Sentences with phrase «such the exhibition reflects»

Drawing on anthropologist Mary Douglas's interpretations of sociologist Ludwik Fleck, the exhibition juxtaposes works that were produced in collective environments in the 1990s with new structures and films produced alone; as such the exhibition reflects on the contradictions that arise between the individual and the group in relation to the production of art.

Not exact matches

The exhibition brings together a selection of nine paintings on monochrome stone (slate and white marble) by Italian painters such as Sebastiano del Piombo, Titian, Daniele da Volterra and Leandro Bassano, which reflect the consolidation of a new approach to artistic techniques that emerged in the early decades of the 16th century.

While related works such as the Hotel Grand series of gouaches, the bronze I Wanted You More (which mirrors the pose in the photograph) and the neon texts all address the perplexing inability to recall sexual intimacy, Emin further extends the theme of the exhibition — in works such as I waited and sat by your side and GONE — to reflect an altogether different kind of loss, that of bereavement.

The exhibition, which reflects the gallery's focus on both Modern and contemporary art, will encompass a variety of schools and movements (such as the Cubists and British Modernists) and will feature artists who are contemporaries of, or influenced by, one another.

Beyond the focus on the pathological and therapeutic aspects of art, this exhibition attempts to reflect the depth of her trajectory and also her contemporaneity, by showing recent installations, such asI'm Here, but Nothing (2000), as well as others created specifically for the occasion, such as Infinity Mirrored Room — Filled with the Brilliance of Life (2011).

Although all of the artists have donated works to help to support the magazine and the development of the art school, this exhibition has been carefully considered to reflect that which is current, significant and critical in contemporary painting, including abstract works by Thomas Nozkowski, Mali Morris and Phil Allen, and painters who have championed a figurative approach such as Chantal Joffe, Neal Tait and Dinos Chapman.

«I Am,» a traveling exhibition that has already stopped in Amman, Jordan and London, UK, aims to challenge such stereotypes and shatter misconceptions of Middle Eastern women through photographs, paintings, and mixed - media works that reflect their varied life experiences.

As hinted at in the exhibition title, Axell engages with both contemporary stereotypes of femininity as well as centuries old role ascriptions and correctively intervenes in persistent gender relations: reflecting on art history — such as Venus iconography, Leda with the Swan depictions and distinguished portraits like Leonardo da Vinci's Mona Lisa — she subverts historically sedimented, male perceptions of femininity and renegotiates the socially constructed image of women as either «angel in the house» or femme - fatale.

For his first solo exhibition in Italy, Rana has also reflected the legacy of the surrounding city in his source material, choosing paintings by artists hailing from Milan, such as Andrea Solari and Cesare da Sesto.

The exhibition reflects Serebriakova's current focus on painting and drawing, with elements such as landscapes and commonplace objects reoccurring in her highly personal imagery achieved...

Featuring masterpieces by such iconic figures as Charles Alston, Elizabeth Catlett, Lois Mailou Jones, Jacob Lawrence, Hughie Lee - Smith, Norman Lewis, Horace Pippin, and Charles White, the exhibition and its related programs allow visitors to reflect upon a broad range of African American experiences, and examines the ways different African American artists have expressed personal, political, and racial identity over approximately 100 years.

To reflect the museum - quality nature of this collection, the «Eyes Wide Open» exhibition and auction are accompanied by a scholarly catalogue, which features texts by curators and critics such as Carolyn Christov - Bakargiev, Hans - Ulrich Obrist and Sarah Whitfield, as well as essays by the collectors.

GÖKCAN DEMIRKAZIK: In previous exhibitions such as «Tomorrow» (2013 — 14) at the V&A and «The Collectors» (2009) at the Danish and Nordic Pavilions of the fifty - third Venice Biennale, you have created fictional domestic environments to reflect on capital, social structures, and alienation.

In his talk, Feng will reflect on the current developments and discourses within the Chinese contemporary art field as well as presents his recent curatorial projects such as the Wuzhen International Contemporary Art Exhibition in 2016 titled Utopias / Heterotopias.

He befriended artists such as Jean - Michel Basquiat and Kenny Scharf, as well as musicians and graffiti writers and began having exhibitions and performances at venues like Club 57, reflecting the mix of art, nightlife, fashion, performance, and music that characterized the artistic climate of the time.

The content is quite highbrow and high - end, with articles such as Wakako Kishimoto, co-founder of London - based fashion studio Eley Kishimoto, reflecting on what Brexit means for business, and a conversation between Amelie Klein, curator of the Hello, Robot exhibition at the Vitra Design Museum and science fiction writer Bruce Sterling.

Including such established art world figures as Lorna Simpson, Hank Willis Thomas (who also contributes an artist essay in the exhibition's catalogue), Kerry James Marshall, and Glenn Ligon, the exhibition primarily features work within the past decade, and reflects a contemporary point of view rather than a historical one.

The exhibition reflects on the sociopolitical situation that has affected Mexico, and more recently other countries, such as Canada and the United States, for the past six years — the drug war.

She is interested in artistic practices that reflect an engagement with issues of place, identity, and political imagination and has recently worked with artists such as Yael Bartana, Nicole Cherubini, Adler Guerrier, Iman Issa, LOS JAICHACKERS (Julio Cesar Morales and Eamon Ore - Giron), Bouchra Khalili, and Nari Ward to develop new projects and exhibitions.

Apart from the accolades and prizes bestowed upon such artists as Kara Walker, Trenton Doyle Hancock, Jessica Stockholder, Kerry James Marshall, and Cai Guo - Qiang, the multitude of exhibitions featuring Art21 artists reflect the pinnacle stages in many of their careers.

The current display of the collection keeps the clusters of works that focus on artists Chohreh Feyzdjou (1955 — 1996), Simon Häntai (1922 — 2008), Présence Panchounette (artist collective, active1969 - 1990), and Phillip Thomas (1952 — 1995), which highlight symbolic and formal operations employed by these four artists, and the ways in which such approaches reflect and resonate with other artworks included in the exhibition.

Taking a monochromatic grey palette as its organizing principle and aesthetic theoretical vehicle, this exhibition reveals the emergence of that which subtracts or divides — a polemics of black and white or the search for a middle ground, a shade of grey — in the work of artists from around the globe: including Shiva Ahmadi, Yasima Alaoui, Ayad Alkadhi, Afruz Amighi, Reza Aramesh, Shoja Azari & Shahram Karimi, Bruce High Quality Foundation, Dilip Chobisa, Seth Cameron, Arthur Carter, Noor Ali Chagani, Nick Farhi, Nir Hod, Rachael Lee Hovanian, Joseph Kosuth, Liane Lang, Farideh Lashai, Shirin Neshat, Enoc Perez, and Dan Witz, Grisaille: originally derived from a 19th century term for monochrome painting, especially the portrayal of three dimensional objects in two dimensional form, of which the work of British based Liane Lang in this exhibition approaches the closest contemporary example of this art historical origin, the gris or grisaille is updated in this exhibition to reflect the embattled gesture of not simply the monochromatic, but also any opposition to color as such, in at once its aesthetic and political modes.

The exhibition focuses on Tuttle's profound influence on art in and beyond New York, showcasing his humble usage of commonplace materials such as fabric, wood, Styrofoam, and rope used to effect the viewer's perception by reflecting the fragility of the world.

The unconventional exhibition programme reflects Murakami's open and non-hierarchical mindset as it includes such disparate elements as famous international contemporary artists, older, underrated Japanese artists and contemporary lifestyle ceramics.

Following our recent exhibitions, such as Keys to a Passion and Icons of Modern Art: The Shchukin Collection, this exhibition reflects our continued commitment to collaborating with the world's most excellent modern art institutions.»

Murillo's work indirectly addresses social relations and privileges, something which is obliquely reflected in his titles, such as his recent solo exhibition Dinner at the members club?

The exhibition will include his monumental architectural paintings, such as To the Unknown Painter (Dem unbekannten Maler), 1983 that reflect on the neo-classicist buildings of Albert Speer, Hitler's architect, and on the role of the artist in considering collective memory.

Placing new works by Breitz and Modisakeng in dialogue, the exhibition will reflect on experiences of exclusion, displacement, transience, migration and xenophobia, exploring the complex socio - political forces that shape the performance of selfhood under such conditions.

He is well known for his use of rich pigment and imposing, yet popular works, such as the vast, fleshy and trumpet - like Marsyas, which filled the Tate's Turbine Hall as part of the Unilever Series, the giant reflecting, pod like sculpture Cloud Gate in Chicago's Millennium Park and his recent record breaking show at the Royal Academy, the most successful exhibition ever presented by a contemporary artist in London.

Running at the CHELSEA space from 23 April — 31 May 2014, the exhibition challenges viewers to explore relationships between pairs, and reflects how people who are unfamiliar with theoretical physics may respond to such an unusual concept.

«Creating and bringing forward an exhibition such as this reflects the deep relationships MMoCA has with major artists.

Cramer, whose works often suggest a subjective perception of the world surrounding us, brings to this exhibition a combination of thoughts represented through a variety of media — from his intimate artist books to site - specific installations such as Empty Room, where for the duration of the exhibition, a room in a house somewhere in the countryside of Portugal is kept completely empty, making one reflect on ideas of presence, absence and the human collective unconscious.

Some of the world's leading urban artists such as iHeart, Joe Iurato, London Police, Mad Steez, Martin Whatson, Mau Mau, Millo, Myneandyours, Nafir and Word To Mother created for this exhibition a series of brand new works reflecting their views and thoughts on «The Social Paradox» theme.

The exhibition, entitled The White Stag Group, comprises some 80 works and reflects the youthful dynamism and energy which artists such as Basil Rakoczi, Kenneth Hall, Thurloe Conolly and others brought to the Irish art scene, when they settled here, mainly as conscientious objectors, at the outbreak of World War II.

This exhibition is a remarkable demonstration of how, over 50 years, such an attitude evolved and is reflected in such a vast body of work.

Culture: Promoting importance of cultural, ceremonial and contemporary activities in the practice of Indigenous culture and tradition via strategies such as establishing a Cultural Centre that reflects the broader Indigenous community through activities and exhibitions, and supporting the growth, self - management and protection of the Indigenous art industry.