Sentences with phrase «show classical works»
Presenting rediscovered and rarely seen works by Old Masters including Luca Giordano, El Greco and Pedro de Mena, the exhibition will show classical works together with modern masterpieces by two artists strongly influenced by texture, religion and historic art: Antoni Tàpies and Miquel Barceló.
https://www.benbrownfinearts.com/ Not exact matches
However, our discussion and defense of Plantinga has shown that, when worked out coherently, the classical theist must affirm a notion of omnipotence practically identical to that of the process theist — i.e., our discussion demonstrates that the classical theist must, like the process theist, acknowledge that human freedom places necessary limits upon God's power in both the moral and natural realms.
What has been shown thus far is that Plantinga, working within the premises of classical theism, is able to develop a notion of «C» omnipotence and hence affirm the genuineness of evil.
The confidence has many roots: the steady decline of models of theology in which «critical appraisal» is the dominant task; receptiveness toward and fresh engagement with classical thinkers, patristic, medieval and Reformation; a sense that the Enlightenment is only one episode in the history of one (Western) culture and not a turning point in the history of humankind; the work of a number of gifted and independent - minded theologians now at the height of their powers who have shown the potency of constructive doctrinal work.
However, because these classical effects are significant only above 45 millikelvin, and D - Wave's latest paper shows that its system works below that barrier, only quantum effects can be responsible.
Under cannibalism it shows evidence of this being done in paleo times, thought most of the work focuses on the classical and near - eastern civilizations, but occasional mention is made of the mesoamerican cultures as well.
With little resemblance to the classical literary work of Jonathan Swift, this is one film that should never show up in a high school English class as a study aid.
This classification theory is consistent with old breed descriptions, which are somewhat contrary to the more classical sighthound / scenthound types, like the one offered in an advertisement run by the Rhodesian Parent Club in a show catalogue in 1926,»... Rhodesian Ridgeback (lion dogs) are unsurpassed for hunting and veld work.
His Berlin Installation takes up an entire length of the gallery's back room (unusually, broken up with temporary walls for this show dividing the characterful space, which works perfectly for installations and immersive works, into a more classical gallery for showing photography).
A Selection of American Art: Minimalism and After, Galerie Ronny Van de Velde, Antwerp, Belgium (catalogue) The Kitchen Art Benefit, Curt Marcus & Leo Castelli Galleries, New York Re-Framing Cartoons, Loughelton Gallery, New York Grids, Vrej Baghoonian Gallery, New York Modern Detour / Umweg Moderne: R.M. Fischer, Peter Halley, Laurie Simmons, Wiener Secession, Vienna (catalogue) The Last Decade: American Artists of the 80s, Tony Shafrazi Gallery, New York (curated by Collins & Milazzo, catalogue) Weitersehen 1980 — 1990, Krefelder Kunstmuseen, Museum Haus Lange and Museum Haus Esters, Krefeld, Germany (catalogue) Mel Bochner, Peter Halley, Robert Rauschenberg, Sonnabend Gallery, New York Classical Modernism: Six Generations, Sidney Janis Gallery, New York Peter Halley, Annette Lemieux, Meyer Vaisman, Galerie Antoine Candau, Paris Peter Halley, Jeff Koons, Meyer Vaisman, Galerie Carola Moesh, Berlin 1989 Nonrepresentation: The Show of the Essay, Anne Plumb Gallery, New York (catalogue); travelled to Security Pacific Corporation, Los Angeles (curated by Jeremy Gilbert - Rolfe, catalogue) Horn of Plenty, Stedelijk Museum, Amsterdam (catalogue) Buena Vista, John Gibson Gallery, New York (curated by Collins & Milazzo, catalogue) Abstraction in Question, John and Mable Ringling Museum of Art, Sarasota, FL (catalogue); travelled to Center for the Fine Arts, Miami Paula Cooper Gallery, New York A Climate of Site, Galerie Barbara Farber, Amsterdam (curated by Robert Nickas, catalogue) Science — Technology — Abstraction: Art at the End of the Decade, University Art Galleries, Wright State University, Dayton, OH (catalogue) Prospect 89, Frankfurter Kunstverein, Schirn Kunsthalle, Frankfurt am Main (catalogue) Re-Presenting the 80s, Simon Watson Gallery, New York (catalogue) Ten + Ten: Contemporary Soviet and American Painters, Fort Worth Museum of Art, Fort Worth, TX; travelled to San Francisco Museum of Modern Art, San Francisco, CA; Albright - Knox Art Gallery, Buffalo, NY; Milwaukee Art Museum, Milwaukee, WI; Corcoran Gallery of Art, Washington, DC; Artists» Union Hall of the Tretyakov, Krymskaia Embankment, Moscow, USSR; State Picture Gallery of Georgia, Tbilisi, Georgian Soviet Socialist Republic; Central Exhibition Hall, Leningrad, USSR (catalogue) The Silent Baroque, Villa Arenberg, Galerie Thaddaeus Ropac, Salzburg, Austria (catalogue) New Editions, Pace Prints, New York Psychological Abstraction, Deste Foundation for Contemporary Art, Athens (catalogue) Exposition Inaugurale, Fondation Daniel Templon, Musée Temporaire, Fréjus, France (catalogue) Wittgenstein: The Play of the Unsayable, Wiener Secession, Vienna, Austria; travelled to Palais des Beaux - Arts, Brussels (catalogue) Abstraction — Geometry — Painting, Albright - Knox Art Gallery, Buffalo, NY; travelled to Center for the Fine Arts, Miami, FL; Milwaukee Art Museum, Milwaukee, WI; Yale University Art Gallery, New Haven, CT (catalogue) New Work by Gallery Artists: John Baldessari, Bernd and Hilla Becher, Ashley Bickerton, Mel Bochner, Carroll Dunham, Fischli + Weiss, Gilbert & George, Peter Halley, Barry Le Va, Haim Steinbach, Meyer Vaisman, Terry Winters, Robert Yarber, Sonnabend Gallery, New York Gober, Halley, Kessler, Wool: Four Artists from New York, Kunstverein, Munich (catalogue) Projects and Portfolios: The 25th National Print Exhibition, Brooklyn Museum, Brooklyn, NY (catalogue) Recent Acquisitions, Carl Solway Gallery, Cincinnati, OH Buena Vista, John Gibson Gallery, New York
For the exhibition Portrait Gallery in Genova, the artist will show a new series of works; the installation situates the paintings, with their brooding and centripetal masses, in dialogue with the rooms of the villa responding to its monumentality and mimicking the classical display of a picture gallery.
When he first started showing his work in the early 2000s, Wiley's reversals of classical figuration were an outlier at a time when most painters dealt in abstraction.
Wander through Glyndor Gallery and find plenty to edify body and soul in The Shop and The Café, including informal piano performances in the Mark Twain Room of Wave Hill House — the sets will range from classical and jazz to show tunes and works composed by the guest pianists.
The show comprised five sculptures each of which was made using a similar process to his earlier works: images of classical and Modernist art objects found on the Internet were rendered, via a computer, as basic three - dimensional models.
«When you see photos of his apartment, you see that his furniture is quite classic and not particularly harmonious,» recounts Flavie, with a smile: «It's great because the paintings are super contemporary but in Louis XVI frames among very classical furniture... It showed potential clients with classical tastes that they could still buy contemporary works.»
At the center of the works by 24 international artists shown in the Kunstverein was the observation that artistic preparatory designs since the nineteen eighties are less concerned with the classical dialectic between surface and content, but rather with the textualization, visualization of the surface itself.more
The classical technique combined with the elegant but casually posed figures showed the influence of dozens of great masters, but Yiadom - Boakye added a dreamy element to her work.
The work shown in Merge Visible opens a new discourse for Loesch with a series of large and small - scale paintings which explore the interplay between digital imagery and classical painting technique.
The Unlimited sector of Art Basel is devoted to large - scale installation and works that «transcend the classical art show stand.»
Shown on classical plinths for the exhibitions, these works find gravity in the environment off the pedestal, incorporating themselves into their domestic surroundings.
The show will examine his understanding of form and light in the composition of formal portraits, still lifes and figurative works that celebrate the sensual quality of nature and the human body.The works relate strongly to the museum's permanent collection of fine art that includes portraits from the eighteenth and nineteenth centuries, Dutch old master still lifes and studies of the nude and human figure, a staple of western art dating back to the classical forms of Greek sculpture.
[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.
His first works were naïve paintings of remembered Greek scenes and episodes from classical myth, on display in his first show, at Contemporary Arts on 57th Street, in 1938.
Works on show in the six galleries comprise historical artefacts, as well as artworks by renowned classical and modern masters (such as Rembrandt, René Magritte and Henri Cartier - Bresson) and post-war and contemporary artists from all over the world.
Thomas Houseago, whose work is amongst the best represented in the Saatchi show, is an LA - based artist whose monolithic figurative sculptures dwarf the viewer and freshly reinterpret sculptural practices which stretch right back to Classical times.
In 2016 Stephen Friedman Gallery exhibited a major solo exhibition of new works by Shonibare entitled... and the wall fell away; an exhibition which showed a significant and pivotal new movement in the artist's practice — exploring traditions of classical art and religious iconography.
A total of 150 works by some 80 artists will be shown, from classical paintings of the forties through Andy Warhol to contemporary renowned and as well yet less known protagonists of young international art.
Gathering his works from the 1970s to the present, the show features wry assemblages and wall sculptures that combine natural and discarded elements, riffing on classical architecture, the nature of portraiture and colonization.
A South African Moment in New York As the first solo museum show of work by black South African photojournalist Ernest Cole hangs at the Grey Art Gallery at NYU, Carnegie Hall prepares its Ubuntu festival of South African jazz, classical, and folk music, which will also feature a program of films by William Kentridge.
Among the highlights will be the social practice artist Theaster Gates singing his own rendition of «God Bless America,» «The Battle Hymn of the Republic» and other traditional patriotic tunes; the filmmaker Arthur Jafa presenting his lauded short movie about racism, «Love Is the Message, the Message Is Death»; the artist Shirin Neshat showing films about violence against women; the composer David Lang performing and also speaking about «danger and honesty in both pop and classical music»; the poet Elizabeth Alexander reading her own work; and the artist Hank Willis Thomas presenting and discussing his film «A Person Is More Important Than Anything Else» (2014) on James Baldwin.
During the early 1960s, following his first showing at the New York gallery of Leo Castelli (1907 - 99), he began to include more colour in his painting, together with numerous classical references (Leda and the Swan, the Birth of Venus) and scatological imagery, a process which peaked in the «Ferragosto paintings», as well as his series entitled «Nine Discourses on Commodus» (1963), a portrait of the power - crazy Roman emperor created under the influence of works by Francis Bacon (1909 - 93).
His admirable classical drawing has further obscured his works» erotic baggage, thus leading to a promise fulfilled, not debased, and showing anew how deeply art comes from art, even of a kind once deemed indigestible.
mumok is delighted to present Ulrike Müller's first solo show in a museum, as well as a collection presentation curated by the artist together with mumok curator Manuela Ammer that stages a dialogue between works of classical modernism and more recent works.
Parallel to and in conjunction with Müller's solo show, the artist and curator Manuela Ammer present a new selection of works of classical modernism from the mumok collection, which proves to be more diverse than past presentations have suggested.
Given my involvement as a geometric abstract painter over the years, I have indelibly respected and admired Ortman's block - like paintings, each built in a hybrid manner related to a kind of folk constructivism — a way of working that recalls some strains of classical music, such as Bartók and Dvorak, and to a lesser extent, the folk - style sculpture of H. C. Westermann and the faux - systemic paintings of Alfred Jensen recently shown at Pace.
Works on show at the Galway Arts Centre include Scraping the Surface... by John Kindness, a New York taxi cab door onto which the artist has etched a scene in the style of a classical Greek vase, and Maud Cotter's One Way of Containing Air, a work relating to the body and the structures we build around it.
The more recent donation Aisling, Scariff, 1964, is one of McKenna's early works, showing his focus on the human body expressed using classical means.
That the show includes A-list photographers whose works are better - known outside the Surrealist canon (Abbott, Atget and Cartier - Bresson), and that it covers all the classical photographic genres (portraiture, still life, street photography, the nude) helps to sell the story: it's method, not medium, that gets us to look twice.
Having embraced a collecting style that pairs conceptually ambitious work with more classical approaches towards lyrical and figurative painting, Blumenthal's shows have been a distinct analog to his own collection, which features work by Darren Bader, Isa Genzken, Chris Burden, and Mary Weatherford, among others.