Sentences with phrase «show historical work»

Over 250 of the world's leading galleries participate, drawing over 50,000 visitors each year.Leading galleries from North America, Latin America, Europe, Asia, and Africa show historical work from the masters of Modern and contemporary art, as well as newly created pieces by emerging stars.

About Art Basel Miami Beach Leading galleries from North America, Latin America, Europe, Asia, and Africa show historical work from the masters of Modern and contemporary art, as well as newly created pieces by emerging stars.

Leading galleries from North America, Latin America, Europe, Asia, and Africa show historical work from the masters of Modern and contemporary art, as well as newly created pieces by emerging stars.

Not exact matches

Our work shows a breakdown in the U.S. dollar's historical performance relative to the role of U.S. yields against those of G10 economies.

This historical contextualization has even been shown, as in the work of Thomas Kuhn, to be applicable to the thinking of the natural sciences.

Fredriksen's eloquent work shows precisely why it is important that this generation's quest for the historical Jesus is a quest for a Jewish Jesus, as emphatically Jewish as Amos and Jeremiah.

No single man whose work and influence on the tradition we can trace shows any signs of the interest in historical reminiscence and accuracy which the opponents of form criticism ascribe to the «eyewitnesses».

Here the «contemporized» tradition («Show me your faith apart from your works, and I by my works will show you my faith»; 1:18) appears diametrically opposed to the earlier Pauline formulation unless one takes into account the changed historical context; then differences still remain but they can be viewed as compatiShow me your faith apart from your works, and I by my works will show you my faith»; 1:18) appears diametrically opposed to the earlier Pauline formulation unless one takes into account the changed historical context; then differences still remain but they can be viewed as compatishow you my faith»; 1:18) appears diametrically opposed to the earlier Pauline formulation unless one takes into account the changed historical context; then differences still remain but they can be viewed as compatible.

Moreover, immense generosity was shown us by the Mount Vernon historical researcher Mary Thompson, who has been working on her own marvelous book on the religion of the Washington family.

Further, faith is faith in the eschatological act of God in Jesus Christ, but that God has acted in Jesus Christ is not a fact of past history open to historical verification, and this is shown by the way in which the New Testament describes the figure and work of Christ in mythological — not historical — terms.

While the historical data show that changes in the percentage of the council seats that a party wins is reasonably strongly correlated with changes in that party's poll share, that basis for forecasting this year would not work.

«The report by Walter and Merritts shows that it pays to do the painstaking work of historical sleuthing,» says David Montgomery of the University of Washington in Seattle, US.

The historical record shows that Thales's prediction only worked one time though because there are no other accounts of anyone successfully predicting an eclipse until Ptolemy used Euclidean geometry in 150 CE.

A group of aliens have seen Nesmith's show and consider his work an «historical document».

Paris 36 (PG - 13 for violence, sexuality, nudity and brief profanity) Historical drama, set in Paris in 1936, about a stage manager (Gerard Jugnot), a union organizer (Clovis Cornillac) and an impressionist (Kad Merad) who enlist the help of recently - unemployed friends in staging a show at a boarded - up theatre where they had all worked just a few months earlier.

Using various historical examples to show the early print works and how they developed.

Shown during the Freep Film Festival, this riveting documentary delivers just about everything you'd expect: people who worked there, historical accounts, funny anecdotes and, of course, grainy old footage and photos of hand - built cars with wooden wheels rolling off assembly lines teeming with manpower.

A deeply spiritual book, it shows how those who work to teach others often have the most to learn, and is further evidence that Bo Caldwell writes «vividly and with great historical perspective» (San Jose Mercury News).

I remember I was watching the historical, somewhat - paranormal romance TV show Reign whilst working on Moon Dark, and the way they incorporate modern music into the historical settings keeps everything really fresh.

And historical experience and data show MI works.

The same historical data that shows that short - term timing never works also shows that long - term timing always works.

Minimizing risk also works well in Model Portfolios because it's usually what advisors show prospects when they ask to see some historical track record.

Collien Paige, Founder of National Dog Day states that» I founded National Dog Day in 2004 to honor dogs, to give them «a day», to show our deep appreciation for the historical connection of companionship with one another — for their endearing patience, unquestioning loyalty, for their work protecting our streets, homes and families as Police K - 9's, Military Working Dogs, Guide Dogs and Therapy Dogs.»

The show consists of three floors: new works in black acrylic on canvas from 2012 and 2013 on the first two floors and «historical» works from the 1950s and 1960s, when Soulages first gained fame in the USA, on the third floor.

Romanian - born, identical twin brothers Gert & Uwe Tobias show new ceramcis and paintings in Rodolphe Janssen's solo presentation (A5), while alternative approach to painting, no less informed by historical precedents, can be found in the work of Belgian - Syrian Farah Atassi, whose stand François Ghebaly Gallery (D1) is dedicated to.

With more than 100 works from the original exhibition and a big, richly illuminating catalog, «The Armory Show at 100: Modern Art and Revolution» at the New - York Historical Society offers an excellent opportunity to ponder such questions.

At Theaster Gates's «But to Be a Poor Race,» his inaugural show at Regen Projects, historical facts and figures are reincarnated as works of art.

If the temporal simultaneity and historical comprehensiveness implied in the title «EVERYTHING AT ONCE» are impossible themes for any group show, so the exhibition attempts to examine the multiple ambiguities, contradictions, references and readings contained in individual works.

Works that seemed tame by comparison: from left, Charles Hopkinson's «Three Girls Looking,» Robert Henri's «Figure in Motion» and George Bellows's «Circus,» in «The Armory Show at 100» at the New - York Historical Society.

They also show her flaunting art - historical tradition, playing with the boundaries between painting and collage, using materials unexpectedly, and infusing her work with her a sense of alchemy.

The artist's seemingly distinct activities — the severe black abstractions, the prolific and caustic social and political graphic work, and the color slides of historical monuments, temples, and buildings that showed his equally prolific world travels and keen sense of photographic record keeping — were received in coexistence by jubilant viewers, especially young artists and art students (during the artist's lifetime it would have been career suicide to show all simultaneously practiced sides together).

Each work in the show grabs you and doesn't let go until you have absorbed every artful detail, every cultural nuance, every art - historical allusion, every sign of the artist's genius for visualizing and embodying memorable personae.

Lisa Le Feuvre, a longtime scholar of sculpture, offers a more historical treatment of the show in relation to the artist's writings and other works.

Other early historical exhibitions at the Greene Street space include a 1989 group show, «Early Conceptual Works,» which featured the work of On Kawara, Bruce Nauman, Alighiero Boetti, and Joseph Kosuth, among others; a 1999 Fontana exhibition titled «Gold: Gothic Masters and Lucio Fontana»; and selected presentations of work by Piero Manzoni.

Some of the work in this show I thought might be of historical value, fit for a study collection somewhere or of interest to somebody who has assembled a huge collection of the greatest Christensens and wants to surround them with work showing where they came from, maybe even where they went.

This year our partners will present over 36 exhibitions across 25 venues, combining ambitious presentations of Scottish & international contemporary art with landmark art historical survey shows & newly commissioned work.

Well, the New - York Historical Society has an exhibition to celebrate, featuring 100 works from the original show itself: The Armory Show at 100: Modern Art and Revolution revisits those heady days when the American art world was changed foreshow itself: The Armory Show at 100: Modern Art and Revolution revisits those heady days when the American art world was changed foreShow at 100: Modern Art and Revolution revisits those heady days when the American art world was changed forever.

Selected Group Exhibitions 2017 Ted Stamm / Gerrit Rietveld, OV Project, Brussels, Belgium 2017 Painting on the Edge: A Historical Survey, Stephen Friedman Gallery, London 2012 Times Square Show Revisited, Hunter College Art Galleries, New York, NY 2010 Black & White, Galleri Weinberger, Copenghagen, Denmark 1987 Recent Acquisitions, Guggenheim Museum, Brooklyn, NY 1987 Recent Acquisitions, Brooklyn Museum, New York, NY 1985 Art Heritage at Hofstra, Emily Lowe Gallery, Hofstra University, Hempstead, NY 1985 Constructures: New Perimetries in Abstract Painting, Nohra Haime Gallery, New York, NY 1984 Fourth Annual Anniversary Show, John Davis Gallery, Akron, OH 1984 Fifteen Abstract New York Painters, Susan Montezinos Gallery, Philadeiphia, PA 1984 Small Works, Muhlenberg College, Allentown, PA 1984 Mail Art, Franklin Furnace, New York, NY 1984 Artists Call, Judson Memorial Church, New York, NY 1984 Process Black, LIU South Hampton, New York, NY 1984 A Decade of Art, Artists Space 105 Hudson, New York, NY 1984 Offset: A Survey of Artists Books, New England Foundation for the Arts, Wakefield, RI 1983 David Reed, Sean Scully, Ted Stamm; Zenith Gallery, Pittsburgh, PA 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; 1708 East Main Street, Richmond, VA 1983 Abstraction Two Views: Davis and Stamm, The Contemporary Arts Center, Cincinnati, OH 1983 Second Anniversary Exhibition, Harm Bouckaert Gallery, New York, NY 1983 Hundreds of Drawings, Artists Space, New York, NY 1983 A More Store, Jack Tilton Gallery, New York, NY 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; Condeso / Lawler Gallery, New York, NY 1983 Artists for Nuclear Disarmament, Colburn Gallery, Burlington, VT 1982 A Look Back: A Look Forward, Aldrich Museum, Ridgefield, CT 1982 Pair Group, Art Galaxy, New York, NY; travelled to Jersey City Art Museum, Jersey City, NJ 1982 Destroyed Prints, Pratt Manhattan Center, New York, NY 1982 Annual Holiday Invitational, A.I.A. Gallery, New York, NY 1982 Group Exhibition, Roy Boyd Gallery Chicago, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL 1982 Pair Group II, Jersey City Museum, Jersey City, NJ 1982 Black and White, Freeport Mc Mo Ran, New York, NY 1982 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post, Greenvale, NY 1981 Drawings, Roy Boyd Gallery, Chicago, IL 1981 Abstract Painting: New York, Hofstra University, Hempstead, NY 1981 Arabia Felix, Art Galaxy, New York, NY 1981 Words and Images: Contemporary Artist's Books, Southern Alleghenies Museum of Art, Loreto, PA 1981 Love: Hate: Fear and Suicide, University of Brussels, Brussels, Belgium 1981 New Directions, Commodities Corp..

The New York Historical Society's exhibition «The Armory Show at 100: Modern Art and Revolution» celebrates the centenary of this landmark event by exhibiting approximately a hundred works originally displayed beneath the festooned ceiling of the 69th Regiment Armory.

Other early historical exhibitions at the Greene Street space include a 1989 group show, «Early Conceptual Works,» which featured the work of On Kawara, BBruce Nauman, Alighiero Boetti, and Joseph Kosuth, among others; a 1999 Fontana exhibition titled «Gold: Gothic Masters and Lucio Fontana»; and selected presentations of work by Piero Manzoni.

Her work is currently featured in a host of group shows and exhibitions on photography, including art - historical shows such as Real Worlds: Brassai, Arbus, Goldin at the MOCA in Los Angeles.

Committed to experimenting at the intersection of disciplines, publications and design, the gallery Exit Art remained steadfast in its mission to provide new possibilities and opportunities for artists, curators and viewers through its expansive historical shows, exhibitions of emerging and under - recognized artists, experimental theater and performance works, as well as national and international film and video programs.

Tibbits is complaining that they don't show enough work by Houston artists from the juried shows of yesteryear and / or the Fresh Paint era, and that's a proposition that needs to be evaluated in the context of how those museums present historical and modern American art in general.

In an artist statement from 1988, Felix Gonzalez - Torres described his work for a show at the New Museum as «panoramas in which the fictional, the important, the banal and the historical are collapsed into a single caption.»

ARTFORUM — March 2016 — Reviews SAN DIEGO «Atmospheric Abstraction» QUINT GALLERY The title of this group show, «Atmospheric Abstraction,» neatly suggested the historical lineage of a collection of contemporary nonfigurative work by Los Angeles — based artists heavily indebted to their Southern California Light and Space predecessors.

By re-imagining colonial history, his work shows the subjective nature of historical recollection.

«It is especially fitting for the Greenwich Historical Society to organize and mount this anniversary exhibition as it is a key repository for archival material from the Armory Show as well as a major holder of works by MacRae,» Dr. Larkin said.

As a result of thorough curatorial research, Axis Mundo marks the first historical consideration and significant showing of many of these pioneering artists» work.

Vibrant photos of each artist's performance by renowned photographer Paula Court and texts contributed by a range of curators and critics provide accounts of every show, as well as an understanding of the importance of each work within the artist's individual career and in relation to larger historical trends.

Since then, he's become an indispensable fixture in the museum's design department, having organized innovative group shows, like 2012's «Field Conditions,» which brought together creatives, such as Tauba Auerbach and Rafael Lozano - Hemmer, who work at the cusp of art and architecture, and authoritative retrospectives, like 2013's «Lebbeus Woods: Architect,» which firmly placed the inventive, influential Woods within the art - historical canon.