Sentences with phrase «shows photographs of the artist»

Not exact matches

In Haunted Air, English musician and artist Ossian Brown collects a series of anonymous photographs that show how Americans, circa 1875 - 1955, dressed up for Halloween.

Earth tones and comfortable leather seats set the scene in the adjacent VIP lounge while photographs on display, taken by artist Paul Michael, provide a show - stopping glimpse of the tour ahead, including incredible scenes from both the Grand Canyon and the Las Vegas Strip.

While an artist can depict a variety of plumages, and show similar species in identical postures to help identification, photographic field guides are naturally limited by the photographs available.

Lange's compelling black - and - white photographs, exquisitely reproduced, provide the drama in this biography of the famous artist who showed the nation the faces of individual people caught up in the great events of the time.

Photographs show her and Kushner at the opening of Dan Colen's 2014 «Miracle Paintings» show at Gagosian Gallery, with the artist and his father.

Opening: Ellen Cantor at Foxy Production One of several Ellen Cantor shows around New York this fall, this exhibition will focus on videos and photographs by the artist.

These black - and - white life - size photographs of naked women in their 90s posed against a pure white ground, as if they were already in another world, were shocking when they were first shown, about 12 years ago, when the artist was in his early 40s.

Rounding out the catalogue are numerous details and installation views, atmospheric color photographs of the artist's studio and materials, and an illustrated visual appendix showing a selection of Frecon's reference sources for the comprised works, including insightful commentary written by the artist.

Sean Kelly has a show of photographs by Robert Mapplethorpe, but not the troublemaking kind; the ones here are all luminous portraits of famous artists, including Willem de Kooning, Lee Krasner and Robert Rauschenberg.

Nested within the show is a complementary presentation of images curated by Thomas, photographs by fellow artists — Derrick Adams, LaToya Ruby Frazier, Lyle Ashton Harris, Deana Lawson, Malick Sidibé, and Carrie Mae Weems, among others — whose practices have inspired her own.

Titled Thousand, the show consists of an extraordinary installation of 1,000 of the artist's Polaroid photographs.

«Leonard's photographs, sculptures and installations ask the viewer to reengage with how we see,» stated Elisabeth Sherman, assistant curator at the Whitney, who is organizing the New York installation of the show in close collaboration with the artist.

With more than 200 paintings, sculptures, installations, drawings, photographs, ephemera, and films, the show reveals a scene that was much more diverse than has previously been acknowledged, with women and artists of color playing major roles.

He then included some of my photographs in a group show he co-curated with Marilyn Minter and Fabienne Stephan at White Columns — Early Work — with gallerists who had once been artists: Gavin Brown, Maureen Paley, Jeffrey Deitch, Pat Hearn, and Konrad Lueg (aka Fischer!).

Richard T. Walker's videos and photographs show the artist as an isolated romantic, confronting the beauty and vastness of nature.

A rotating selection of Muholi's photographs and over 400 works by 200 other artists, architects, and designers in the group show Une Histoire, Art, Architecture et Design Des Annees 80 a Aujoudhui concentrating on art, architecture, and design from the 1980s to today runs through March 2016.

Joan Semmel looks like two different artists in the group show («Anni Albers, Robert Beck, Cady Noland, Joan Semmel and Nancy Shaver: Black and White Photographs 1975 — 77») curated by Robert Gober at Matthew Marks and in her jewel of a solo («Joan Semmel: Self - Images») at Mitchell Algus.

In the first room of Tate Modern's rich and strange Robert Rauschenberg show — the first major survey since the artist's death in 2008 — there is an unobtrusive photograph that pointed to his work's amazing lightness and brio.

ART SHOW OPENING: «Light in August,» August 5th The Geoffrey Young Gallery invites everyone to «Light in August,» a group show of paintings, drawings, and photographs by 20 amazing artists from New York, Los Angeles and the Berkshires, including Gregory Crewdson, James Welling, Dan Fischer, Kim McCarty, Jessica Hess, Walton Ford and Ernesto CaivSHOW OPENING: «Light in August,» August 5th The Geoffrey Young Gallery invites everyone to «Light in August,» a group show of paintings, drawings, and photographs by 20 amazing artists from New York, Los Angeles and the Berkshires, including Gregory Crewdson, James Welling, Dan Fischer, Kim McCarty, Jessica Hess, Walton Ford and Ernesto Caivshow of paintings, drawings, and photographs by 20 amazing artists from New York, Los Angeles and the Berkshires, including Gregory Crewdson, James Welling, Dan Fischer, Kim McCarty, Jessica Hess, Walton Ford and Ernesto Caivano.

In addition, there are a number of special projects of note being presented at 1:54: the first major solo show in the UK of Malian photograph Malick Sidibe (1936 - 2016), who died in April; «The Arab Spring Notebook» by Sudanese artist Ibrahim El - Salahi; and a special exhibition by Addis Photo Fest, which was established by Ethiopian photographer Aida Muluneh.

In the exhibition, which was first shown in New York at the prestigious Cue Foundation in September before traveling to Atlanta, the artist presented a straightforward chronicle of her life, having photographed herself daily for 35 years and arranging these works in lines or grids.

On 24th Street, All the Boys (2016) is a powerful response to recent police brutality and the deaths of black men and women; while on 20th Street, viewers find the ghostly video installation Lincoln, Lonnie, and Me (2012), and Scenes & Take (2016), a series of photographs picturing the artist before the sets of TV shows like Scandal and Empire — both shows feature black leads — shedding light on the current state of the entertainment industry.

Artist sightings included Tracey Emin (being photographed with one of her neons) Chuck Close (hanging his outsized self - portrait), Hernan Bas (surveilling his sellout show at the Fredric Snitzer gallery), Anselm Kiefer, John Baldessari and Urs Fischer.

Installation photographs of the rooms within the Betty Parsons Gallery in New York, where Still, Jackson Pollock, Barnett Newman, and Mark Rothko first showed their classic works, suggest these artists were accustomed to having their paintings dominate the viewer's field of vision.

The Geoffrey Young Gallery is pleased to present «How Bad Do You Want It,» a large group show featuring the work of 21 artists — including local standouts Joan Griswold, Morgan Bulkeley, Walton Ford, Warner Friedman and Bart Elsbach — whose drawings, paintings, photographs and sculpture will open Friday, September 16th, 2005.

The show paid homage to Ward's exploration of identity (including his Jamaican roots and his life as an artist in New York) and environment through immersive architectural installations, as well as sculptures and photographs, forged largely from found objects.

The show features paintings by Helen Frankenthaler, Alfred Leslie, Trevor Winkfield, Nell Blaine, Joe Brainard, Grace Hartigan, Joan Mitchell, Jane Freilicher and Fairfield Porter; poetry collections published by the gallery's imprint, Tibor de Nagy Editions, and featuring work by Frank O'Hara, Kenneth Koch, James Schuyler, John Ashbery, Barbara Guest and others, with illustrations by Tibor de Nagy artists; photographs and films by Rudy Burckhardt; letters, announcement cards and other ephemera; and archival photographs of leading cultural figures of the day by John Gruen and Fred McDarrah.

The archival material and ephemera on view include banners, buttons, posters and postcards from the Armory Show as well as photographs of the artists.

W.J. Kennedy photographed images of Warhol on the Factory fire - escape with his famous self portrait, showing the first transparent Marilyn silkscreen and frolicking with artist Taylor Mead.

The show premiered at the San Francisco Museum of Modern Art in the fall, but its installation at the Whitney is slightly larger, bringing together over 150 paintings, sculptures, photographs, and drawings by the artist.

«Bushwick Open Studios really strives to give every working artist in Bushwick, regardless of their level of experience or success in the art world, an equal opportunity to show their work to a wider public,» said Hitchings, whose works include a series of pastel colored paintings in which forms and figures seem to bleed through the canvas like haunted photographs.

Darryl Moody, a former Juried Slide Show winner has become a Viridian Artist with his wonderful photographs of street walls.

With more than seventy objects, this retrospective includes both seminal projects and never - before - shown photographs, along with some of the artist's most recent works.

He also made an important series of photographs of Parisian graffiti in the 1930s, which was exhibited at MoMA in 1956 and is being celebrated in this show featuring a selection of silver gelatin prints and two large and rare tapestries that the artist had fabricated from composites made from his pictures in the late - 1960s.

As well as this, early collages and photographs from the archive of Martin Wong at the Fales Library were selected for the exhibition by the artists Danh Vo and Julie Ault are shown in vitrines and are displayed in the window of the gallery.

Prompted by a photograph taken in his studio in 1989, Golub and Spero's assistant Samm Kunce gives a personal account of the generosity shown by both artists towards their team.

The show's title is drawn from Cunningham's belief that movement, sound and visual art shared a «common time» and his work — in the form of photographs and installations — is presented alongside an impressive roster of artists, including John Cage, Trisha Brown, Tacita Dean, Jasper Johns, and Robert Rauschenberg.

A number of significant benefit exhibitions followed: «Drawings, 1965,» simultaneously shown at Leo Castelli, Tibor De Nagy and Kornblee Galleries; a print exhibition at the Kornblee Gallery in 1967; the 1980 «Drawings» show; «Eight Lithographs,» published by Gemini G.E.L. in 1981, shown at Leo Castelli; the «25th Anniversary Exhibition,» jointly shown at Brooke Alexander and Leo Castelli in 1988; the «30th Anniversary Exhibition of Drawings» at Leo Castelli in 1993; «Prints» at Brooke Alexander in 1995; «Drawings & Photographs» at Matthew Marks Gallery in 2000; «Clarissa Dalrymple's Exhibition of Young Artists to Benefit the Foundation for Contemporary Arts» at Bortolami Dayan in February 2006, «Posters: Exhibition and Sale to Benefit the Foundation for Contemporary Arts» at Paula Cooper Gallery in December 2006, «Photographic Works: Exhibition and Sale to Benefit the Foundation for Contemporary Arts» at Cohan and Leslie in December 2008, «Painting and Sculpture: Works Donated by Artists to Benefit the Foundation for Contemporary Arts» at Lehmann Maupin in December 2010 and January 2011; «Artists for Artists: 51st Anniversary Exhibition to Benefit the Foundation for Contemporary Arts» at Matthew Marks Gallery in December 2014 and January 2015; and «65 Works Selected by James Welling: Exhibition and Sale to Benefit the Foundation for Contemporary Arts» at David Zwirner in December 2016 and January 2017.

Unexpectedly, the you - are - in - the - artist's - inner - sanctum photograph announcing Ellsworth Kelly's show of recent paintings proved to be a revelation.

Death has certainly not diminished the influence, or even, apparently, the output, of Jack Smith, whose color photographs and films have been restored to a luster they never had during the artist's lifetime in a stellar show at Gladstone curated by Neville Wakefield.

Painter Katherine Kadish in her Clifton studio By Bill Franz Photo: Kadish showing one of her earlier works Just over a year ago, I started photographing Dayton artists at work in their studios and publishing the results in a blog.

These photograph show Ruff's subjects in affectless poses in a way that muffles individuality while at the same time casting it into barren relief — the kind of visual typologies that place the artist squarely in the legacy of the Becher's so - called Düsseldorf School of photographers, which also include Thomas Struth and Andreas Gursky.

In addition to a one - artist exhibition at Guild Hall Museum in 2013, her embroideries and photographs have been shown in solo and group shows internationally, including at the Whitney Museum of American Art, the Museum of Arts & Design, the Lulea Sommar Biennal in Lulea, Sweden, Galerie Houg in Lyon, France, the Parrish Art Museum, the Heckscher Museum of Art, the Islip Art Museum, the Paul Robeson Galleries at Rutgers University, Newark, and galleries and art fairs in the U.S. and abroad.

In keeping with that philosophy, on the lineup (other than a show commemorating a gift) is a retrospective next spring of Louise Lawler, a Conceptual artist who photographs installations of other artists» work but is not in any traditional sense a photographer.

She is a key voice from the first generation of American artists to base their practice in feminist issues, and she has shown her paintings, collages, installations, and photographs worldwide.

(A pendant show here, Kerry James Marshall Selects, offers a revealing glimpse of the artist's sources and inspirations: a stern portrait from the workshop of Hans Holbein, flowing figure studies by Veronese, a social - realist lithograph by his former teacher Charles Wilbert White, and a photograph of Gerhard Richter's wife, smudged with paint.)

Alongside early works by Georgia O'Keeffe, cityscapes by Edward Hopper and photographs by Alfred Stieglitz, Paul Strand and Edward Weston are rare loans such as a painting by E E Cummings, better known for his poetry, and Edward Steichen's c1920 work Le Tournesol (The Sunflower)-- one of the few paintings not destroyed by the artist when he turned to photography and not seen in Europe since being shown in Paris in 1922.

With images that were made between the mid 1950's through the late 1970's, the exhibition explores both artist's affinity for using natural light to make grainy, blurred and out of focus photographs, trademarks of their work, while showing their own distinct stripped down version of the street and urban life.

The show focuses on several prominent bodies of work from each artist's oeuvre, including Warhol's «Ladies and Gentlemen» series (1975), Christopher Makos's «Altered Images» series of Warhol in drag, Mapplethorpe's photographs of Patti Smith, Lisa Lyon, Bob Colacello, Candy Darling, and Grace Jones.

It may come as a surprise that Rashid Johnson's show «Anxious Men,» on view through December 20th at the Drawing Center, features some of the artist's first forays into figuration outside of his photographs and films.