Sentences with phrase «started doing exhibition»

It wasn't until our third year that we started doing Exhibition Nights.

Not exact matches

This better be — better be — because it's still the pre-season and real games haven't started yet and it doesn't make sense to have the Dinger Machine go off for exhibition game home runs.

I tend to sell more prints than originals, I did start by selling my original work in galleries but as soon as I started selling prints I stopped because it worked out more cost effective to sell online, so I still have a large proportion of my original work, I hope to have an exhibition at some point.

For now, I'll just say that after I exhibit my «best off» photos at Cafe Rouge starting next Monday, I'll start preparing a new cycle of photos for the new solo exhibition which I've envisioned to be a «travelling» one so that my art can reach some new destinations and people that don't live in Helsinki or New York can see these works too.

At the beginning of the 19th century, the collie was still a relatively unknown breed and its popularity did not start to grow until the first exhibitions.

The lecture - like format made it clear that my feedback wasn't going to be welcome, but as the visit started to wind down, I was asked a question for the first time that morning: «So, what exhibitions do you have coming up that you might want to put our artist into?»

Besides her exhibition catalogues, Smith's writings have appeared in such publications as Revolution in the Making: Abstract Sculpture by Women 1947 - 2016; Helen Frankenthaler: Composing with Color, 1962 - 1963; The Drawings of Do Ho Suh; The Architecture of Bertrand Goldberg; Chicago Makes Modern; Buckminster Fuller: Starting with the Universe; Design Cities; Birth of the Cool; and the 54th Carnegie International.

Both English, we naturally started to talk, and it turned out that Margaret was also doing shows — renting spaces short term for exhibitions, which today would be called pop - up galleries.

Saturday February 23, 3 PM «do it»: Hans Ulrich Obrist and Massimiliano Gioni in conversation, moderated by Kate Fowle In 1993, Hans Ulrich Obrist started «do it,» an exhibition in progress that is now twenty years old.

Natasha Kurchanova: Mark, I am interested in the beginning of your career as an artist because I would like to trace the transition between painting, in which you majored at Stanford University, and puppetry, which you started doing almost immediately after your first exhibition.

Cowboy Town, American artist Eddie Martinez's second exhibition at the Timothy Taylor Gallery, London, is a show of paintings done since the start of last year.

«It's not like I was doing a museum exhibition, which normally we start three years out, maybe four years out.

KJM If we agree that making paintings and the compulsion to depict things is not unique, not particularly special, and you're describing some exhibitions that get made about painting, that then reduce the pictures to something like wallpaper, and if we go back to the original point I was trying to make when we started the conversation, about what people want to hear when they hear artists talk about what they do, the question persists: When you're looking at paintings, what are you looking for?

AE: But in some ways, the experiment with the material — at least, some aspect of the material — started with an exhibition you did at Goodman Gallery.

Around 2000, as time passed, I started to do more solo shows, and I came up with a lot of conceptual shows that were more about «the rule of the game,» and time - based exhibitions too, like «Do It» and «Cities on the Move,» co-curated with Hou Hanrdo more solo shows, and I came up with a lot of conceptual shows that were more about «the rule of the game,» and time - based exhibitions too, like «Do It» and «Cities on the Move,» co-curated with Hou HanrDo It» and «Cities on the Move,» co-curated with Hou Hanru.

At the time of the exhibition, Hirst described «Gambler» as being: «Just when people start doing things for themselves.

«This exhibition didn't start out as an exhibition of women's art exclusively.

LE MAGASIN, GRENOBLE De 199C à 199D 6 June 2014 — 7 September 2014 The exhibition is the second part of a collaborative process started between the artist and students of the Center for Curatorial Studies du Bard College (New York) in 2012.

I do think this exhibition starts to do that... These are not small things and we should continue to focus on the work of women as much as we can,» Sanroman explains to Creators.

From 1997 until 2002 he lived in London, where he graduated with a BA in Fine Arts in 1999 and started doing first exhibitions as an artist.

So, the decision was made to start exhibiting work related to book projects and to do so along with exhibitions by other notable, nationally recognized artists and photographers.

Reluctant to address the difficulties of the controversial situation before this exhibition, Snow writes, «I feel so overwhelmed, I don't know where to start, from what angle to approach it?

Carrier concludes:»... because this relatively small exhibition, which certainly doesn't present her entire career, or even, so I imagine, identify her starting point, offers such a limited selection of her art, it's impossible to offer a confident, critical evaluation... We are left hungry for more insights into her situation within the Parisian art world.

Although the two had been talking about doing the show together for the past year or so (the two - person show format is a signature of Safe's programming), it wasn't until Safe's founder, Pali Kashi, set an actual date for the exhibition that a real flurry of work started in earnest.

Whilst for me none of the exhibitions completely reach beyond this starting point (do not strike upon something which seems completely new or completely convincing) each contained something of value.»

Kevin Blake: I'd like to start by asking about your upcoming exhibition «Ghosts Don't Burn.â $ Â You are showing with another artist, Zack Wirsum, and the two of you seem to have some interesting parallels in your work.

It may even declare a brief time out from linearity and big names and let the curators toss around masterpieces like salad, as it did with the «Modern Starts» exhibitions at the turn of this century.

Eventually, Lowry did achieve critical acclaim, starting with his first London exhibition in 1939.

Then for the catalogue, we decided we wanted the artists» own words, so we asked them for their own writings, and I realized how amazing that fragment of Richter was, so I became curious and I started to research and I saw that there were all these amazing writings he had done, and there was never a book, so the third project we did after the Nietzsche house and the group show in Vienna, The Broken Mirror, was I started to edit, over years, a book of his collected writings, which came out, and has now come out in an augmented edition, a second edition, co-edited together with Dietmar Elger, and is now double the size of the one from fifteen years ago, and then, so it's always been approached in working on another exhibition together.

This exhibition does start slow with some preparatory drawings but as visitors step inside the main rooms of the exhibition, it comes to life both with great works and some excellent architectural insights.

However, in an art world where circles often do not overlap, a group exhibition can be a great opportunity to start mixing things up,» Marshall adds.

Since its start in Paris in 1993, do it has become the longest - running and most far - reaching exhibition ever, giving new meaning to the concept of an «exhibition in progress.»

I had seen Florian's paintings in Miami a few years ago with Jan Wentrup, but didn't start to understand what I was looking at until his recent exhibition at Simone Subal.

The December 17 opening brings an 8 pm performance by artist Beatrice Loft Schulz, starting off the three - week exhibition on the basis of «an investment in embracing the performative potential within these hierarchies, whilst at once making known the paradoxes in doing so» through everything from reality show dating, physically imposing oneself onto objects, or «creating contingent situations from a masculine vocabulary tied up in the miasma of power relations».

His early Pablo Picasso exhibition of 1914 created a stir, as did his excursions into German painting, starting with a show devoted to the artists» association Die Brücke (1913).

Jimmie Durham may have been the center of controversy this year (don't get me started about the curator's statement about the issue), but it doesn't distract from the quality of his art, the strong curation, and the overall fantastic exhibition that was organized at the Hammer Museum.

It is good to see that Tracy Emin's art is reaching out beyond the confinements of London and starting to engage with those people further afield who do not normally get a chance to see major exhibitions of female contemporary artists.

This exhibition presents different stages of the artist's work in the form of a retrospective starting with works done in the 1950's and continuing up until the present day.

What started as a «graffiti pen pal project» between Don't Fret of Chicago USA and Edwin of London UK has morphed into a collaborative exhibition, social experiment, and show.

«This exhibition didn't start out as an exhibition of women's art exclusively», explains gallery director Sarah Wiseman.

This starting point was a panel discussion tied to the exhibition «Matta: A Centennial Celebration,» which runs through Saturday, and Mr. Spring was sitting under the artist's gigantic black and white painting Architecture du temps (un point sait tout), which resembles a wavy, Abstract Expressionist take on outward - moving cartoon machinery.

Catalogues — Publications 2015 «SUPER SUPERSTUDIO», exhibition catalogue, PAC - Pavilion of Contemporary Art, Milan «Ärger im Paradise», exhibition catalogue of the exhibition, Bundeskunsthalle 2014 «The State of a Ghost While Hosted as a Guest», publication from the Villa Romana Fellows, Villa Romana Editions, published by Argo Books ISBN 978 -3-942700-62-7 «Kushtetuta # 2 About Mums & Dads», edited by Petrit Halilaj and Alvaro Urbano, Self - published zines «TRANSLATION ACTS > PERFORMING POLITICS», Concept by Ifrex, Edited by Ifrex and Fotini Kushtetuta, Published by KOSOVO 2.0, Edited by Petrit Halilaj and Alvaro Urbano «MAPPING EVERYTHING», Institut für Raumexperimente (Berlin) and Institut für Landschaftsarchitektur (ETH Zurich) Project Conception: Olafur Eliasson and Guther Vogt, Nicola Eiffler 2012 «STUDIO MAGAZINE # 2», an Architecture and Urbanism Publication 2010 «Ottos impossible talks / Lets start to implement little errors Imposible topics / rescued futures,» Otto Rössler with the Institut für Raumexperimente, edited by Julius von Bismarck, Jeremias Holliger, Laura McLardy, Mathias Sohr, Alvaro Urbano, Euan Williams, Graphic design and concept book by bureau - aeiou 2009 «UNPLANNED: Research and Experiments at the Urban Scale», concept book by Superfront Graphic design by: Do not bend Kønst magazine issue n. 4 Erasing Darkness Pidgin - Magazine issue n. 6 (text by Jose Esparza)

And I realized I had to do something 1983 Rammelzee vs K Rob «Beat Bop» 1984 First shows at Clarissa Dalrymple and Nicole Klagsbrun's Cable Gallery (artists of Wool's generation who begin showing same period include Philip Taaffe Jeff Koons Mike Kelley Cady Noland and James Nares 1984 produces first book photocopied edition of four: 93 Drawings of Beer on the Wall 1984 Warhol Rorschach paintings 1986 First pattern paintings 1987 Joins Luhring Augustine Gallery 1987 First word paintings 1988 Collaborative installation with Robert Gober one painting by Wool (Apocalypse Now) one sculpture by Gober (Three Urinals) one collaborative photograph (Untitled) and a mirror Gary Indiana contributes a short piece of fiction to the accompanying publication 1988 In Cologne sees show of Albert Oehlen's work meets Martin Kippenberger 1988 First European shows Cologne and Athens 1988 Collaborates with Richard Prince on two paintings: My Name and My Act 1989 Museum Group shows in Amsterdam Frankfurt am Main and Munich Whitney Biennial 1989 One year fellowship at the American Academy in Rome 1989 Starts taking photographs 1989 Publishes Black Book an oversized collection of 9 - letter images 1989 Fall of the Berlin Wall 1990 Meets Larry Clark 1991 First survey mounted at Boymans - Van Beuningen Museum Rotterdam publishes accompanying artist's book Cats in Bag Bags in River color photocopies of photographs of black and white paintings 1991 Creates edition of small paintings for ACT - UP New York Needle Exchange 1991 Participates in Carnegie International includes painting and billboard with truncated text announcing «THE SHOW IS OVER» 1991 Meets Jim Lewis 1991 Relocates studio to East 9th Street in New York 1992 LA riots 1992 DAAD residency in Berlin 1993 Publishes Absent Without Leave 160 black - and - white images from travel photographs taken over previous 4 years 1993 Begins silkscreened flower paintings 1993 Meets Michel Majerus 1994 Makes road - signs for Martin Kippenberger's Museum of Modern Art Syros 1994 New York Knicks lose to Houston Rockets in Game 7 NBA Finals 1995 Organizes retrospective of the New Cinema late 70's New York underground Super-8 films 1995 First spray - paintings 1995 Kids 1996 East Village studio severely damaged in building fire leaving Wool without a working space for 8 months artist's insurance photos become portfolio Incident on 9th Street 1997 Marries painter Charline von Heyl 1998 Museum of Contemporary Art Los Angeles mounts mid-career retrospective travels to Carnegie Museum of Art Pittsburgh and Kunsthalle Basel 1998 Begins silkscreen re-imaging of own work 2001 Solo exhibition at Secession Vienna 2002 «Grey» paintings 2003 East Broadway Breakdown photos of New York City 2005 First digital drawings 2006 Contributes art to Sonic Youth Rather Ripped 2007 Collaborates with Josh Smith on Can Your Monkey Do the Dog 2008 Collaborates with Richard Hell on Psychopts 2008 Christopher Wool lives and works in New York and Marfa Texdo something 1983 Rammelzee vs K Rob «Beat Bop» 1984 First shows at Clarissa Dalrymple and Nicole Klagsbrun's Cable Gallery (artists of Wool's generation who begin showing same period include Philip Taaffe Jeff Koons Mike Kelley Cady Noland and James Nares 1984 produces first book photocopied edition of four: 93 Drawings of Beer on the Wall 1984 Warhol Rorschach paintings 1986 First pattern paintings 1987 Joins Luhring Augustine Gallery 1987 First word paintings 1988 Collaborative installation with Robert Gober one painting by Wool (Apocalypse Now) one sculpture by Gober (Three Urinals) one collaborative photograph (Untitled) and a mirror Gary Indiana contributes a short piece of fiction to the accompanying publication 1988 In Cologne sees show of Albert Oehlen's work meets Martin Kippenberger 1988 First European shows Cologne and Athens 1988 Collaborates with Richard Prince on two paintings: My Name and My Act 1989 Museum Group shows in Amsterdam Frankfurt am Main and Munich Whitney Biennial 1989 One year fellowship at the American Academy in Rome 1989 Starts taking photographs 1989 Publishes Black Book an oversized collection of 9 - letter images 1989 Fall of the Berlin Wall 1990 Meets Larry Clark 1991 First survey mounted at Boymans - Van Beuningen Museum Rotterdam publishes accompanying artist's book Cats in Bag Bags in River color photocopies of photographs of black and white paintings 1991 Creates edition of small paintings for ACT - UP New York Needle Exchange 1991 Participates in Carnegie International includes painting and billboard with truncated text announcing «THE SHOW IS OVER» 1991 Meets Jim Lewis 1991 Relocates studio to East 9th Street in New York 1992 LA riots 1992 DAAD residency in Berlin 1993 Publishes Absent Without Leave 160 black - and - white images from travel photographs taken over previous 4 years 1993 Begins silkscreened flower paintings 1993 Meets Michel Majerus 1994 Makes road - signs for Martin Kippenberger's Museum of Modern Art Syros 1994 New York Knicks lose to Houston Rockets in Game 7 NBA Finals 1995 Organizes retrospective of the New Cinema late 70's New York underground Super-8 films 1995 First spray - paintings 1995 Kids 1996 East Village studio severely damaged in building fire leaving Wool without a working space for 8 months artist's insurance photos become portfolio Incident on 9th Street 1997 Marries painter Charline von Heyl 1998 Museum of Contemporary Art Los Angeles mounts mid-career retrospective travels to Carnegie Museum of Art Pittsburgh and Kunsthalle Basel 1998 Begins silkscreen re-imaging of own work 2001 Solo exhibition at Secession Vienna 2002 «Grey» paintings 2003 East Broadway Breakdown photos of New York City 2005 First digital drawings 2006 Contributes art to Sonic Youth Rather Ripped 2007 Collaborates with Josh Smith on Can Your Monkey Do the Dog 2008 Collaborates with Richard Hell on Psychopts 2008 Christopher Wool lives and works in New York and Marfa TexDo the Dog 2008 Collaborates with Richard Hell on Psychopts 2008 Christopher Wool lives and works in New York and Marfa Texas

The exhibition is an expansion on a photograph by the artist: Weyland explains, «It starts with a photograph I took of an Elk tag I had done on Lantau, an island in Hong Kong, in 2008.

In the late»90s it started to seem obvious to me that it was more pleasant to do group exhibitions without the artists.

From the start, the collection had many older objects, and the exhibition opens with a pistol used in an attempt to assassinate Queen Victoria in 1840 by a mentally unstable barman who later claimed he did it «out of sheer vanity and love of notoriety».

Starting with this year's «Exposition Internationale du Surréalisme», he had an active presence in all the important Surrealist exhibitions worldwide.

So the fact that «Stuart Davis: In Full Swing,» a major, traveling exhibition now at the Whitney Museum of American Art, would omit Davis's entire early Ashcan development, and instead start its show in the 1920s, would seem to do a curious disservice to both Davis's own achievements and the understanding of the museum - going public.1

The exhibition starts from the research that the artist has done in this field in recent years as a graduate student and DAAD scholarship.

Exhibitions on Exhibitions Curators Kari Conte and Florence Ostende will take the documentation of the longest «exhibition in progress,» do it, as the starting point for a discussion on exhibition histories and the rise of self - reflexive eExhibitions on Exhibitions Curators Kari Conte and Florence Ostende will take the documentation of the longest «exhibition in progress,» do it, as the starting point for a discussion on exhibition histories and the rise of self - reflexive eExhibitions Curators Kari Conte and Florence Ostende will take the documentation of the longest «exhibition in progress,» do it, as the starting point for a discussion on exhibition histories and the rise of self - reflexive exhibitionsexhibitions.