Sentences with phrase «seminal early shows»

Notable early exhibitions include a 1977 show of minimalist works by Carl Andre, Dan Flavin, Donald Judd, and Sol Lewitt; seven of BBruce Nauman's seminal early shows; eleven Richard Long exhibitions; and the installation of one of Mario Merz's celebrated glass and neon igloos in 1979 — part of the gallery's ongoing dedication to Arte Povera artists, including Alighiero Boetti.

Notable early exhibitions include a 1977 show of minimalist works by Carl Andre, Dan Flavin, Donald Judd, and Sol Lewitt; seven of Bruce Nauman's seminal early shows; eleven Richard Long exhibitions; and the installation of one of Mario Merz's celebrated glass and neon igloos in 1979 — part of the gallery's ongoing dedication to Arte Povera artists, including Alighiero Boetti.

Not exact matches

At various points in his fantastically varied and storied career he wrote position papers on the need of support for a moribund Australian film industry, wrote and directed numerous episodes of such seminal TV shows as Homicide and Division 4 for Crawford Productions, was central in establishing film courses and departments in places such as Canberra and Brisbane (Griffith University), wrote plays and performed poems at Melbourne University and La Mama in the 1960s, directed feature films in the early 1980s (most memorably Ginger Meggs in 1982), made documentaries for the ABC and SBS (The Myth Makers, Images of Australia, The Legend of Fred Paterson, and numerous others), wrote and edited such books as Screenwriting: A Manual and Queensland Images in Film and Television, helmed commercials for a vast array of companies and government bodies, contributed film reviews to ABC radio (and more occasionally TV) across various states (for almost 40 years), wrote for numerous publications including Overland, The Canberra Times, Metro, The Concise Encyclopedia of Documentary Film, The Hobart Mercury, and so much more.

Starting as early as with Matisse and presenting a curated selection of major modern masters such as Julio Gonzalez, Joan Miró and Roberto Matta, the show will feature also some seminal Russian avant - garde pieces by Rodchenko, among them Spatial Construction, redefining the concept of image and space in its entire understanding.

The show includes more than one hundred drawings by the artist — from early abstract expressionist watercolors of the 1950s and portraits and landscape sketches, to studies for his seminal light installations and late pastels of sailboats.

The lively paintings were celebrated, winning her a solo museum show at the de Young as early as 1957 and a spot in the Guggenheim's seminal 1954 group exhibition «Younger American Painters» alongside de Kooning, Pollock, Franz Kline, and more — though it's only recently that the historical influence of her work has been recognized and revived.

Curated by Dr Jo Melvin, the director of Flanagan's estate, the show focuses on these seminal early works from the 50s, 60s and 70s that came to establish Flanagan's solid reputation — many of the pieces in the show have remained behind closed doors for 30 years.

Starting from the early experiments of the beginning of the 20th century to recent digital innovations, the show will examine the history of abstract photography side - by - side with seminal paintings and sculptures.

Presence of an Absence at Skarstedt London will coincide with Running Wild: 80s Painting in America at The Arts Club London, in which a selection of seminal early paintings by Fischl are shown alongside other key American masters in the re-establishment of painting in the 1980s, united in their criticism of the socio - political climate at the time.

Taking it's title from the seminal early - feminist Virginia Woolf essay, «A Room of One's Own,» at Yancey Richardson Gallery through Aug. 21, 2015, plays off of that historical show, looking further inward not just at the process of experimenting in the studio, but at the space itself, as a muse and subject in the art of 12 contemporary photographers, including Anne Collier, Mickalene Thomas, and Laura Letinsky.

Quintessential LA artist and godfather of light art James Turrell took the psychedelic light shows of the 1960s out of the Fillmore West and Avalon Ballroom and into the fine art world with his seminal early light works of the late 1960s, simultaneously blowing the establishment's collective minds and writing a new chapter in postmodern art history in the process.

The artist started exhibiting in Tokyo in the early 1950s and his works have been included in numerous conceptual art surveys from the seminal Information show at The Museum of Modern Art, New York in 1970 to 1965 - 1975: Reconsidering the Object of Art at the Museum of Contemporary Art, Los Angeles in 1995.

This includes work from early on in his career, as well as a dozen assemblage works that he and other artists crafted for «66 Signs of Neon,» the seminal post-riots show held at the Watts Towers Arts Center in 1966, and which later went on to travel to nine other venues.

Robinson presented his earliest paintings at the historic Times Square Show organized by Colab in 1980 at an abandoned building on West 41st Street, and within two years was exhibiting modestly scaled but brashly colored paintings of pulp romance cover illustrations at the seminal Metro Pictures gallery.

Patrick Heron's seminal review of the first showing of the Abstract Expressionists in London in 1956 at the Tate Gallery singles out Rothko for especial praise, while raising doubts about the others, and there is no doubt, despite his protestations to the contrary, that this show marked a decisive shift in his art towards abstraction, and Rothko in particular, though he rapidly turned the influence in the direction of a more European sensibility, less nuanced, a more immediate and direct attack, and an asymmetric compositional style more akin to the early Multiforms, which Heron insists he had not seen.

Curated by Sukanya Rajaratnam, the show brings together some of the earliest examples of the innovations and ideas that have now secured Gilliam's status as a seminal American abstract painter.

Faxes by over 100 artists sent to the initial showing of FAX at The Drawing Center will form the core of the exhibition, and will include seminal examples of early telecommunications art; and each institution will invite up to twenty additional artists to submit works, which will be presented at successive venues.

Key works from Blake's expansive career will be integrated into the booth, including seminal early work loaned by private collections shown alongside important works that have remained in the artist's collection for a number of years, never seen by the public until now.

Despite Walther's studies at the Kunstakademie Düsseldorf in the early 1960s, a hotbed of European artistic talent that bred classmates such as Gerhard Richter; despite his subsequent four - year immersion in New York City, similar to stays that propelled fellow Germans such as Hanne Darboven to statewide institutional recognition; and despite his participation in seminal shows, including the Museum of Modern Art's «Spaces» in 1969 and Harald Szeemann's Documenta 5 in 1972, North America has still been slow to recognize Walther's significance for the expansion of painting,

Five of the seminal black paintings from his influential career, made between 1951 and» 53, are an early high point in the show.

The exhibition (along with an earlier Cezanne show at Galerie Bernheim - Jeune) proved to be a seminal event and a huge inspiration to many painters of the new generation.

Mel Bochner's seminal work from the mid -»60s through the early»70s has been repeatedly plumbed and shows no sign of being exhausted.

Comprising a hundred and fifty works, the exhibition in Milton Keynes recreates some of the artist's seminal photographic shows from New York in the early to mid 1980s, charting the development of his abstract language and experimentation with photographic effects.

Despite Walther's studies at the Kunstakademie Dusseldorf in the early 1960s, a hotbed of European artistic talent that bred classmates such as Gerhard Richter; despite his subsequent four - year immersion in New York City, similar to stays that propelled fellow Germans such as Hanne Darboven to statewide institutional recognition; and despite his participation in seminal shows, including the Museum of Modern Art's «Spaces» in 1969 and Harald Szeemann's Documenta 5 in 1972, North America has still been slow to recognize Walther's significance for the expansion of painting, for the convergence of art and design, and for time -, performance -, and (especially) participation - based art.

This will be the first show of Mapplethorpe's work at Barbara Gladstone's gallery since the early 1980s when she published his seminal Flowers portfolio.

That's the essence of the NAS report — an early, seminal paper shown later to have had some problems due to a non-standard PCA treatment but when it comes right down to it, fundamentally correct.