Sentences with phrase «spans exhibition design»

Bernard's experience spans exhibition design, African American studies, literature and theater.

Not exact matches

exhibitions, installations, trade shows, talks, launches and open studios are staged across all five boroughs, spanning disciplines of design, commerce, culture, education, and entertainment.

The juried exhibition in galleries across campus will include work spanning over six decades in a range of artistic disciplines, including communications design, drawing, film and video, painting, photography, sculpture, and writing.

The curated exhibition on campus will include work spanning several decades in a range of artistic disciplines, including communications design, drawing, film and video, painting, photography, sculpture, and writing.

Featuring more than 100 works spanning from the early 1980s to the present, including a number of new and never - before - seen pieces, the exhibition juxtaposes graphic patterns with abstracted, figurative paintings, creating a fully immersive environment that underscores the artist's systematic dismantling of the hierarchy between design and fine art, and between three - dimensional form and two - dimensional representation.

Designed by architect Richard Meier, the column - free exhibition space spans 50,000 square feet.

Work by architects and artists spanning more than seven decades is exhibited alongside materials from Kiesler's Endless House design and images of its presentation in MoMA's 1960 Visionary Architecture exhibition.

The museum celebrated the opening of a new exhibition Provocations: The Architecture and Design of Heatherwick Studio, as well as the installation of the new John V. Tunney bridge, designed by Michael Maltzan Architecture, which spans the atrium to better connect the upper galleries.

The exhibition spans three galleries within the Zaha Hadid - designed museum, anchored by overarching themes within each: «Shifting Identities» explores how a changing China alters constructions of identity; «Body as Site» focuses on the physical body as a literal and figurative site of discussion and debate; and «Confronting Tradition» highlights the ways in which artists draw inspiration from classical texts, teachings, and artistic practices to reinterpret and question evolving power structures and social norms.

Summer Exhibition is the culmination of Arad's most recent work, spanning sculpture, hand - crafted studio pieces and industrial design, and showcasing the artist's constant experimentation with the boundaries and possibilities of materials, from metals to wood and glass.

Spanning from Dame Vivienne's groundbreaking Spring / Summer ’91 collection Cut, Slash, and Pull through the current collections, Dress Up Story, the exhibition highlights more than 33 designs realized in collaboration with her creative partner and husband Andreas Kronthaler.

The exhibition is designed to span the history of photography.

Initially recognized for their idiosyncratic commissioned screen - printed posters, their practice has since morphed into a interdisciplinary toolshed spanning multiple platforms, including exhibitions, publishing, performance, graphic design, and exhibition design.

Featuring more than 100 works spanning from the early 1980s to the present, the exhibition explores the prolific creative practice of artist and designer Nathalie Du Pasquier, a founding member of the Italian design collective Memphis, across various mediums and methods.

Within a swift, seven - month span since the Mayday opening of its new headquarters on Gansevoort Street — a light - filled, magically flexible space designed by Renzo Piano — the museum has dominated the New York art world's conversation with a rapid - fire succession of major exhibitions, including its sumptuous inaugural show, America is Hard to See, followed by Frank Stella's eye - filling retrospective, and an overview of a promised gift of art from the last four decades from Thea Westreich Wagner and Ethan Wagner.

The Gallery, which is housed in a covered shopping arcade dating from 1922, will present exhibitions spanning the visual arts, craft and design, displaying work by internationally acclaimed practitioners as well as local and emerging talent.

Sottsass has designed an exhibition with the Design Museum London which explores a remarkable career that spans sixty years and moves from ceramics to mainframe computers and from poetry to pragmatism.

David Hockney's career has spanned and epitomised the art movements of the last five decades; his story is one of precocious achievement at Bradford Art College, the Swinging 60s in London where he befriended many of the iconic cultural figures of the generation, to California and the cool of the swimming pool series of paintings, through the acclaimed set designs for countless operas around the world and major retrospective exhibitions.

Wintemberg has used the skills he began developing at his alma mater, Pratt Institute, to design and assist in the development of many dozens of exhibitions spanning the Museum's diverse art and science collections to create unique visitor experiences.

His work has also been the subject of important group and solo shows throughout the span of his almost 50 - year career, including Against the Grain: Wood in Contemporary Craft and Design, Museum of Art and Design, New York (2013); superhuman, Central Utah Art Center, Ephraim (2012); Reenactor, Williams Center Gallery at Lafayette College, Easton, PA (2012); The Last Newspaper, New Museum, New York (2010); 30 Seconds Off an Inch, The Studio Museum in Harlem, New York (2009); Corbu Pops, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA (2009); Thirty Americans, Rubell Family Collection, Miami (2008); Black Is, Black Ain't, Renaissance Society at the University of Chicago (2008); Drawing, Dreaming, Drowning at Art Institute of Chicago (2008); Art After White People: Time, Trees, and Celluloid... at Santa Monica Museum of Art, Santa Monica, CA (2007); William Pope.L: The Black Factory and Other Good Works, Yerba Buena Center for the Arts, San Francisco (2007); 7e Biennale de l'Art Africaine Contemporaine, Dakar, Senegal (2006); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); The Interventionists: Art in the Social Sphere, Massachusetts Museum of Contemporary Art, North Adams (2004); The Big Nothing, Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2004); Only Skin Deep, International Center of Photography, New York (2004); William Pope.L: the friendliest Black artist in America at ICA at Maine College of Art, Portland, DoverseWorks Artspace in Houston, Portland Institute for Contemporary Art, ME, Artists Space in New York, and Mason Gross Art Galleries at Rutgers University in New Brunswick, NJ (2002 - 2004); eRacism: Retrospective Exhibition, Institute of Contemporary Art at Maine College of Art, Portland (2002); eRacism: White Room, Thread Waxing Space, New York (2000); Eating the Wall Street Journal and Other Current Consumptions, Mobius, Boston (2000); and Out of Actions: Between Performance and the Object, 1949 — 1979, Museum of Contemporary Art, Los Angeles (1998).

Designed by architects Caruso St John, the gallery spans 37,000 square feet and includes six exhibition spaces — one with a ceiling height of eleven metres — split over two levels.

The exhibition, designed by starchitect Annabelle Seldorf, spans the entire length of Stella's career (six decades) putting together approximately 100 works, some which the world has had the pleasure of viewing in major museums, and others that have been tucked away in private collections for many years.

From painting to photography, installation to video, etching to textile design, the exhibition spans the diverse mix of contemporary art found in many wide - ranging group exhibitions, but the emphasis on Asian American concerns, especially those of women, make this exhibition one of particular interest to the San Francisco community, which prides itself in its multicultural internationalism.

The exhibition spans the entire career of Bernard Rudofsky (1905 1988), including his roots in the early years of European modernism; his world travels, which shaped his views as a designer and critic; and his influence as a curator and writer on international discourse on architecture, fashion, and design.