»

«I always remember that feeling of optimism I had back then when I see students come into my gallery with their work.

I don't actually remember having seen them, although they were shown at the Sonnabend Gallery, then in SoHo, in 1981.

I remember the experience of seeing my first Caro — on returning from graduate studies in the United States in 1963 — at his solo show in London's Whitechapel Gallery (above).

Artist Matthew Barney says he remembers the first time he saw Serra's arc pieces in the 1980s, large steel plates Serra rolled into wave shapes and half - moon shapes and arranged, without anchors or buttressing, in the compressed space of Leo Castelli's Greene Street gallery in New York.

«I remember going to a gallery opening and hearing people say «Andy is here, Andy is here,» and suddenly I saw him through the crowd,» Mr. Ai recalled this week, walking through «Andy Warhol / Ai Weiwei» at the Warhol Museum here.

Rail: I remember seeing your Sea Wall paintings with all sorts of sculptural elements such as boats and geometric forms and other things while I sat on the floor in front at Paula's gallery in May 1985 or 1987 when I was an art student.

I remember going up to this elegant Upper East Side gallery and seeing this thing in the corner.

GEORGE: We remember the days when the artist could go to commercial galleries to see the expensive art of foreign artists, the American art, but they could never say, «I'm an artist» in England.

As I stood in the gallery a few weeks ago, trying to understand the splendor and technical accomplishment of this photograph, I overheard a man say to his friend: «Remember the Gerhard Richter we saw [of the same church] taken from the side and you could see the whole avenue to the left, it was like a painting.

Nam's Art League Gallery show began with a return trip to Korea, where she saw that severe contemporary architecture had largely displaced the city she remembered.

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You may remember seeing the brass key on my gallery wall above the television.