Sentences with phrase «staged an exhibition which»

In April 2003, the newly relocated Saatchi Gallery staged an exhibition which incorporated a Hirst retrospective.

Not exact matches

Four halls spanning 65,000 square metres of exhibition space will give more than 1,500 suppliers a stage from which to showcase every conceivable food and beverage ingredient sourced from all over the world, including a vast range of functional and organic raw ingredients.

Entries that make it through the final stage of screening would be showcased in the exhibition proper which will be formally declared open by Governor Ambode», the statement added.

The important stages of Noor's spy training have been imagined in an impressive exhibition, which trails the SOE journey linking geographic locations in London, Beaulieu and Tangmere.

The most important decision - makers in global travel and tourism are set to attend the glittering ceremony, which will be staged at Katara Cultural Village, Qatar's ground - breaking new arts and exhibitions complex.

I came home, staged an exhibition in London which loads of people came to, and I thought, right — this is what I want to do from now on.

The exhibition, which runs through January 8, is titled «Land Speed Record,» after Hüsker Dü's 1981 live album, recorded at the 7th Street Entry, a storied space next to the main stage at the famous First Avenue in downtown Minneapolis.

In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage «EVERYTHING AT ONCE», an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety - ridden age of ceaseless communication.

His work may be found in the collections of Museum of Modern Art, New York, the Los Angeles County Museum of Art, the Contemporary Arts Museum Houston — which hosted a solo show of the artist in 1977 — and the Hirshhorn Museum and Sculpture Garden in Washington, D.C., which staged a retrospective exhibition in 2014 — 15.

During the 1970's and 80's, Marlborough continued to stage major exhibitions of its stable of artists alongside important retrospectives of Modern Masters: Jacques Lipchitz and René Magritte in 1973; Max Beckmann and Max Bill in 1974; Henri Matisse in 1971 and in 1978 and the revisionist Kurt Schwitters in Exile: The Late Work 1937 - 1948 in 1981 which led to a new appreciation for the late work of this artist.

One of the gallery» soutstanding features is a ceiling height of nearly 12 feet which will allow Lambert to stage large scale exhibitions of painting, installation and sculpture.

Debate Stage Water Bottles, an exhibition of new drawings by Deb Sokolow, features hand - written texts, some of which are fictional while others are loosely based on presidential candidacies.

The first exhibition «Arte Povera e IM Spazio,» which was staged at Galleria La Bertesca in Genoa, in two sections «Arte Povera» which included the work of: Alighiero Boetti, Luciano Fabro, Jannis Kounellis, Giulio Paolini, Pino Pascali and Emilio Prini.

The exhibition includes a selection of Wiley's World Stage paintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration.

Dividing and subdividing the gallery, this installation both tackles and expands upon two central themes: an architectural play with transparency and concealment as well as an encounter between an intimate and private exhibition space and a strikingly public stage, which places «on view» the visitor's every movement.

«This exhibition is a low - pressure environment, which encourages new art collectors to buy original work, exposes seasoned collectors to new artists, and sets the stage for artists to test new techniques and ideas.»

The new works created in his fellowship year were featured in a solo exhibition at the Museum of Contemporary Native Arts in Santa Fe, which Feodorov described as «a pivotal stage» in his career.

At the opening of the exhibition, Saint Phalle summoned visitors to take up her.22 caliber rifle and contribute to a collective firing at the encrusted reliefs.24 Transforming the art gallery into a shooting gallery, the artist equipped the space with a mechanical rotating target created by Tinguely and a staging platform from which her participants could take aim.

The exhibition traces all the stages of Pape's career, beginning with her square paintings, reliefs, and blocks, all done between 1954 and 1956, when Pape was a member of Grupo Frente from Rio de Janeiro, which also included Clark and Oiticica, and which initially followed the tenets of concrete art as outlined by van Doesburg.

The exhibition, which will be held at the Museum of Contemporary Art, Andros, through September 26, 2010, will feature a total of 76 works, including 42 sculptures, 34 drawings and preliminary sketches, and a series of photographs documenting stage sets designed by the artist for various performances, as well as public works realized across Europe, Asia and the United States.

His photographs are elements at play in a larger system including architecture, exhibition design, books, posters, videos, vitrines and signage that investigates the stage sets of the art world and the publicity structures on which they rely.

The exhibition's title Abstract Capitalism, appropriates the visual language of the «abstraktes Bild», which the artist understands as a particular stage in the development of capital.

May 10 — September 25 2011 The first special exhibition of the Daimler Art Collection to be held in the Mercedes - Benz Museum (built by UN Studio), which first opened its doors in 2006, showcases key exhibits from the collection as well as new work commissioned by renowned international artists in various thematic stages — integrated into the company's history on a floor area of 16,500 m ².

Co-curated by Alfred Pacquement, the former director of the Centre Pompidou (which staged a groundbreaking retrospective of Hantaï works in 2013), the exhibition primarily tracks Hantaï's early use of his «pliage» method - an intricate technique of folding and knotting an unstretched canvas before Hantaï painted the configuration, unfolded and then stretched it, so that colourful geometric shards and unpainted negative space were revealed.

This is just one example of how in this exhibition the poetical / political readings of various works can be brought to the fore, and how by way of a theatrical staging they will activate each other and the space in which they are seen.

The exhibition presents a constellation of works by eight artists and revolves around the notion of cultural ghosts: that which survives beyond any mere existence returns through a phantasmic and phantastic revenant temporal scheme, whether through the memory of art or the art of memory, stage the phantoms of history in a performative projection of the trace of historicity.1

The following year, the renowned Sidney Janis Gallery declared its shift in interest from New York School to Pop by staging an exhibition that conjoined French Nouveau Realistes with the new American Pop icons including Lichtenstein, Warhol and Robert Indiana — a decision which prompted Mark Rothko, Philip Guston and Robert Motherwell to sever their ties with the gallery.

In 2011 Goodman Gallery curators Tony East and Claire van Blerck produced The Night Show, a 3 - part exhibition staged at Goodman Gallery Cape Town, which sought to destabilise the notion of the white cube and to engage with contemporary art practice on its own terms, courting the spontaneous and embracing the ephemeral.

Shows at Museum für Gegenwartskunst, Basel, London's Domo Baal and One in the Other galleries, and a solo exhibition at Studio Voltaire, which coincides with the Serpentine outing, not only mark a new stage for Barlow as a selling artist, but are also having a fundamental influence on the sixty - six - year - old's thinking about her practice.

Brooklyn artist Lori Sikorski recently staged an interactive exhibition that looks at our current military involvement in the Middle East, initially begun as a response to the destruction of the World Trade Center, a local event, but which passed quickly into long - term, distant hostilities.

The exhibition version consisted of the «stage set» in which the performance had taken place, the props which were used, and the video of the performance.

The exhibition centres on a group of sculptures designed as a stage set for Constellations 2012, a play by British writer Nick Payne which explores the notion that everything you can imagine is simultaneously happening in a parallel universe.

By exploring the malleability of museum galleries in response to a temporal element of contemporary art, Soundtracks continues the investigations of two previous exhibitions at SFMOMA, The Art of Participation: 1950 to Now in 2008 — 9 and Stage Presence: Theatricality in Art and Media in 2012, which were organized by Rudolf Frieling and focused on participatory and performative artworks, respectively.

Her solo exhibition The Golden Hour is set to open at SF's Shooting Gallery on Saturday July 12th where she further explores her fascination with all things elemental, using helium gases within the neon works, iron in the framing and staging of the artworks, carbon within her rorschach deer hides and precious periodic elements Gold, Copper and Silver, which are formed during -LSB-...]

During 2014, the Jewish Museum in New York staged «Other Primary Structures», a two - part update of their 1966 exhibition «Primary Structures: Younger American and British Sculptors», which established what would become the canon of minimalist sculpture.

What to make of the detailed 1998 proposal for The Long March Project, which enacted a curatorial experiment by founder Lu Jie and artist Qiu Zhijie involving thousands of participants, exhibitions and performances staged along the Red Army's route to collectively «reinterpret historical consciousness and develop new creative approaches to political, social, economic and cultural realities».

At the moment, I'm working on two more directly creative projects with Matt and Charles — I'm developing a film script with Matt, and an exhibition with Charles that will be staged inside the fictional Island at the centre of his work, which I will curate and he will realise in pencil drawings.

From the early Foley Artist (1996)-- a celebration of the unseen sound artists of film that scripts an imaginary film entirely through the efforts of two foley artists — to the «bewilderingly intricate» Event for Stage (2015) in which actor Stephen Dillane delivers (in four performances cut into one) scripts given to him, page by page, by the artist, the exhibition examines performance and its relationship to narrative, the imagination and the collective effort of artist and audience in film, theatre, drawing and photogravure.

He staged his first solo exhibition at Marlborough New London Gallery in London in 1963, entitled «Pictures with commentary, Pictures without commentary», in which text included in the pictures and the accompanying catalogue referred to a range of literature and history, citing Aby Warburg's analysis of symbolic forms as a major influence.

The exhibition reflects the various stages which led to the creation of each publication, with dummy runs of the two books viewable alongside the final versions.

The final exhibition in this student - led format was staged in 1986 with a catalogue which contained a historical introduction (and post-script), to the exhibition by Andrew Lambirth, New Contemporaries Past and Present.

The exhibition allowed her to «reimport» abstraction into France with greater success, so that, in 1955, she was able to stage Le Mouvement, a defining exhibition which displayed for the first time her artists, including Vasarely, alongside established masters such as Alexander Calder and Marcel Duchamp.

Lisson Gallery celebrates its 50th anniversary this year with a large - scale exhibition staged in association with the Vinyl Factory (which partnered with the Hayward Gallery on the impressive «Infinite Mix» show last year).

Dallas Contemporary was staging an exhibition called Seven which was curated by, you might have guessed, seven galleries that included BravinLee programs, P.P.O.W. and Postmasters.

In 1997, the Royal Academy, staged an exhibition of the private art collection of Charles Saatchi titled Sensation, which included many works by YBA artists.

JMcK: Your exhibition Now I Am an Artist uses the museum as the stage on which to address the traditional hierarchy in the arts.

Ranging from Constructing Revolution: Soviet Propaganda Posters from between the World Wars, which presents propaganda posters produced in the wake of the Russian Revolution, to Dmitri Baltermants: Documenting and Staging a Soviet Reality, which explores the work of a photojournalist depicting World War II and its aftermath in the USSR, Bowdoin's fall exhibitions explore both the promise of utopian idealism and the devastation of war in an era of extreme political upheaval.

In the catalogue essay which accompanies this exhibition, Dr. Jennifer Newton Hersh states: «Von Wiegand's mature works reflect her core beliefs: the universe is a single living substance; life is the expression of a dialectic process based on opposites; the goal of living is to achieve oneness; and reality is reached by progressing through stages toward higher states of consciousness.»

The exhibition's path begins with Tacchi's early works from the late 50s, which reveal, in their stylistic variety, a stage of experimentation and a search of his artistic identity.

In this exhibition, over twenty paintings from the artist's various stages of his career share one element, which is women, one of Copley's many recurring themes.