Sentences with phrase «staging exhibitions out»

storic preservation, began staging exhibitions out of their SoHo loft in the late 1960s, with a special interest in homoerotic works by queer, mostly male artists.

The couple, life partners who shared a passion for collecting and historic preservation, began staging exhibitions out of their SoHo loft in the late 1960s, with a special interest in homoerotic works by queer, mostly male artists.

Not exact matches

Case in point: before the rally even started, while Millen was giving ride - alongs to a handful of gathered media, a rock from the freshly graded and still - soft exhibition stage struck one of the right - rear lower suspension pick - up points and pushed it about 1/2» rearward, skewing it out of square in the process.

Spectators will enjoy checking out the street stalls, stage shows, live music, exhibitions and Thai traditional children's games.

The question is whether separate exhibitions are still needed to tell the stories that were left out and continue to be absent from conventional tellings of art history, or whether creating these separate spaces amounts to a kind of ghettoization that prevents the artwork from being considered on the larger stage.

Performance: Sahra Motalebi at the Kitchen Returning to the Kitchen after her first outing there, in 2015, Sahra Motalebi will stage Directory of Portrayals (from Rendering What Remains), an experimental opera that includes staged events, exhibitions, and a book.

In this issue we take a look at some of the major exhibitions on show this winter that we feel you ought not to miss, we find out what Simon Bayliss thought of the paintings at this year's Frieze, and Bernhard Gaul asks German painter and stage designer Mark Lammert about theatre and painting.

Visitors to Vienna's stately Albertina museum will have a chance to find out this month when it stages his first major exhibition in three decades, a survey of his drawings, prints, watercolors, paintings, and bronzes that charts the artist's trajectory from the»80s to today.

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.

So we thought it would be interesting to do an exhibition where we showed these different positions, but not as a staged show — in the «80s there were a lot of staged shows, like Kasper himself had done «From Here Out» [a 1984 survey of «two months of new German art»]-- but rather as a quite nonhierarchical exhibition where it would just be a couple of paintings by each artist.

Piper's move, ARTNews's Robin Cembalest wrote, raised the question of «whether separate exhibitions are still needed to tell the stories that were left out and continue to be absent from conventional tellings of art history, or whether creating these separate spaces amounts to a kind of ghettoization that prevents the artwork from being considered on the larger stage.»

This spring, a rehang at the Guildhall Art Gallery brings little - known 19th - century paintings out of storage, and Tate Britain stages the first synoptic exhibition devoted to Victorian sculpture.

Perhaps the most pleasantly surprising aspect of the second annual «Winter Salon» exhibition at the Drawing Room in East Hampton isn't the noteworthy diversity of the works presented but rather how seamlessly sophisticated the staging turns out to be.

For «OUVERTURE», her first exhibition with Galerie Buchholz, Anne Imhof has presented a number of paintings and sculptural works and staged a eponymously titled performance: a group of actors marched through the gallery as if it were a catwalk; a girl hung out on a window bench shaving her belly, others sat along the walls drinking soft drinks, lounging on mattresses in the backroom, or spat out what looked like pips on the floor.

I am also in the early stages of organising a show with a group of fellow artists, so always looking out for exciting and unusual possible exhibition spaces.

Now Ikon Gallery is staging the largest exhibition of his work so far, and it turns out that half of it is barred to under 18s.

With the artists in this exhibition, Museum Morsbroich is setting out on a new stage in a long journey that was proceeded by the foundation of the museum in post-war Germany in 1951, itself a pioneering departure, and that has been accompanied since then by countless art - loving companions.

An exhibition is a place where narratives unfold that are at once distinct from reality and intimately connected, in this capacity, the exhibition «Belonging to a Place» by Fogo Island Arts sets the stage where notions of «place» play out.

Limbo, a 2013 exhibition staged in New York, saw the artist reflect on the events of 9/11; they grew out of the three days after the terrorist attacks Moritz spent stranded in Nova Scotia when her plane was diverted.

In 1991, Hirst staged his first solo exhibition «Dial, In and Out of Love», an event held in a vacant London shop and organised by Tamara Chodzko.

The intention is to breathe new life into the exhibition process with which «When Attitudes Become Form» was staged, so as to go beyond the necessity for photographs and films of the past event, and to be able to experience and analyze it literally, just as it was, even though it has been transported from the past to the present.The project has entailed the understanding that the language with which an exhibition is mounted and the relations between the works set out by its curator have become a founding element of the history of modern and contemporary art.

Art Radar interviews the artist and the curator, Elena Geuna to find out more about the works, the exhibition, Zhang Huan's practice across various medium, and the significance of staging it a European context.

OUT OF BLINK breaks up the classic format of the «white cube exhibition» and will appear for two days in the heart of SoHo, staging artworks by Harif Guzman, Paco Marcial, Nadja Verena Marcin, Jason Rhoades and Jessica Segall, who are conducting a research that goes beyond the idea of «daily order», either because of their artistic practice or the content of their artworks.

In 2014 she staged solo exhibitions of photographs and sculptures, routinely curated all - female group shows, put out major editorial and commercial projects, made a monograph, and recently began...

The rehanging of the permanent collection exhibition is being carried out in three stages.

As he points out: The three stages of the exhibition are city: the first part discusses the architectural thinking of how this fixed ideals and leads citizens to inhabit the city, then» Brutalism» notes the constructive elements to make us think about what architecture is, what it is to be an architect, which is building, and finally, in the final room,» Stability Sea» speaks of the way we live the city as we experience our way through it, like us appropriated.

Bibliography Frieze New York, 2014 catalogue Antonis Donef, Elephant Magazine, spring 2014 Vitamin D2, Phaidon, 2013 Frieze New York, A photo tour, Time Out New York, May 2013 Antonis Donef, Elephant Magazine, Issue II - Summer 2012 Liste, The Young Art Fair in Basel, catalogue, 2012 Contemporary Woman in Greece, exhibition catalogue, curated by Marina Fokidis, organized and produced by Vima, Athens Christos Paridis, «Athens - Shanghai», Paper magazine, no. 22, April 2010 «Artists to watch», 2boards, April - June 2010 «The Yellow Wilderness», exhibition catalogue, essay by Christopher Marinos, Kalfayan Galleries, Athens, 2009 «Mimes», exhibition catalogue, Kalfayan Galleries, Athens, 2009 Maria Marangou, «Imitation - Mimes and Stage Design», Eleftherotypia, 18 May 2009 When Art Imitates and re-writes, Vima newspaper, Athens, 2 June 2009 Theodora Malamou, Antonis Donef, Velvet, no. 44, October 2009 Antonios Donef, 2007, exhibition catalogue, Athens

The exhibition, curated by Ed Atkins, Hans Ulrich Obrist and Alex Poots, will be laid out as stages of a production process, leading from one to another across three rooms at the gallery.

For this special Tuesday Evenings presentation, «On the Daily,» Karnes sets the stage for experiencing the exhibition by discussing its highlights and themes, revealing what is both unified and divergent about the artists whose work she selected for Inside Out.

Such values continue to be expressed and Lazinc has set precedence in setting the stage for a variety of innovational exhibitions, including JR's global Inside Out initiative and 3D's major retrospective of Massive Attack visual history.

The dumpster full of glowing garbage out front of Switzerland's Gewerbemuseum sets the stage for what's inside — an art exhibition of works both poignant and comical, all made from discarded plastic bags.