Sentences with phrase «shown in a commercial gallery»

In 2009, the AICA awarded their show Jay DeFeo: Applaud the Black Fact second place for «Best Show in a Commercial Gallery, Nationally.»

In 2013 the gallery opened an additional 7000 sq ft Chicago venue whose inaugural exhibition, Roxy Paine's Apparatus, was selected by The International Association of Art Critics as the Best Show in a Commercial Gallery Nationally.

In 2005, the AICA awarded The Privilege of Solitude: Alfred Jensen and Forrest Bess first place for «Best Show in a Commercial Gallery, Nationally.»

Weiner has presented a number of projects and exhibitions across the UK since the early 1970s: at ICA, London; Pier Arts Centre, Orkney; The Fruitmarket Gallery, Edinburgh; The Henry Moore Sculpture Trust, Halifax; Art Transpennine, Hull; Inverleith House in Edinburgh; several engagements with Bury Art Gallery, including their Text Festivals; a solo show at the National Maritime Museum, London; and occasional shows in commercial galleries, the most recent at Lisson Gallery in 2013.

The International Association of Art Critics (AICA) has named Pace's exhibition «Happenings: New York, 1958 — 1963» the Best Show in a Commercial Gallery in New York in 2012.

He has been a resident at Bauernmarkt, Lenikus Collection, Vienna (2008) and was awarded First Place, Best Group Show in a Commercial Gallery for the Boston - area, by the International Association of Art Critics (AICA) Awards (2007).

Best Show in a Commercial Gallery in New York City: «Picasso: Mosqueteros,» Gagosian Gallery, curated by John Richardson.

Best Show in a Commercial Gallery Nationally: «John Altoon: Drawings 1962 — 1968,» organized by the Box Gallery, Los Angeles.

«Best Show in a Commercial Gallery in New York City» honors went to Gagosian's «Picasso: Mosquertos,» curated by John Richardson, which was nominated for the «Solo Show of the Year, Gallery» award at Rob Pruitt's First Annual Art Awards, before losing to Gagosian's «Manzoni: A Retrospective.»

AWARDS 2015 Sabbatical, California State University, Northridge 2012 Nomination: Best Show in a Commercial Gallery Nationally, Be Careful What You Wish For, AICA - USA 2012 C.O.L.A. City of Los Angeles Individual Artist Grant 1997 The College Art Association Professional Development Fellowship

In 2005, the AICA awarded «The Privilege of Solitude: Alfred Jensen and Forrest Bess» the national award for «Best Show in a Commercial Gallery.»

This is open to any self - identified female artist who has not had a solo show in a commercial gallery over the past 10 years in New York City.

The show at Spectrum London was the Stuckists» first show in a commercial gallery in the West End of London.

In 2009 Welling received an «AICA Award of Excellence for the Best Show In A Commercial Gallery Nationally 2007/2008» given by the International Association of Art Critics, United States Section, for his 2008 exhibition at Regen Projects.

The concurrent exhibitions mark the first time R.H. Quaytman has shown in commercial gallery spaces since 2001.

Just occasionally, however, there's a show in a commercial gallery that's so resoundingly ambitious and so self - evidently important that it's bound to cause a stir.

Martinez has been a resident at Bauernmarkt, Lenikus Collection, Viena, and was awarded First Place, Best Group Show in a Commercial Gallery for the Boston area by the International Association of Art Critics in 2007.

Not exact matches

Following exhibits in Connecticut, Montana, Seattle, San Francisco, New York, and, most recently, in Santa Barbara's Patty Look Lewis Gallery, Michael Armour — award - winning writer / director of documentaries and commercials, author of two best selling children's books and the soon - to - be-published novel «Creek» — will finally be showing his work in his home town of Santa Barbara again.

But if you chose this way — the way of showing with a commercial gallery in any specific setting — you might increase your own audience and market.

I show in galleries, work with several art consultants for commercial installation and do a 3 month show once a year.

Another solo show followed at London's blue - chip Lisson Gallery, giving her commercial traction and a major presence at art fairs, where people are regularly stopped in their tracks by her radiant abstractions.

Showing in a commercial London gallery for the first time, Pasquali has created a large - scale, colourful, plastic cloud in Peckham's MOCA London, and filled Mayfair's Tornabuoni Art with a cross-section of her works, from her best - known pieces made with drinking straws, to a carpet of broom bristles, on which we sit to talk, during a break from installation.

Yet this is just a small selection of current and recent shows in Berlin's commercial galleries.

Her work has been included in numerous group shows in museums, commercial galleries, university galleries, and alternative spaces.

In little commercial galleries, people were trying painting shows.

The most recent space to have opened there, UTA Artist Space — the commercial gallery of Beverly Hills - based United Talent Agency which opened in September last year with a show of Larry Clark's photo collages and paintings from his «Heroin» series of 2014 — seemed utterly oblivious to the controversy.

This fall there are some really exciting shows at commercial galleries all across the country, especially in the case of artists previously featured in New American Paintings, and we're pleased to share with our readers the must - see gallery shows of the season.

And were it not for the shock I got on discovering this, I would unhesitatingly nominate it the most boring show I've seen in a London commercial gallery this decade.

Until now, his efforts have mostly been seen in New York in solo shows at commercial galleries.

In conducting my monthly survey of commercial gallery shows this month I was struck by the amount of representational work on view, and even more so by the «academic» rigor much of it evinces.

Bartlett has been a commercial success since the 1970s when her highly acclaimed artwork, Rhapsody (1975 - 76, collection Museum of Modern Art), a painting based on geometry and the figural motifs of house, tree, mountain, and sea on 987 gridded, enameled steel plates was shown in May 1976 at the Paula Cooper Gallery in New York.

Curiously some of the commercial galleries that represent the apotheosis of the contemporary art industry and market, such as, here in NY, Gagosian and Zwirner, have been able to mount museum quality shows the past few years, including for example excellent Picasso and Frankenthaler exhibitions at Gagosian and the recent exhibition of Ad Reinhardt's work at Zwirner, in spaces that either are as beautiful as any museum or that are just functional in a good way, with few frills, just good walls and space.

Since the mid-1970s he has shown widely in museums and commercial galleries and has completed a number of permanent public art projects.

The artist's upcoming show at Michael Werner will be the painting's gallery debut, where it will be shown alongside seven other works composed since 2008 and inspired by Jones's ongoing interest in the formal qualities of his earlier commercial work.

In 2015, he became the first Chinese artist to show with the Fine Art Society, London's oldest commercial gallery on Bond Street, where he has since staged two solo exhibitions.

For his first commercial gallery show in London in almost 20 years, Gerhard Richter throws it all in the pot, excepting painterly figuration.

[6] When no commercial gallery in New York would show the series, Semmel rented space in SoHo and exhibited the work herself, attracting attention from critics.

Every edition of the Biennale brings together the Main Project curated by internationally renowned curators; Special Guests programme featuring retrospective shows of the major contemporary artists; Special Projects realised in the key Moscow non-commercial art institutions; Parallel Programme that includes exhibitions in commercial galleries.

In the gallery director Fiona van Schendel curates every year a group show that goes beyond the format of a commercial gallery exhibition and encompasses a collaboration with other galleries, artists and museums.

In 2016 she has her first institutional solo show at the MAC in Belfast, Northern Ireland and her first solo show at a commercial art gallery in Los Angeles at ltd los angeleIn 2016 she has her first institutional solo show at the MAC in Belfast, Northern Ireland and her first solo show at a commercial art gallery in Los Angeles at ltd los angelein Belfast, Northern Ireland and her first solo show at a commercial art gallery in Los Angeles at ltd los angelein Los Angeles at ltd los angeles.

SVEN SCHUMANN — You're only 31 and have already done more museum shows than commercial gallery shows, with this tendency continuing in New York as well as with a show in LA at the Hammer Museum early next year.

This annual award, now in its eighteenth year, is presented to an emerging Atlanta artist — one who has had no major solo show and is not connected with a commercial gallery.

Despite it's current prevalence in degree shows, commercial exhibitions and international biennales, video art can still be overlooked in contemporary galleries.

The annual award, now in its 20th year, is presented to an emerging Atlanta artist who has had no major solo show and is not connected with a commercial gallery.

CB1 Gallery was the first commercial gallery in Los Angeles to show Alexander Kroll starting in 2010, with solo exhibitions in 2011 anGallery was the first commercial gallery in Los Angeles to show Alexander Kroll starting in 2010, with solo exhibitions in 2011 angallery in Los Angeles to show Alexander Kroll starting in 2010, with solo exhibitions in 2011 and 2012.

In 2014, Michael Rosenfeld Gallery presented our fourth solo exhibition for the artist — Nancy Grossman: The Edge of Always, Constructions from the 1960s — which was awarded Best Show in a Commercial Space in New York by the International Art Critics Association of AmericIn 2014, Michael Rosenfeld Gallery presented our fourth solo exhibition for the artist — Nancy Grossman: The Edge of Always, Constructions from the 1960s — which was awarded Best Show in a Commercial Space in New York by the International Art Critics Association of Americin a Commercial Space in New York by the International Art Critics Association of Americin New York by the International Art Critics Association of America.

There have already been a couple of commercial shows of recent and older work in London, and another has just opened at the Lemon Street Gallery...

In 2014, Metro Pictures Gallery and Petzel Gallery simultaneously presented two ambitious companion solo shows, for which he was nominated by the United Section of the International Association of Art Critics for the «Best show in a commercial space in New York.&raquIn 2014, Metro Pictures Gallery and Petzel Gallery simultaneously presented two ambitious companion solo shows, for which he was nominated by the United Section of the International Association of Art Critics for the «Best show in a commercial space in New York.&raquin a commercial space in New York.&raquin New York.»

In the future, you may want to pursue commercial gallery representation, or perhaps have a museum show within the next five years.

The Polkes later settled in Düsseldorf, which proved to be an excellent incubator for a budding artist: it was the location of the first postwar Dadaist exhibition in 1958 and in the 1960s a local commercial gallery began showing the work of Rauschenberg and Cy Twombly.