Sentences with phrase «scale exhibitions such»

Organized by Independent Curators International, «Beyond Preconceptions» attempts a reconstruction of context as only grand - scale exhibitions such as «Out of Actions» (2000) at Museum of Contemporary Art, Los Angeles, or the Queens Museum's «Global Conceptualism: Points of Origin, 1950s - 1980s» (1999) can achieve.

Pfeiffer's works have also been included in international, large - scale exhibitions such as the Venice Biennale, Biennale of Sydney, Busan Biennale, Cairo Biennale, and Whitney Biennial.

AWB: To reiterate and reframe, your work has lived in so many spaces and places — from large - scale exhibitions such as the Istanbul Biennial to park benches and billboards in Chicago.

Not exact matches

«Throughout this year's exhibition, G - scale locomotives hum along almost a half - mile of track alongside replicas of New York landmarks, artistically crafted of natural materials such as bark, twigs, stems, fruits, seeds and pine cones by designer Paul Busse's team at Applied Imagination,» the Garden says.

The magazine «Country Life», in the 29 April 1899 takes up the story: «Some five - and - thirty years ago in fact, [i.e. about 1865], the small - sized or light - weight Bulldog was common in this country; so much so that dogs of the breed that scaled over 28 lbs were not encouraged at such shows as Birmingham, which was at that period the most important exhibition of its kind in England.

The 375th anniversary events will include music and comedy festivals, outdoor competitions, sports, and recreational activities and history exhibitions such as «Montréal en Histoires», a large - scale multimedia project celebrating the rich history of Montréal.

In addition to serving the luxury business traveller, the hotel is targeting the lucrative and increasingly important MICE (meetings, incentives, conferences and exhibitions) market, which currently does not have a hotel of sufficient scale to host such large groups.

[10] Jones notes that Riley investigated Seurat's pointillism by painting from a book illustration of Seurat's Bridge at an expanded scale to work out how his technique made use of complementary colours, and went on to create pointillist landscapes of her own, such as Pink Landscape (1960), [10] painted soon after her Seurat study [13] and portraying the «sun - filled hills of Tuscany» (and shown in the exhibition poster) which Jones writes could readily be taken for a post-impressionist original.

As such, the exhibition will provide a rare opportunity to experience a large - scale presentation of a single body of work by the artist.

Consisting of twelve identically scaled anodized aluminum works, the historic exhibition at the Kunsthalle Baden - Baden was significant in that it marked the first time Judd used colored anodized aluminum in such a large, floor - mounted format.

Jonas has exhibited, screened and performed her work at museums, galleries and large scale group exhibitions throughout the world, such as: Taipei Biennal; Documenta 5, 6, 7, 8, 11, and 13; the 2008 Sydney Biennial; the 2008 Yokohama Triennial; and the 28th Sao Paolo Biennial.

This group exhibition includes a diverse range of materials and medias, such as: painting, photo, video, ceramics, and a new large - scale sculpture by New York - based, Smyrna, Georgia - born Charles Harlan.

VHILS — has a double exhibition coming up in Paris at Danysz Gallery and Centquatre, the first of such a scale in France.

Apsara DiQuinzio, our Curator of Modern and Contemporary Art, and Phyllis C. Wattis, MATRIX Curator, has a number of wonderful small - scale MATRIX shows in the works, and we are doing several borrowed solo exhibitions that are emblematic of the kind of art that we love, such as a survey of Ana Mendieta's films [Covered in Time and History: The Films of Ana Mendieta, on view November 9, 2016, through February 12, 2017].

The beginning of March sees New York erupt in an art world flurry with the 75th Whitney Biennial igniting the itinerary for the next couple months of art fairs, large - scale exhibitions, auctions, and not least of all, the parties that accompany such events.

Many other performances followed, and in the meanwhile, her work was also featured in many large - scale international exhibitions, such as the Venice Biennale and Documenta VI, VII and IX.

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

This exhibition will include large and medium - scale works on paper: in Gallery one, primarily large watercolor paintings of Clements» year in her kitchen, such as «Peonies», «Chrysanthemums,» and «Hyacinth, Camellia, and Sugar Egg.»

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

Embracing the linear, abstract and geometric, and the human desire to locate order and beauty in a world that often provides neither, Dahlgren's solo exhibition — his second here — features works (many site - specific or performative) that express how an artist can cultivate awe - inspiring impressions stemming from deliberation and recurring tasks, and from the alteration of domestic objects and common items such as weighing scales, coloured pencils and darts.

Through key examples of paintings, drawings, large - scale sculpture, graffiti, and products such as toys and apparel, this exhibition aims to reveal critical aspects of his formal, conceptual, and collaborative developments.

Maor has curated solo shows for numerous Israeli and international artists, as well as large - scale, thematic group exhibitions such as «Embroidered Action,» «(after),» «Temporally,» «History of Violence,» «Living Room,» «showtime,» and others.

There were some outstanding works in that travelling exhibition, particularly the large - scale paintings such as Scenes from The Passion: The Cop Shop, 2000, and Ash Wednesday, 2004 - 5, particularly striking for their use of sickly, sulphuric yellow.

This Gallery allowed for an expanded exhibition schedule and provided facilities for large - scale works and dramatic installations, such as Peter Halley's explosive hanging of paintings and wallpaper, Marc Quinn's complete series of carved marble statues of persons with missing limbs, monumental sculpture by James Lee Byars, and, most importantly, a four - channel DVD installation by Barbara Kruger.

This exhibition will feature paintings ranging from small to very large - scale, and a selection of sculpture meticulously carved from elemental materials such as graphite, pewter and salt.

In showcasing Kruger's soundbites and slogans on such a large - scale, Modern Art Oxford succeeded in cultivating a new and fresh perspective on Kruger's three - decade practice — previous site - specific exhibitions have included commissions in parks, train stations and museums.

The exhibition features a series of sculptures and a large - scale, immersive installation fashioned from intricately reconstituted street materials, such as yellow and red «caution» tape, construction tarps, garbage bags, discarded hub - caps and debris netting.

This elegant volume, published in conjunction with an exhibition at the San Francisco Museum of Modern Art, features large - scale color plates of over 250 artworks by 140 artists of international renown, such as Jackson Pollock, Robert Rauschenberg, Alberto Giacometti, Richard Diebenkorn, and many others.

Her research and curatorial practice, which span large - scale museum exhibitions with extensive catalogues as well as scholarly books and articles, have been instrumental in introducing the work of now seminal black artists (such as Martin Puryear, David Hammons, and Lorna Simpson) to wide audiences and bringing to light long - forgotten or overlooked black artists.

However, this exhibition aims to illuminate both the positive and negative aspects of evolution through a variety of media such as immersive video, large - scale painting, sculpture and installation by artists including Doug Aitken, Andreas Gursky, Patrick Bernatchez and Tom Sachs.

Although some of her most iconic large - scale works aren't in this exhibition, such as her commission for the fourth plinth in Trafalgar Square «Monument» (2001), and her haunting «Holocaust Memorial» (2000) which has a permanent location in Vienna, some smaller and equally iconic works are featured at the Tate Britain including «Untitled» (One Hundred Spaces)(1995), a composed of 100 casts of the negative space beneath a chair, arranged like sentinels guarding the imposing sweep of the Duveen Galleries, beyond the classical columns of the entrance.

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.

The works in the exhibition range from paintings marked by «water stains» resembling the patina of vintage photographs to Foulkes» tableaux paintings, which are constructed on a massive scale, exhaustingly carved into with a sandblaster, collaged with plaster, paint, and found objects (such as two Coke cans, an American flag, and a tree branch in «Lost Horizon,» 1991).

Across The Tetley's First Floor Galleries, The Feast Wagon looks at identity and nationhood against a backdrop of today's globalised contemporary art scene, with its international biennales and large - scale touring exhibitions such as the British Art Show.

The Dublin - born artist's signature colors such as dark red, earthy yellow, and off blue stack dominate the exhibition that finds a balance between his three dimensional works and large scale paintings.

With a complete selection of over 90 works in different media such as painting, industrial design, animation and fashion, the exhibition, curated by MOCA Chief Curator Paul Schimmel, reveals this artist's personal universe: from his early works in the 1990s, in which he explored his own identity, to his large - scale sculptures created after 2000, veritable icons of this artist, and ending with his gallery of manufactured objects, his animation projects, his connection to the world of fashion, and his compelling works of recent years.

Curated by Bettina M. Busse, the exhibition ICON continues the gallery's tradition of large - scale group exhibitions such as Women — Art — New Trends featuring Marina Abramović, Valie Export, Rebecca Horn, Maria Lassnig, Gina Pane, and Carolee Schneemann from 1975, Mannerism Subjective.

At Apollo, we also like to celebrate focused exhibitions that enlighten us with the exceptional intelligence of their curation on a smaller scale: «Piero della Francesca in America» at the Frick Collection brought together most of the panels of the Sant» Agostino altarpiece, while the Ashmolean Museum's «Francis Bacon / Henry Moore: Flesh and Bone» tuned into a conversation between two artists that few had previously heard with such clarity.

As I wrote in the AJC, the exhibition documents a building anger that would erupt in 1967 both on the streets and in large - scale canvases such as «American People Series # 20: Die,» a «Guernica» of sorts depicting the violence happening across the country in a bloody tableau.

The exhibition includes 40 beautiful and impressively scaled paintings by such major figures as Helen Frankenthaler, Morris Louis, Kenneth Noland and Jules Olitski.

That exhibition marked the first time Judd used colored anodized aluminum in such a large, floor - mounted format — thus comprising one of his few explorations of color on a large scale and providing a focused investigation of one of the key concerns within his practice.

Visitors to the exhibition can expect to see photographs on a monumental scale, such as Sarah Jones» The Spare Room, and others on an exceedingly intimate scale, like Ann Hamilton's Portal.

The sculptures in this exhibition recall in size some of the early domestically - scaled Accumulations, for which Kusama covered such things as ironing boards and travel valises in the stuffed - fabric protuberances, yet the works on view here are painted in the style that has come to characterize Kusama's most recent paintings.

McShine continued to work with the Jewish Museum, becoming Acting Director from 1967 to 1968 and organizing exhibitions such as Large Scale American Paintings, and one - person shows of Yves Klein, Robert Irwin, Gene Davis, and Richard Smith.

Delvoye's work has also been displayed in large - scale group exhibitions, such as Documenta IX; the 1999 Venice Biennale; Triennale di Milano; Yokohama Triennale; 3rd Moscow Biennale; CAPC Musée de Bordeaux; Lyon Biennale; MOCA Shanghai; MoMA PS1; The Vancouver Art Gallery; and The Grand Palais in Paris.

The exhibition will also underscore Thomas's engagement with flowers and nature distilled in large - scale canvases, such as Breeze Rustling Through Fall Flowers (1968).

This Gallery allows for an expanded exhibition schedule and provides facilities for large - scale works and dramatic installations, such as Peter Halley's explosive hanging of paintings and wallpaper, Marc Quinn's complete series of carved marble statues of persons with missing limbs, a four - channel DVD installation by Barbara Kruger, and monumental sculpture by James Lee Byars.

So the black gold from the mines is at the centre of this exhibition of large - scale installations and sculptures: The deep black of coal, its shimmering surface and tactile qualities were used as aesthetic resources by artists such as Marcel Broodthaers, David Hammons, Reiner Ruthenbeck, Richard Serra, Robert Smithson, Bernar Venet or the ZERO group.

Over the years, Bureau Phi has produced large - scale art events, such as the first Cartagena International Biennial; as well as museum exhibitions, site - specific installations, performances, and other multimedia projects.

As such, this is the first full - scale exhibition of Riley's work in Japan in 38 years.