Sentences with phrase «staging exhibitions around»

«After more than 20 years of staging exhibitions around the world, my husband said he thought it was about time we do something permanent in Milan,» Miuccia Prada said on a recent afternoon, sipping tea in a conference room at her office near the new site, a spare space with just one artwork, Gerhard Richter's «Five Doors,» dramatically consuming an entire wall.

Not exact matches

«The humble aim of our exhibition together with this printed matter is to offer an interdisciplinary platform: a dialogue stage that, prompted by the fruitful dichotomy between text and image, gathers photographic works together with written contributions around the notion of formalism.

The organization stages art exhibitions, talks, installations, events, and film screenings around the world.

The Bronx Museum has just announced it will stage an exhibition on Gordon Matta - Clark and his work in and around the Bronx.

In advance of his exhibition «Here Hear» opening at Cranbrook Art Museum, NICK CAVE staged a series of Sound Suit photo shoots around Detroit.

This will cover three areas: first, helping a range of museums and galleries around the country to stage events and exhibitions marking the RA's anniversary; second, enabling a national series of talks by Royal Academicians; third, support for the exhibition Tacita Dean: LANDSCAPE from 19 May to 12 August 2018.

Despite the fact that various museums around the world have managed to stage Bacon exhibitions, for the last 30 years Japan has not witnessed a solo exhibition of his work.

The Rijksmuseum and Ordovas are staging a unique joint exhibition in the autumn, centred around paintings and etchings by Rembrandt on loan from the collection of the Rijksmuseum, in conversation with paintings by Frank Auerbach.

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

Marioni's work has been featured in thematic exhibitions internationally, and he has staged his performances and actions at venues around the world.

Walking around his big, bright new exhibition at the Marian Goodman Gallery in London, it is hard to see why these suspicions of Wall's elaborately staged images still linger, 37 years after they first went on show.

Frieze Week (6 — 9 October) puts London in the spotlight this October, and, as always, top - notch gallery exhibitions are staged around the capital to coincide with Frieze and Frieze Masters (click here for our pick of the best Frieze Week shows).

Major solo exhibitions of his work has been staged at numerous venues around the world, including Palazzo Strozzi, Florence, Italy and Belvedere Museum, Vienna, Austria (2016); Royal Academy, London, UK and Helsinki Art Museum, Finland;

Presenting an intriguing mix of real and imaginary images the exhibition doesn't try to present a collective portrait of adolescence, but rather brings together the work of various internationally known photography artists dealing with a variety of related issues revolving around the three central themes of youths as a social group, adolescence as a particularly tormented stage, and the self - presentation emblematic of the digital image and Internet culture.

The first in a series of events programmed around the exhibition Barbara Kasten: Stages, the ICA hosts a conversation with artist Sarah Crowner and art historians Christine Poggi and Jenni Sorkin.

Conjuring themes of censorship and repression, this life - size installation at the centre point of the exhibition presents 29 waxwork figures in military garb staged around a long table and surrounding their leader, Mussolini.

The Rijksmuseum and Ordovas are staging a unique joint exhibition in the autumn, centred around paintings and etchings by Rembrandt (1606 — 1669) on loan from the collection of the Rijksmuseum, in conversation with paintings by Frank Auerbach (b. 1931).

The exhibition will be composed of felt, knitted and ceramic sculptures (both as object and costume), corn dolly masks and wall prints, presented as an installation around a centrally constructed stage.

Engaging a collaborative process in which he, his wife Marguerite, and children Elska and Marco work together to stage, perform, and edit the photographs, the exhibition pairs close - up views of singular objects in and outside the home with separate images of family members interacting with things around them: a bowl full of blueberries and a camping tent, for example.

The exhibition shares a naturalistic palette, and a repertoire of motifs is rotated against landscape backdrops like stage props: classical sculptures, nudes winding drapery around their stout buttocks, animal skulls and minotaurs.

The institution typically stages four to six exhibitions per year across its three floors, ranging from thematic group exhibitions and solo presentations by emergent and established artists from around the globe to long - term commissions in situ and interventions in public space.

Permanently researching, reflecting, experimenting and creating, the trio's first collective exhibition, I Put It There, You Name It, took pace in 2012 at their Dubai gallery, Isabelle van den Eynde, and they have since gone on to stage shows around the world.

The advertisement that ran for the exhibition in the New York Times quoted a statement by no less an authority on contemporary art than the influential critic Clement Greenberg, describing Kline as the «Most striking new painter in the last 3 years» (fig. 3).6 In Kline's case, not only did these artistic and professional breakthroughs appear to occur at once but they also coincided with a series of group exhibitions staged in New York around this time.

Speaking about What We Call Love, IMMA Director Sarah Glennie said «IMMA is delighted to be staging this important and fascinating exhibition, which is a great opportunity for audiences to experience, at first hand, 20th century masterworks from some of the world's most important collections, shown in the context of contemporary art from Ireland and around the world.

This summer, Ms. Guerrero will make her exhibition debut at the Whitney with «Pacha, Llaqta, Wasichay: Building the Indigenous Present,» a group show that gives center stage to contemporary art practices that highlight indigenous thinking around the built environment.

The second in a series of events programmed around the exhibition Barbara Kasten: Stages, the ICA hosts a conversation between Kasten herself and representatives from a younger generation of artists — including Sara VanDerBeek — who have found inspiration in her work and process.

Unfamiliar Familiarities, this year's annual Stage 3 Exhibition, is in response to Peter Mitchell's series «A New Refutation of the Viking 4 Space Mission», which follows the concept that «an alien has landed from Mars and is wandering around Leeds with a degree of surprise and puzzlement».

Exhibitions of his minimalist sculpture have been staged in several of the best contemporary galleries in America, and his works are in many of the best art museums around the world.

The exhibition curated by Elmgreen & Dragset will be staged in six venues around the concept of «a good neighbor».

These new works will be gifted to Tate and will allow public museums around the country to stage exhibitions of his extraordinary works on paper.

He has been honored for designs on television and for the stage, and his designs have toured in exhibitions around the world as well as having been reproduced in publications ranging from textbooks to theater histories.

NICK CAVE, «Soundsuit Invasion Photo Shoots» @ Cranbrook Art Museum Detroit In anticipation of «Here Hear,» his forthcoming exhibition at Cranbrook opening June 20, Nick Cave is staging a series of street performances and photo shoots around Detroit at iconic city locations this spring.

I'm of the opinion that it's actually a perfect time for artists to use the world stage of the most respected and long - standing international art exhibition, to address some urgent issues of world politics: In particular migration which is the subject of Vik Muniz's «Lampedusa» (Pace Gallery), a fragile paper boat floats around the Venetian canals, printed with headlines about migrants who died at sea in recent months after attempting to make the treacherous journey from Libya to Lampedusa in Italy.

In the arena of these experiences, he staged numerous exhibitions, teaching projects and cultural exchange programmes, fostering relationships between institutions around the world.