Sentences with phrase «see an exhibition titled»

A few years ago, at the Metropolitan Museum in New York, I saw an exhibition titled «Matisse: In Search of True Painting.»

Not exact matches

Exhibition titles As seen in the trend of the titles (including goods) to be exhibited in 2012, the number of smartphone titles and tablet titles significantly increased over the last year.

Continuing its programme of opening up rarely seen collections from around the world, the four exhibitions are each titled after a key artwork in each display.

Under the Cover THE SEEN announces the Spring / Summer preview titles launching Issue 06 in print this April 2018, featuring Brendan Fernandes on the cover to align with his recent exhibition, The Master and Form, at the Graham Foundation.

In 1966, several years after his stark, expansive «black paintings» stole the show in a group exhibition at New York's Museum of Modern Art titled «Sixteen Americans,» Frank Stella said of his work, «What you see is what you see.»

The often rewarding, sometimes exasperating «America Is Hard to See» (the title is a line from a Robert Frost poem) exhibition at the new Whitney Museum of American Art on Gansevoort Street was organized by an in - house team led by Donna de Salvo, chief curator of the museum.

by Josh Reames While in New York, I had the pleasure of seeing Josh Smith's current exhibition at Luhring Augustine — self - titled and split between both the Chelsea and Bushwick locations.

While in New York, I had the pleasure of seeing Josh Smith's current exhibition at Luhring Augustine — self - titled and split between both the Chelsea and Bushwick locations.

Click here to see photos from the exhibit and opening reception Few artists can say they have the title of their upcoming exhibition tattooed on their body.

ADAA's Inside Stories blog selects Robert Mapplethorpe and George Platt Lynes, two distinct exhibitions at Robert Miller Gallery, in its article titled «17 Master Photographers to See in Gallery Shows This Month.»

The one on the left, Alternative Titles for Exhibitions I've Seen, has been selected as today's Painting of the Day.

If you have the chance to see this exhibition, titled Into the Aether, make sure to check out his compelling paintings in person.

Continuing the Whitechapel Gallery's programme of opening up rarely seen collections from around the world, the four exhibitions are each titled after a key artwork in each display.

This premier exhibition, titled Joan Mitchell (1925 - 92): The Last Decade, will be seen within the Butler's Beeghly Schaff and Ford Galleries, located on the main level of the museum.

Paul Resika is now the focus of two exhibitions in Manhattan: at Lori Bookstein's Chelsea gallery, which opened Thursday night (and which I haven't had the chance to see yet), featuring his new paintings, and downtown on the Lower East Side, where Steven Harvey Fine Art Projects is holding a «microspective» titled Paul Resika: 8 + 8, 8 Paintings from 8 Decades.

You step through the door with the exhibition title stenciled in a meat market motif, and the first image you see is a raw fish on a table with vegetables.

Lawler, whose work will be on view at MoMA in Spring 2017 in an exhibition titled, Why Pictures Now, uses imagery to speak about the spectacle of the photograph and invites the viewer to adjust their expectations to what they are seeing, according to Marcoci.

Katja Novitskova and the curator Kati Ilves borrowed the quote for the title of the exhibition in the Estonian Pavilion at the Venice Biennale 2017, referring to the complexity of seeing in the contemporary data maze.

One of the largest exhibitions MoMA has ever lavished on an artist, the Polke show — titled «Alibis» — will serve as a vital introduction to his work (which most Americans have only seen in dribs and drabs) and help viewers understand how his early importation of Pop techniques helped shape the work of Kippenberger, Oehlen, and the other standard - bearers of visionary postwar German painting.

Frances Richard's book of poems, See Through, was published by Four Way Books in 2003; in 2005, with Jeffrey Kastner and Sina Najafi, she organized an exhibition and accompanying monograph titled Odd Lots: Revisiting Gordon Matta - Clark's «Fake Estates.»

The exhibition derives its title from a Shaker name for the Devil — «Old Ugly» — seen in spirit drawings, which the Shakers created to describe symbols seen in visions.

Shin work can also be seen at the Philadelphia Museum of Art in an exhibition titled Jean Shin: Collections, which is on view from March 24 - July 15, 2018

The term chosen for the exhibition title, bentu, meaning native soil, is at the heart of their concerns and of the ideas being explored by contemporary Chinese critics and researchers (see the text by the two curators in the catalogue).

March 7, 2013 - «Nobody Sees Like Us» is the emphatic title of Jeff Elrod's marvelous and elucidating little exhibition at MoMA PS1.

«The installation is the best part — you've been talking about the work for so long, and you're finally seeing it in person,» said Mr. Schoonmaker, the sneaker - clad artistic director of the exhibition, titled «Prospect.4: The Lotus in Spite of the Swamp,» on view through Feb. 25.

The concept and exhibition title is derived from an essay by Queens - born photographer, scholar and educator Nathan Lyons who saw the value in objects and attributes of the everyday.

The title of the work, as the exhibition itself, can be read as an allegory: When a «face» looks into «water face», referring to the watery - fluids found in another person's eye, one sees not only the other's face, but his own face as is reflected in the other's eye.

And nobody sums up the painting dilemma better than Scott Reeder's list painting «Alternative Titles for Recent Exhibitions I've Seen at Lisa Cooley, like «Good Job!

Blue Rain Gallery, Santa Fe: In his exhibition title, the artist martin spei introduces his viewers to the concept of tramoya, defining the Spanish term as «various leftover stage props and devices that may or may not be seen as detritus by the next play's crew when they...

The concept of daylight, as referred to in the exhibition's title, is recalled immediately upon seeing three ombré paintings installed in the gallery.

Entitled WYSIWYG: what you see is what you get, the exhibition's title borrows from a term used to describe program interface that replicates the final appearance of a document or image during the editing process.

Seeing that they are paired with pie charts displaying government censuses on the happiness of the Taiwanese people (a startlingly small slice of the pie represents «happy» people), the decision to include the more nebulous and conceptual words in the exhibition title, such as «Dissatisfaction,» «Agitation,» «Survival» and «Unequal,» becomes clear.

As you may have guessed by the title, hair has a significant presence here, which can be seen both in the exhibition description («Key grew up in rural Alabama to their grandmother singing, «your hair is your strength»») and the look of the actual paintings themselves, which often resemble vast and complex tangles you could get lost in.

Elisabeth Lawrence is exhibiting new work in an exhibition titled I can See Bondi.

While the ellipsis in the exhibition's title seems totally unnecessary, the expansive group show on how artists «broke the rules» is a good excuse to see their German collection, featuring works by Martin Kippenberger, Isa Genzken and Sigmar Polke.

With a title that nods to books by writers Raymond Carver and Haruki Murakami, this exhibition aims to probe the relationship between the seen and heard, exploiting the synesthetic interplay between the senses.

Aptly titled «Why Pictures Now,» after a 1981 photograph by the artist, the exhibition features Lawler's photographic investigations into how pictures function: Charming images of Jasper Johns paintings adorning the walls of collectors» homes, Richters being moved from one museum to another, or an in - museum shot of a Thomas Struth photograph of museum crowds surrounding ruins within a museum (you'll get it once you see it).

But it was seen by Belgian curator Philippe Van Cauteren and — in the true spirit of the Biennale — is getting a showing in his lifetime in an exhibition aptly titled Invisible Beauty.

In recent months Japanese modern and contemporary art has seen a fair amount of attention when New York's Museum of Modern Art (MoMA) opened its special exhibition titled Tokyo 1955 — 1970: A New Avant - Garde.

David Roberts Art Foundation opens a new group exhibition of rarely seen artworks from their collection, titled Albert the kid is ghosting and occupying the whole DRAF building from September 25 to December 12.

The exhibition with the title Port - MIT is generally accepted as the historical starting point of net art (see the Whitney Museums» historical timeline of net art).

If you come to the exhibition you can see how each one is different — and you can ask me to tell you the meaning of the title Jacob's Ladder.

THE SEEN announces the Spring / Summer preview titles launching Issue 06 in print this April 2018, featuring Brendan Fernandes on the cover to align with his recent exhibition, The Master and Form, at the Graham Foundation.

The exhibition title, Optasia, is Greek for «vision or apparition» and the artist, in the gallery's press release, credits it with capturing «the sense of what I see in fleeting moments of the reflections I photograph.»

By 1964, he began constructing images, which he titled» Composites,» to better express the urban jitteriness he felt, and the exhibition features a small never - before - seen macquette of a grid of 12 contact prints of shapes of light seen between the tops of buildings, as well as a unique work titled In the Depths with seven strips of figures brightly lit and isolated in shadows.

The title of the exhibition, a line taken from Anne Carson's Autobiography of Red, refers to the notion of a broach approach to seeing; trying to get beyond what we normally think of as vision.

I loved that title for somethingâ $ «it was stolen from an exhibition about the history of pirates at Chicago's Field Museum of Natural History (which I did not see, but I am pretty sure they did not have any real pirates there).

STEVENSON in Johannesburg presented a solo exhibition by the Zimbabwean - born, multi-award winning visual artist, Portia Zvavahera titled «What I See Beyond Feeling.»

[6] The show was well received by critics, including Frieze Magazine [14] and The Brooklyn Rail, noting «Quaytman makes reference in the title to both the seat of seeing (i am), and the classical meter of poetry», and «Quaytman's sophisticated dissection of the complexities of seeing and the manifold aspects that inform perception is evident not only in individual works, but also in the relationship between specific works installed in the exhibition, and in the cumulative effect of the whole,» [13] and the New York Times «The paintings in R. H. Quaytman's exhibition are cerebral, physically thought out and resolutely optical.

He narrates and we watch as he travels to Zurich to see the Giacometti exhibition and encounters the work titled Flora.