Sentences with phrase «sculpture in the museum setting»

He saw painting and sculpture in the museum setting for the first time, and discovered MaJevich, Picasso and Wifredo Lam.

Not exact matches

The New Acropolis Museum has now refuted this reasoning once and for all — few who have visited it would disagree that it creates a far better setting for the sculptures, allowing them to be seen in the context of the Parthenon upon which they were originally designed to be viewed.

The Louisiana Museum of Modern Art outside Copenhagen has a fantastic collection in a beautiful setting, as does Storm King, a sculpture park on the Hudson River in New York state.

Other unmissable museums include MoMa, the museum of modern art, which has a superb sculpture garden, the Whitney Museum of American Art and the Frick Collection, set in a handsome mamuseum of modern art, which has a superb sculpture garden, the Whitney Museum of American Art and the Frick Collection, set in a handsome maMuseum of American Art and the Frick Collection, set in a handsome mansion.

Another area with museums in a group setting is located around Liberty Station with an emphasis on art and sculpture to include the Visions Art Museum, Women's Museum of California, New American's Museum and a variety of smaller scale organizations with art galleries.

A visit to the EMP Museum takes you to a building that is itself a sculpture set in the middle of Seattle.

The Boise Art Museum is set in a beautiful Art Deco building and houses an exhibition of contemporary works and an exquisite outdoor sculpture garden, and the Idaho State Capitol Building, which is set in an elegant sandstone building is well worth visiting.

Nonas» solo and two - person exhibitions include Cross Cuts: Richard Nonas and Joel Shapiro at the Knockdown Center, Queens, NY (2014); The Raw Edge: Vière et les Moyennes Montagnes, Digne - les - Bains, France (2012); Shoots Good Not Straight, Musée d'art de Saint - Etienne, France (2010); Smoke, OMI, Ghent, NY (2009); Musée d'Art Moderne et Contemporain, Geneva, Switzerland (1998); Hip and Spine (Stone Chair Setting), Josephine F. Ford Sculpture Garden in collaboration with the Detroit Institute of Arts, MI (1997, permanent); Museum of Contemporary Art Stockade, Los Angeles, CA (1993); Lucifer Landing (Real Snake in an Imaginary Garden), Cranbrook Art Museum, Bloomfield Hills, MI (1989, permanent); Lund Museum of Art, Lund, Sweden (1988, permanent); and Viewpoints: Richard Nonas, Walker Art Center, Minneapolis, MN (1978).

However, the artist, who is also known for his unconventional operatic set designs, had a major exhibition at the Museum of Contemporary Art in North Miami, entitled Jonathan Meese: Sculpture, during 2010 during Art Basel Miami.

With more than 150 sculptures, drawings, and dance and theater sets from The Noguchi Museum's collection, including five major sculptures from the Isamu Noguchi Garden Museum in Mure, Japan, the selection represents nearly every facet of Noguchi's career.

Extensive exhibitions at Tate St Ives and Yorkshire Sculpture Park, and the permanent display at the Barbara Hepworth Museum, provide sumptuous settings for many of the works included in this film.

Plus: Maggie Appleton elected new president of Museums Association Christo sculpture set for installation in Hyde Park Prospect New Orleans names Nick Stillman executive director and Dutch Museum removes bust copy of its founder

Complimenting the Noguchi Museum's permanently installed lower levels, selections from the Museum's Collections, including examples of Noguchi's steel sculptures and a number of collaborative stage sets, are now on view in the upstairs galleries.

«The other exhibition spaces always take my works down in the end,» says the artist while climbing from floor to floor up to the roof of the museum, turning switches on and off, and thereby setting her kinetic sculptures into motion.

The sculpture has not been exhibited in a museum setting for 30 years, when it was included in a solo exhibition at Harvard's Fogg Art Museum inmuseum setting for 30 years, when it was included in a solo exhibition at Harvard's Fogg Art Museum inMuseum in 1986.

Known for artist - centric projects and collaborations, The Contemporary invites exploration in both its urban and natural settings - downtown at the Jones Center on Congress Avenue, lakeside at the Laguna Gloria Campus (including the Betty and Edward Marcus Sculpture Park, the Art School, and the historic Driscoll Villa), and around Austin through the Museum Without Walls program.

Sculpture and installations that encouraged participation opened with a dramatic flourish at Art Basel Miami Beach's Public Sector on Wednesday night (December 2, 2015) at Collins Park set in front of the Bass Art Museum in Miami Beach.

Starting at the Hirshhorn Museum and Sculpture Garden in Washington in February 2017, «Yayoi Kusama: Infinity Mirrors» is set to travel to the Seattle Art Museum and the Broad in Los Angeles that year, reaching the Art Gallery of Ontario and the Cleveland Museum of Art in 2018.

The Amon Carter Museum of American Art typically strikes a nice balance by including a few works by Texans as part of the national story it tells of 19th — and early 20th - century painting and sculpture in its main collection galleries — Julian Onderdonk hangs with fellow American Impressionists; Jerry Bywaters and Everett Spruce serve as Texan exemplars of Depression - era regionalism — and mounting annual exhibitions of about a half - dozen works in a small gallery set aside for Texas art.

Yoko Ono's White Chess Set (1966) in the Abby Aldrich Rockefeller Sculpture Garden, presented in conjunction with Yoko Ono: One Woman Show, 1960 - 1971, The Museum of Modern Art, New York, May 17 — September 7, 2015.

An eight - foot - tall Yayoi Kusama sculpture of a polka - dotted pumpkin is on view outside the Hirshhorn Museum and Sculpture Garden, in Washington, DC, foreshadowing «Infinity Mirrors,» an exhibition of work by the Japanese artist, Yayoi Kusama, set to open in February before touring several North Americasculpture of a polka - dotted pumpkin is on view outside the Hirshhorn Museum and Sculpture Garden, in Washington, DC, foreshadowing «Infinity Mirrors,» an exhibition of work by the Japanese artist, Yayoi Kusama, set to open in February before touring several North AmericaSculpture Garden, in Washington, DC, foreshadowing «Infinity Mirrors,» an exhibition of work by the Japanese artist, Yayoi Kusama, set to open in February before touring several North American venues.

Known as one of the Los Angeles artists who, in the»50s, pushed clay beyond crafts and into the Abstract Expressionist arena, John Mason set clay aside in the mid»70s and soon began stacking firebricks on museum floors (the «Hudson River Series,» 1978) and installing site - specific environmental sculptures.

A hero of graffiti, surfer, and skate - punk subcultures, Barry McGee makes paintings, sculptures, and multimedia installations that have won wide acclaim in the institutional settings of museums and commercial galleries.

Installed throughout the museum grounds, we wanted to provide different contexts in which to see the sculptures, from public spaces to more intimate settings like the Impressionist galleries.»

STORM KING ART CENTER: «DENNIS OPPENHEIM: TERRESTRIAL STUDIO» (through Nov. 13) From Minimalist earthworks created in remote places in the 1960s to Pop - Surrealist public sculptures for urban settings in the 1990s and 2000s, Dennis Oppenheim (1938 - 2011) was dedicated to the proposition that art should be open to the world rather than cloistered in galleries and museums.

In addition to Brummer Society Member benefits, members of the Director's Circle also enjoy unlimited access to all special exhibitions; exclusive invitations for domestic and international travel with the museum director and curators including New York Sculpture Tour 2018, Spain 2019; exclusive opportunities to meet and dine with distinguished visiting artists, collectors and scholars in intimate settings; invitations to private, artist studio tours; and VIP art fair passes and tours with the curatorIn addition to Brummer Society Member benefits, members of the Director's Circle also enjoy unlimited access to all special exhibitions; exclusive invitations for domestic and international travel with the museum director and curators including New York Sculpture Tour 2018, Spain 2019; exclusive opportunities to meet and dine with distinguished visiting artists, collectors and scholars in intimate settings; invitations to private, artist studio tours; and VIP art fair passes and tours with the curatorin intimate settings; invitations to private, artist studio tours; and VIP art fair passes and tours with the curators.

Leeds Museums and Galleries are part of Leeds City Council and The Henry Moore Institute is part of The Henry Moore Foundation, which was set up by the artist in 1977 to advance the public appreciation of sculpture.

For Serralves, Daniel Steegmann Mangrané has conceived a living landscape for the Museum's central gallery in which a glass pavilion housing a garden and mimetic creatures, a set of free standing sculptures, a wall drawing, a hologram and windows that alter the experience of viewing are brought together to create a living ecosystem of transfigurations and metamorphosis, both real and symbolic.»

Inscribed «GABO» on wooden backing Plastic, metals and cork set into wooden box, 24 x 11 x 23 (61 x 28 x 58.5) Presented by the artist 1977 Exh: Gabo: konstruktive Plastik, Kestner - Gesellschaft, Hanover, November 1930 (20) as «Konstruktive Raumgestaltung für eine Wandnische» 1930; Constructions by N. Gabo, London Gallery, London, January 1938 (5) as «Constructive Treatment for an Interior Niche» 1930; Gabo: Constructions in Space, Wadsworth Atheneum, Hartford, March 1938 (5) as «Constructive Treatment for an Interior Niche» 1930; Gabo - Pevsner, Museum of Modern Art, New York, February - April 1948 (works not numbered) as «Construction in a Niche» 1930; Naum Gabo: The Constructive Process, Tate Gallery, November 1976 - January 1977 (27) as «In a Niche» 1928 - 9 Repr: Herbert Read and Leslie Martin, Gabo: Constructions, Sculpture, Paintings, Drawings, Engravings (London 1957), p. 42 as «Construction in a Niche» 19in Space, Wadsworth Atheneum, Hartford, March 1938 (5) as «Constructive Treatment for an Interior Niche» 1930; Gabo - Pevsner, Museum of Modern Art, New York, February - April 1948 (works not numbered) as «Construction in a Niche» 1930; Naum Gabo: The Constructive Process, Tate Gallery, November 1976 - January 1977 (27) as «In a Niche» 1928 - 9 Repr: Herbert Read and Leslie Martin, Gabo: Constructions, Sculpture, Paintings, Drawings, Engravings (London 1957), p. 42 as «Construction in a Niche» 19in a Niche» 1930; Naum Gabo: The Constructive Process, Tate Gallery, November 1976 - January 1977 (27) as «In a Niche» 1928 - 9 Repr: Herbert Read and Leslie Martin, Gabo: Constructions, Sculpture, Paintings, Drawings, Engravings (London 1957), p. 42 as «Construction in a Niche» 19In a Niche» 1928 - 9 Repr: Herbert Read and Leslie Martin, Gabo: Constructions, Sculpture, Paintings, Drawings, Engravings (London 1957), p. 42 as «Construction in a Niche» 19in a Niche» 1930

Artschwager exhibited alongside these artists in a 1966 sculpture survey at the Jewish Museum, though his work — a sculpture of a table, rendered in formica — was set apart for its kitsch materials and light - hearted humor.

Enter the Sculpture Garden Gate on West 54 Street Cocktail attire #partyinthegarden Set in the beloved Abby Aldrich Rockefeller Sculpture Garden, this special evening benefits the Museum's general operating fund, supporting our award - winning educational programs and the care, study, and exhibition of the collection.

At the time, while I recognized in the installations in which Tonoshiki threw together and brought into dynamic coexistence waste lumber from demolished houses, driftage from the ocean, abandoned televisions and other domestic waste, and scrapped vehicles on the one hand and natural outdoor settings or orderly exhibition rooms in art museums on the other, a common spirit with the cyber-punk-like junk aesthetic that was then reaching its peak (see the work of Seiko Mikami, for example), the only thing I sensed Tonoshiki was stressing — particularly given that he had been influenced by the social sculpture of Joseph Beuys — was probably that the concept of «reversal» could be found in the act of almost violently recycling useless objects that had served their function and were merely waiting to be disposed.

«Ernest C Withers and Glenn Ligon: I Am A Man Teaching Galleries One and Two,» Contemporary Art Museum St Louis, MO, January 20 — March 28, 2006 «Down by Law, curated by The Wrong Gallery,» Whitney Museum of American Art, New York, NY, January 21 — May 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 6 — September 24, 2006 «Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards,» American Academy of Arts and Letters, New York, NY, May 19 — June 12, 2006 «Legacies: Contemporary Artists Reflect on Slavery,» New - York Historical Society, New York, NY, June 16, 2006 — January 7, 2007; catalogue «The Past Made Present: Contemporary Art and Memory,» Museum of Fine Arts, Houston, TX, September 2, 2006 — January 15, 2007 «Group Dynamic: Portfolios, Series, and Sets,» Des Moines Art Center, Des Moines, IA, September 15 — December 29, 2006 «black alphabet: conTEXTS of contemporary african - american art,» Zacheta National Gallery of Art, Warsaw, Poland, September 22 — November 19, 2006 «Interstellar Low Ways,» Hyde Park Art Center, Chicago, IL, October 15, 2006 — January 14, 2007 «Process and Collaboration: Celebrating Twelve Years at 1315 Cherry Street,» The Fabric Workshop and Museum, Philadelphia, PA, December 2, 2006 — January 6, 2007 «Defamation of Character,» organized by Neville Wakefield, PS 1 Contemporary Art Center, Long Island City, New York, October 29, 2006 — January 8, 2007 «Voodoo Macbeth,» curated by David A Bailey, De La Warr Pavilion, East Sussex, UK, October 7, 2006 — January 22, 2007 «Yes Bruce Nauman,» Zwirner & Wirth, New York, NY, July 7 — September 9, 2006 «Gifts go in one direction,» curated by Alexander Nagel, apexart, New York, NY, July 5 — August 12, 2006 «SUBJECT,» Lyman Allyn Museum, New London, CT, May 13 — August 14, 2006 «Invitational Exhibition of Painting and Sculpture,» American Academy of Arts and Letters, New York, NY, March 7 — April 9, 2006 «Dark Places,» Santa Monica Museum of Modern Art, Los Angeles, CA, January 21 — April 22, 2006 «Skin Is a Language,» Whitney Museum of American Art, New York, NY, January 12 — May 21, 2006 «Portraits of Artists: A selection of photographic works from the collection,» Luhring Augustine, New York, NY, January 7 — February 11, 2006

Represented South Africa in Lisbon at the Gulbenkian Foundation Represented South Africa at the Venice Biennale 1969 Work reproduced under the category World Painting in Encyclopaedia Britannica 1971 Represented South Africa at Sao Paulo Biennale, Brazil Invited to International exhibition Xilografia Contemporanea Bologna, Italy - Galeria Chalet Della Rose Exhibition of «Icons» at Totem - Meneghelli Gallery, Johannesburg 1972 Retrospective exhibition at Pretoria Art Museum Exhibition at William Humphrey's Art Gallery, Kimberley Exhibited at National Museum, Bloemfontein 1973 Created the Assassination of Shaka portfolio of 43 original three colour woodcuts with Stephen Gray's poetry 1974 Represented South Africa at the National Art Museum in Athens Exhibition at Royal Belgian, Congo Museum, Tervuren, Belgium Exhibition of The Assassination of Shaka at the Kunshistoriches Museum, Vienna Exhibition of paintings at the Goodman Gallery, Johannesburg 1976 Awarded Medal of Honour for painting by the Suid Afrikaanse Akademie vir Wetenskap en Kuns Presented with set of commemorative medallions - 1820 Settlers National Monument Foundation for contribution to art in South Africa Exhibition of wood panels and ten landscapes, a portfolio of original woodcuts with poetry by Stephen Gray at Goodman Gallery, 1977 Exhibition of panels, totems, woodcuts, drawings and jewellery Art Gallery of the University of Stellenbosch 1978 Relocated from Johannesburg to Cape Town 1980 Tapestries at South African National Gallery Tapestry Exhibition, Cape Town 1981 First Cape Town one - man exhibition «Passage through an Alien Land», at Wolpe Gallery, Cape Town Taught painting, drawing, print - making and sculpture in Nyanga and District 6, Cape Town 1983 Exhibition «Judean Walls».

Spin Out (1972 - 73), a set of three Cor - Ten steel plates at the Kröller - Müller Museum in Otterloo, Holland, was among the first of these large - scale sculptures.

The video begins with Mesler sitting on a bench in the sculpture garden of the Museum of Modern Art, a setting that brings out a host of memories.

The low - rise, curved building of the Hara Museum is set within a sculpture garden tucked down a quiet residential road a short distance from the busy hub of Shinagawa in Tokyo.

«They set out to create paintings, sculptures, and other works of art for patrons, and typically work with galleries and aspire to be in museums.»

In the late seventies / early eighties Anthony Smart set a sculpture project at St.Martin's to «remake» an Etruscan lion in the British MuseuIn the late seventies / early eighties Anthony Smart set a sculpture project at St.Martin's to «remake» an Etruscan lion in the British Museuin the British Museum.

Created by Isamu Noguchi (1904 - 1988), The Noguchi Museum opened in 1985, presenting a comprehensive collection of the artist's works in stone, metal, wood, and clay, as well as models for public projects and gardens, dance sets, and Akari Light Sculptures.

[9] During this period, exponents of land art rejected the museum or gallery as the setting of artistic activity and developed monumental landscape projects which were beyond the reach of traditional transportable sculpture and the commercial art market, although photographic documentation was often presented in normal gallery spaces.