Sentences with phrase «see this exhibition while»

Not exact matches

With the help of its own multi-year grant, the Dallas Museum of Art eliminated its $ 10 general admission — while still charging for special exhibitions — and saw annual attendance jump to 668,000 from 498,000.

While reading M. B. Handspicker's «Evangelizing Liberalism,» I was reminded of an old proverb about the exhibition of an elephant in a dark room to those who had never seen an elephant before.

Fishman is currently the subject of two large exhibitions: «Louise Fishman: A Retrospective» at the Neuberger Museum of Art acts as the 77 - year - old's first comprehensive show, while «Paper Louise Tiny Fishman Rock» at the Institute of Contemporary Art, Philadelphia displays an entirely different body of work, focusing on sketchbooks, smaller paintings and sculptures, and other rarely - seen items.

In his 1950 exhibition at the Betty Parsons Gallery, he put up a notice that while there is a tendency to look at large paintings from a distance, these works were intended to be seen from close up.

While I was on my way to see his current exhibition, Trevor Winkfield — Saints, Dancers and Acrobats, at Tibor de Nagy Gallery (February 17 — March 25, 2018), I began to wonder — as someone who has followed his work since the late 1970s, and who has read many of the things written on his work, as well as much of his own writing — if I could add anything to what has already been said.

A large portion of the exhibition features works already seen in past solo exhibitions worldwide, for example works such as Grapes (2011), Divina Proportione (2012), and Study of Perspective (2014)-- while this could potentially be perceived by trained audiences as a disappointment, the artist's engagement with the topical refugee issue, in particular his engagement with the group of local photographers, transforms Ai Weiwei at Cycladic into a riveting exhibition.

Poetry parade for Site and Sight, Whitney Museum of American Art, September 26, 2015 This Poetry Parade responded to the inaugural exhibition America Is Hard to See, while also addressing the new building itself, its location and histories relating to the evolution of the Meatpacking District and the Whitney as an institution.

The Artist and the Model, a portfolio of twelve intaglio prints, is published by Sylvan Cole at Associated American Artists, New York; receives a Tamarind Artist Fellowship and travels to the Tamarind Lithography Workshop in Los Angeles, where he produces thirty - four editions of primarily black - and - white lithographs that continue the Artist and the Model theme; begins using the airbrush, which he had learned from the artist Billy Al Bengston while at Tamarind; sees the exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington,exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington,Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington,Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, Kentucky.

With the help of its own multi-year grant, the Dallas Museum of Art eliminated its $ 10 general admission — while still charging for special exhibitions — and saw annual attendance jump to 668,000 from 498,000.

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.

LUCIEN SMITH — It was when I saw the Matthew Barney exhibition at the Guggenheim, which was quite a while ago.

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.

The following selection of 57 gallery and museum exhibitions, organized by opening date, demonstrates whether you are in New York or elsewhere, while there are not nearly enough, there are increasingly more opportunities to see compelling, insightful, and innovative art by black artists.

DIY is the kernel of Czudej's exhibition, or rather: the manner in which «making home» is predominantly seen as a masculine operation, while «home - making» is more readily viewed as a feminine activity.

With events all weekend, including the concurrent exhibition New Eyes for New Spaces — a group exhibition that explores multiple representations and creations of space — and artist talk on Friday and panel discussion on Sunday, ISCP is the place this weekend to see the culmination the artist's experiences and work while in Bushwick.

For example, while the press release presents «Proof» as «a three - person show featuring prints and artist's books made by master printers Ruth Lingen, Jennifer Melby and Leslie Miller,» the exhibition checklist does not credit individual works to particular printers but, as is conventional, credits only the «artists,» e.g. Elizabeth Murray, James Siena, Vija Celmins, Henrik Drescher (See the images above from Planthouse's website.

Tate Modern expands the scope of the investigation to include the years pre - and post-1917 (from the first revolution of 1905 to the death of Stalin in 1953), showcasing rarely - seen posters, photographs, and other graphic works, while at the British Museum, an Art Fund supported exhibition explores how Russia and other communist states radically restructured their economies to reflect Marxist ideology.

While best known for his seminal series The Americans (1958), the exhibition at Bowdoin brings together a selection of nearly 50 rarely seen photographs from 1947, the year the artist first moved to the United States from Switzerland, to 1961, when he was featured in his first major museum exhibition.

While the two artists have been making new works for this exhibition at the gallery for almost a month now, the opening reception provides the opportunity to see their sound geometry - inspired photographic and sculptural creations in full swing.

I was inclined to write about Dylan's paintings after seeing The Brazil Series, a surprisingly good exhibition at the Statens Museum for Kunst, which I discovered by accident, while working in Copenhagen last January.

In Paris, Nicholas Ghesquière showed silk - embroidered frock coats comparable to those seen in 18th - century portraiture for his women's Spring 2018 Louis Vuitton collection; in New York, the Metropolitan Museum's recent Michelangelo show was the tenth most visited exhibition in its history, outstripping even the Alexander McQueen blockbuster in 2011; in London, renowned contemporary British artist Glenn Brown is presenting his reinterpretation of the Old Masters at the Gagosian Gallery (until 17 March), while at Victoria Miro (until 7 April), Mark Wallinger's Italian Lessons exhibition takes inspiration from the Italian masters and masterpieces in Italian collections.

I am hoping that I organized and installed an exhibition in which viewers can see my curatorial «whole» while at the same time being able to engage individually with the work.

It will invigorate Dallas by drawing visitors to the region, while providing an opportunity for guests to experience spectacular exhibitions never before seen in North Texas.

The idea for this exhibition sprang from Donald Judd's great interest in Dürer (Judd owned several woodcuts and etchings) and the wish to see the stark images of two such different artists, who lived five centuries apart, while simultaneously considering the motivation for one's interest in the other.

While the three artists» works in this exhibition have few formal associations, KAWS as the collector, sees commonalities underlying Wirsum's whimsical and brightly colored figures, Gokita's sleek grayscale faceless portraits, and his own meticulous, brightly - colored paintings.

While most museum collections are kept in storage when not on display for specific exhibitions, for this project, visitors are invited to select which works they would like to see, and those works will be on display in the museum space ten days after the request is made.

The Turner prize - winning artist Jeremy Deller said while the price might discourage young people from seeing certain exhibitions, income from shows such as this was needed to subsidise museums.

While Koons's breathtaking prices have become a part of his content, the challenge of the exhibition for many will be to put aside the hype to see the work and not just dollar signs.

The solo exhibition is introduced with a short text describing textually the girl that we are to see visually represented in the exhibition: «She is a romantic girl,» it begins, «in fact, one morning while soaking a biscuit in her cappuccino, she felt touched.»

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.

Still, by focusing on the 1970s, while placing it against an earlier context, the exhibition taught me to see the later works differently.

I grew up seeing representational painting and at the time of the exhibition, I was immersed in «academic» painting while studying art history at Boston University.

While we might never fully know what the ethical motives were behind Lew and Lock's decision to exhibit Dana Schutz's abstract painting of Emmitt Till's open casket, we will hopefully see some resolution to this hotly debated topic in whatever exhibitions they curate next.

Simultaneously, we will present the first official solo exhibition for Renaud Jerez anywhere in the U.S. Exhibitions highlighting mid-career artists like John Miller and Laura Lima will demonstrate their significance in the international field through new and never - before - seen works, while a show for self - taught New Zealander Susan Te Kahurangi King will demonstrate the genius and prescience of her work.»

«An interesting thing happens when you actually see these works side by side,» Clyfford Still Museum Director Dean Sobel said — while standing in front of a pair of nearly identical canvases — on a recent tour of the just - closed Repeat / Recreate exhibition.

These plays between inside / outside, mind / body, felt / seen are explored throughout the exhibition, including in the nearby Listening to Haruki Murakami while looking at a sunset (2016), a network of squares painted in a palette of soft peach and gray acrylics, realized at the same scale.

Traces of research and creation can be spotted in the photograms of studio equipment, industrial tools, newspapers, and art journals, while strains of Beshty's personal life and management role can be seen in the empty food containers, employee contracts, exhibition invitations, thank - you notes, and cinema tickets that ripple across the surface of the wall.

While individual expression is key, several themes recur in works by the women artists seen in this exhibition.

2010 3 minute wonder series, Broadcast commission, Channel 4 (27,28,29,30 Sept; 18, 19, 20, 21 Oct) 06.2010 Persistence of Vision, FACT, Liverpool, UK 05.2010 Steps into the arcane, Kunstmuseum Thurgau, Switzerland 05.2010 It has to be this way ², National Gallery of Denmark, Copenhagen [commissioned solo show] 03.2010 Hands on, (curated by John Hilliard) Galerie Raum Mit Licht, Vienna, Austria 02.2010 Depatterrn, Galleri Erik Steen, Oslo, Norway 10.2009 Performance, Film Weekend: The Jarman Award at KunstHalle, Zurich, Switzerland 09.2009 Performance, Whitechapel Gallery, London, UK06.2009 Mostravideo, Itau Cultural Institute, Sao Paulo, Brazil 02.2009 Altermodern, Fourth Tate Triennial, Tate Britain, UK 01.2009 It has to be this way, Matt's Gallery, London [commissiond solo show] 12.2008 Performance, Event Horizon, Royal Academy of Art [commissioned solo show] 06.2008 Performance, Happy Hand, British Film Institute, London, UK 10.2007 Cinemart, The Auditorium, Rome, Italy 09.2007 Foreign Bodies, White Box, New York, USA 07.2007 Swallowing Black Maria, Smart Project Space, Amsterdam [commissioned solo show] 02.2007 The Believers, Touring show to five cities in Norway, with performances in Stavanger, Forde and Bergen 09.2006 The truth was always there, The Collection, Lincoln [commissioned solo show] 07.2006 UBS Opening, Tate Modern (with Laurie Simmons, Guerilla Girls etc), UK 05.2006 Performance, Human Camera, Mali Salon, Rijeka, Croatia (solo show) 05.2006 I can't tell you, Grundy Gallery, Blackpool [commissioned solo show] 04.2006 Metropolis Rise, CQL Design Centre, Shanghai; DIAF 2006 @ 798 Space, Beijing, China 04.2006 Performance, Inside, Great Eastern Hotel, Masonic Temple, London, UK 03.2006 Performance, Don't Look Through Me, Y Theatre, Leicester, UK 03.2006 Don't look through me, City Gallery Leicester [commissioned solo show] 03.2006 Performance, Screening at Witte de With / Tent, Rotterdam, Holland 03.2006 John Skies or Sally Swims, UKS Gallery, Oslo, Norway 02.2006 Wandering Rocks, Gimpel Fils Gallery, London 11.2005 Image in Me, Market Gallery, Glasgow (solo show) 10.2005 Eyes of Others, Gallery of Photography, Dublin [commissioned solo show] 10.2005 Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK 09.2005 I saw the light, Gasworks Gallery, London [commissioned solo show] 09.2004 Adam, Smart Projects, Amsterdam, Holland 11.2004 Mind the Gap, La Friche, Triangle, Marseille, France 08.2004 Shattered Love, Keith Talent Gallery, London 04.2004 Eating at Another's Table, Metropole Galleries, Folkestone (performance / exhibition) 04.2004 Tonight, Studio Voltaire, London (curated by Paul O'Neill) 03.2004 Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard) 03.2004 Mesmer, Temporarycontemporary, London 02.2004 Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson / Craighead, S Mark Gubb) 09.2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt) 09.2003 Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum) 09.2003 You said that without moving your lips, Limerick City Gallery, Ireland (solo show) 08.2003 Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show) 04.2003 A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass) 01.2003 The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths) 09.2002 History Revision, Plymouth Arts Centre (including Terry Atkinson) 06.2002 Nausea: encounters with ugliness, London Print Studio 04.2002 Dramatic Events, Kent Institute of Art and Design 03.2002 Photoscoptocus, Camden Lock / Henley - on - Thames (Public commission) 03.2002 Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson) 08.2001 Trinity College, Zwemmer Gallery, London 05.2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, «Lindsay Seers, Artist's Eye», Rory Logsdail) 03.2001 For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show] 02.2001 Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith) 09.2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown) 10.2000 Assembly, Stepney City, London 07.2000 A Shot In The Head, Lisson Gallery, London 07.2000 Unfound, Chisenhale Gallery, London 06.2000 City Projects, Artomatic, London (with Jemima Brown, Marcel Price) 05.2000 The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher) 05.2000 On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson) 09.1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall) 07.1999 Quotidian, Paper Bag Factory (curated by Julia Lancaster) 06.1999 Autocannibal, Laure Genillard Gallery, London (solo show) 04.1999 Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean) 10.1998 Multiples, Temple Bar Gallery, Dublin 09.1998 Cannibal, Old Museum Art Centre, Belfast (solo show) 08.1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin 11.1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London 10.1996 Ghost, ACAVA Open Studios, Denmark St, London 09.1996 Ad Hoc, London Artforms.

This unusual exhibition offers the chance to see 25 of Miro's paintings and drawings, while experiencing the private sanctuary in which they were created.

The selling period has stretched on for a while now — collectors were shown PDFs and offered the works sight unseen well before the exhibition began, though they had to sign an NDA to keep the mystique of the show intact — and it appears that buying has ramped up since the show opened in mid-April, when collectors could see the work in person.

While studying at the institute, he travelled to see exhibitions by various artists, whose work left him with a lasting interest in abstract expressionism.

The three artists in this exhibition share a desire to confound the viewer while at the same time investigating processes and searching for what lies beneath surfaces — the beyond of what we can see.

Also titled «Basquiat: The Unknown Notebooks,» the catalog documents the traveling exhibition, while «The Notebooks» offers a facsimile edition of the words and images the artist jotted down, reproducing for the first time pages from eight of his rarely seen notebooks.

If you haven't already, then take the opportunity to see the phenomenal Matisse Cut - Outs exhibition at Tate Modern this season, while Bridget Riley's show is still fresh in your mind: these are artists who are strands on the same DNA double helix, and we are more than fortunate to have the chance to view both, in depth here in London this summer.

«Crucifer» needs a lot of space and is given its due in this group exhibition, which is carefully hung; smaller drawings and prints are grouped together for intimate viewing while the larger works are given room to be seen from a distance.

While I'm less familiar with his earlier work, to see the way selections from his two most recent New York exhibitions — Proper (2005) and Forever: The Management of Magic (2008)-- bleed together at the end of the exhibition clearly demonstrate how much the installation defeats any thematic elucidations.

The Summer Exhibition will also see the launch of American contemporary painter, John Bauer, whose monochromatic artworks draw reference from the immediacy of graphic design and new technology, while resonating in the style and execution of the Abstract Expressionism.

While the show will also offer the chance to see several superb examples of the artist's most minimal subject: the ineffably beautiful paintings of colored papers, the exhibition's greater body of work will be devoted to still lifes and will show Bravo's highly finished technique in the treatment of this timeless theme.

I was fascinated to see Campbell consult with Zhukova about bringing an exhibition to Moscow, while Weinberg extolled the Whitney's probable ten - year lease of its Breuer building to the Met.