Sentences with phrase «seeing exhibitions such»

«Meanwhile, after seeing exhibitions such as those of the Berlin Biennale man begins to wonder what exactly surrounds it.

Equally important was the dealer Karsten Schubert, who put on a string of must - see exhibitions such as Anya Gallaccio's Stroke, for which she coated the gallery walls in chocolate.

Not exact matches

Oh my, this must be such an amazing exhibition to see!

(film / video - based / related installations, film / video art projects, films / videos seen in exhibitions, and other creations and happenings such as these)

The ASPCA believes that it is possible to participate with companion animals in sporting events (see Dog Parks, and Shows and Exhibitions) that are pleasurable for both humans and animals, and that, in fact, such interaction may enhance the human / companion animal bond.

There are many activities to do and see such as swimming, walking paths, art exhibitions, film festivals!

Opening: «Pixar: The Design of Story» at Cooper - Hewitt National Design Museum This exhibition is a rare peek into the design process behind the creation of Pixar favorites like Toy Story, Wall - E, Up, Brave, The Incredibles, and Cars, including relics such as rarely seen paintings, sculptures, hand - drawn sketches, and other original artwork.

The exhibition presents works by classic tonalist painters such as Kenyon Cox, Arthur Wesley Dow and John La Farge, as well as a host of rarely seen painters.

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.

The exhibition concludes with artefacts from the formation of Experiments in Art and Technology (E.A.T) in New York in 1966 which saw performances over nine evenings from artists such as Robert Rauschenberg, John Cage and Yvonne Rainer working together with engineers from American engineering company Bell Laboratories in one of the first major collaborations between the industrial technology sector and the arts.

His work can be seen today in solo exhibitions and the collections of major museums such as the Museum of Modern Art in New York, the Centre Pompidou in Paris and the Museo Nacional Centro de Arte Reina Sofía in Madrid.

Her work has been included in such recent exhibitions as «Photo Poetics» (Guggenheim Museum, New York, NY); «America Is Hard To See» (Whitney Museum, New York, NY); and «UGO RONDINONE: I ♥ JOHN GIORNO» (Palais de Tokyo, Paris, France).

In 1982, the Museum organized an exhibition of 48 Lichtenstein paintings from 1951 to the early 1980s, the first to include rarely seen early works such as the iconic Look Mickey (1961).

His works have been exhibited around the world, in prestigious institutions and galleries, with solo exhibitions such as William Klein + Daido Moriyama, Tate Modern (London, 2012); On the Road, The National Museum of Art, Osaka (2011); Daido Retrospective 1965 - 2005 / Daido Hawaii, at the Tokyo Metropolitan Museum of Photography (2008), Centro Andaluz de Arte Contemporaneo, Sevilla (2007), Foam (Amsterdam, 2006), Fondation Cartier pour l'art contemporain (Paris, 2003), Fotomuseum Winterthur (Winterthur, 2000), San Francisco MOMA (1999, saw ell as the Metropolitan Museum, New York).

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.

Thematic exhibitions such state of Affairs (2000), Territories (2003), Into Me / Out of Me (2006), History Will Repeat Itself (2007),... 5 minutes later (2008), Seeing is Believing (2011), and ONE ON ONE (2012/13) have significantly influenced the international art discourse.

But I have seen my colleagues start galleries in remote locations, such as Galleria Continua in San Gimignano, Italy, and create a global following and a reputation on the strength of the artists and the exhibitions they have mounted.

This exhibition will include little - seen and significant early artworks, her arresting sloths, a selection of curious personal and ritualistic artefacts and talismans, small sculptures accompanied by their bespoke furniture supports, as well as recent life - size free - standing technicolour figures, such as Blue and Green Scarf 2013 and Sun Worship 2013 (pictured above), which blur the lines between the archaic and futuristic.

This exhibition charts Höch's career beginning with early works influenced by her time working in the fashion industry to key photomontages from her Dada period, such as Hochfinanz (High Finance)(1923), which sees notable figures collaged together with emblems of industry in a critique of the relationship between financiers and the military at the height of an economic crisis in Europe.

Featured in ArtNet News as the top 25 must see exhibitions this Spring, Chaos and Awe: Painting for the 21st Century includes paintings by an international array of artists, including Franz Ackermann, Ahmed Alsoudani, James Perrin, Eddy Kamuanga, Wangechi Mutu, Sue Williams, and many more, that induce feelings of disturbance, mystery, and expansiveness through the portrayal of forces shaping and hastening social transformation in ways that are increasingly difficult to predict, such as globalism, ideological conflict, technology, science, and philosophy.

Entitled Transcending Boundaries, the exhibition will feature two never before seen works that celebrate the possibilities of technology in terms of art and engage the viewers in the exploration of themes such as creativity, play, life and fluidity.

And yes, we've all strolled along the Warhol's in this love for the art, but seeing Ileana's portrait in a collection that belonged to her, in a Lisbon exhibition that portuguese António Homem conceived from such rich and historic pieces is more than any other show.

Robert Rauschenberg: Among Friends is the follow up to the Tate exhibition that opened in late 2016 and features masterpiece, after masterpiece, such as Monogram and Mud Muse (rarely seen) on loan from the Moderna Museet in Stockholm.

Bringing together more than 100 of the most iconic movie costumes from across a century of filmmaking, the exhibition is a once - in - a-lifetime opportunity to see the clothes worn by unforgettable and beloved characters in films such as The Wizard of Oz, The Birds, My Fair Lady, Superman, Titanic, Harry Potter and the Half Blood Prince, and The Dark Knight Rises.

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

His work has been shown in numerous group exhibitions at important venues worldwide, such as Collection Sandretto Re Rebaudengo: Have you seen me before?

(Scott told Alan Bowness that, in 1946, he had seen an exhibition in Paris called A thousand years of still life painting; as there is no record of such an exhibition in Paris that year the exhibition he remembered must have been La Nature Morte de l'Antiquité à nos Jours, which opened at the Orangerie des Tuileries in April 1952).

Much of Van Eck's focus at the MCA had been on audience engagement and extending the MCA's reach into the community, as seen in exhibitions such as Here / Not There, Hide and Seek: An Out of Gallery Experience, Theaster Gates: Temple Exercises, and Tino Sehgal's Kiss.

The Cristea exhibition, devoted entirely to prints, allowed for a more intimate viewing experience and also included works the Tate missed, such as the etchings made after Joyce's Ulysses [see Kit Smyth Basquin's article, «Ineluctable Modality of the Visible: Illustrations for Joyce's Ulysses,» in Art in Print, Vol.

When British artists saw the first London exhibitions of American abstract painters such as Jackson Pollock and Mark Rothko in the late Fifties, they were astonished by the improvisatory freedom of their works, in which paint appeared to have been hurled on to the canvas without any preconceived ideas, and by the sheer size of the paintings.

Following unprecedented visitor figures for a solo show, Chris Dercon, Director of the Tate Modern commented: «We are delighted that so many people came to see and discuss the Damien Hirst exhibition -LSB-...] It was wonderful to see such iconic works brought together in one place and to offer our visitors a chance to experience them first - hand.»

Picasso and Britain will include key Cubist works such as Head of a Man with Moustache 1912 (Musée d'Art Moderne de la Ville de Paris) which was seen in Britain before the First World War, when Cubism was first introduced to a British public through Roger Fry's two Post-Impressionist exhibitions.

When you stroll through the exhibition hall you see latest works by artists such as Olafur Eliasson, Inigo Manglano - Ovalle, Nick Cave, Anish Kapoor, Olaf Nicolai, KRIWET, Kris Martin, Takashi Murakami, Haroon Mirza, Rob Pruitt, and Paul McCarthy.

In the exhibition «Drawn from the Antique», set in the context of his beloved home, visitors explore the honing of the classical form in rarely seen loaned works by artists such as Rubens, JMW Turner RA and Henry Fuseli RA.

Given that the Courtauld Institute and Gallery, both part of the premises of London's iconic Somerset House, boast such an impressive and art - historically significant permanent collection, any temporary exhibition hosted within the space must be not only mindful of the location and its heritage, but equally must be seen to be doing, and saying, something different.

It will be such a treat to see both of their exhibitions.

VS: With more major exhibitions focusing on art from Africa looming, such as the Armory Show's Focus in New York (3 - 6 March 2016), how would you like to see the curatorial or critical approach evolve in the next 12 months?

Her work has been seen in group exhibitions at venues such at Weekend, (Los Angeles), Five Thirty Three (Los Angeles), Black Dragon Society (Los Angeles), Honor Fraser Gallery (Los Angeles) and Angles Gallery (Los Angeles) among others.

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.

Such works made his name in 1962, when an exhibition of them at the Allan Stone Gallery in New York attracted rave reviews and, to the discomfort of the artist himself, led critics to see him as part of the Pop Art movement.

Rarely does one encounter such a revelatory exhibition as «Things That Can not Be Seen Any Other Way: The Art of Manuel Mendive,»...

The autumn edition of Art en Vieille - Ville in Geneva's historic Old Town sees a number of galleries and museums (such as Gagosian, Galerie Patrick Gutknecht and the Baur Foundation) run concurrent exhibitions until early next year (3 November — January 2017).

The exhibition sees videos, gifs and sculptural works by artists such as Angelo Plessas, Yuri Pattison, Travess Smalley and Hannah Perry.

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.

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.

The exhibition offers a new assessment of the artist's pioneering work, including rarely seen pieces such as his series of hand - painted photographs of graffiti.

Here, Donald Judd's moody swathes of black paint on white canvas, seen in works such as Untitled (1980), seem anxiety - ridden, foreshadowing the darker turn the exhibition is about to take.

Ira Cohen's Dr. Mabuse — much like the other works in this exhibition — is a window to the world of the occult and, as with all such windows, it's either a mirror itself, or smudged by those who don't want you to see.

This we see in works such as a monumental hanger with its own personality, a crying neon moon, or as in this exhibition: a bent and exaggerated lamppost.

Recent years have seen vast new spaces opened on or near Highland Avenue by Regen Projects — with 20,000 square feet of exhibition space for such local superstars as Doug Aitken, Raymond Pettibon, Lari Pittman, and James Welling — and Perry Rubenstein, who built a 10,000 - square - foot site for work by such artists as Candice Breitz, Zoe Crosher, Georg Herold, and Alex Katz.