Sentences with phrase «such this exhibition considers»

To essay is to attempt, and as such this exhibition considers a range of works where filmic images and objects reveal their own thinking.

Not exact matches

BOOKSHELF To learn more about Robert Colescott's work consider «Robert Colescott: A Retrospective, 1975 - 1986,» which accompanied his first survey exhibition, along with other catalogs, such as «Robert Colescott, Recent Paintings» (1997) and «Robert Colescott: Troubled Goods - A Ten Year Survey (1997 - 2007).»

Considering Moss» artistic relationship with Mondrian is a way of reconsidering her impact, but also the other conversations represented in the & Model exhibition, with British Construction and Systems artists such as Norman Dilworth, Anthony Hill, Peter Lowe, David Saunders, Jeffrey Steele, Gillian Wise and others, form part of a bigger and very necessary exchange artists are making now with modernist positions that are far from redundant.

BOOKSHELF To further explore contemporary African art, consider recent volumes that document the field, such as «Contemporary African Art Since 1980,» which is co-edited by Okwui Enwezor and Chika Okeke - Agulu, «The Divine Comedy: Heaven, Purgatory and Hell Revisited by Contemporary African Artists,» which accompanied a traveling exhibition, and «Making Africa: A Continent of Contemporary Design.»

Naturally, the international exposure of his work, widely exhibited in galleries and institutions such as Galerie Jeanroch Dard (Paris / Brussels), Rod Barton Gallery (London), Berthold Pott (Cologne) and in collective exhibitions at the Musée Musée Départemental du Sel (Marsal), Centre Georges Pompidou (Paris), BWA (Wroclaw) and Autocenter (Berlin) is considered, but also his role as a curator in several projects.

The exhibition considers works by famed Nouveau Réalisme artists such as Arman and Raymond Hains alongside the likes of American counterparts Robert Rauschenberg and Richard Artschwager, as well as a younger generation of contemporary artists who came of age in the wake of Pop Art.

Featuring works from the BCMA's robust collection of American art, as well as loans from 30 prestigious public and private collections across the United States — such as The Metropolitan Museum of Art; Phillips Collection; Philadelphia Museum of Art; and Museum of Fine Arts, Boston — the exhibition provides visitors with an opportunity to consider transformations in American art across generations and traditional stylistic confines.

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.

The Pennsylvania Academy of the Fine Arts offers a comprehensive retrospective of the career of Norman Lewis, the first such exhibition to be devoted to this African - American Modernist painter and one that invites viewers to consider Mr. Lewis's place in the history of the country's art.

is an exhibition that creates critical spaces for viewers to consider and engage with a number of environmental concerns such as sustainability, water remediation, drought, etc..

The exhibition highlights key events, starting with the March on Washington in 1963, and considers cultural influences such as music, literature, and sports, on the artists of the time.

His art is on exhibition with such regularity, it came as no surprise that in a recent episode of the hit HBO comedy - drama Insecure, Issa Rae and her twentysomething girlfriends considered the facts of dating before Adams's Pilot # 1.

The idea for this exhibition sprang from Donald Judd's great interest in Dürer (Judd owned several woodcuts and etchings) and the wish to see the stark images of two such different artists, who lived five centuries apart, while simultaneously considering the motivation for one's interest in the other.

Highlighting European and American works on paper and two sculptures from the Smart Museum's collection, this exhibition considered the challenges that arise when one artist tries to commemorate another, and the many forms such portraits take.

The exhibition also considers ideas that contributed to the development and rejection of later art movements such as cubism, surrealism, pop art, minimalism.

Voorhies examines recent artistic and curatorial work by Liam Gillick, Thomas Hirschhorn, Carsten Höller, Maria Lind, Apolonija Šušteršič, and others, at such institutions as Documenta, e-flux, Manifesta, and Office for Contemporary Art Norway, and he considers the continued potential of the exhibition as a critical form in a time when the differences between art and entertainment increasingly blur.

Along with the exhibition, this course will consider the creation of women in design and production of printed ephemera (such as: flyers, magazines, posters, tee - shirts, buttons, etc.) participating in the women's movement in New York, from the 1850s to today.

Although widely considered an Abstract Expressionist, at a recent Drawing Surrealism exhibition at the Morgans Library and Museum in New York several of Gorky's drawings hang side by side with such pillars of the movement as Yves Tanguy, Salvador Dali, Andre Masson among others.

The exhibition of her collection in the 1948 Venice Biennale had such a profound impact on her that she started considering making it a permanent home for her artwork.

Spanning the 17th century to the present day, the exhibition considers the history of colour alongside topics such as memory, politics, and psychology.

Faced with an absence of information within a provenance, and having taken into account this policy and considered the research undertaken in accordance with the Gallery's codification of procedures for due diligence, the Gallery may from time to time elect to bring a work into the public domain through exhibition, in such circumstances where the Gallery can demonstrate the highest standard of due diligence has been undertaken and consideration has been given to the view of the current possessor, in belief that such display may encourage other legitimate claimants to make known their interest.

He was considered both an insider and outsider, caught in a racially divided environment and edged to the margins of American modernism despite significant early exhibitions at renowned institutions such as the Museum of Modern Art and features in national press outlets.

Despite significant early exhibitions at renowned institutions such as the Museum of Modern Art and features in national press outlets, Lawrence was considered both an insider and outsider, caught in a racially divided environment and edged to the margins of American modernism.

[8] An important Realist movement beyond France was the Peredvizhniki or Wanderers group in Russia who formed in the 1860s and organized exhibitions from 1871 included many realists such as genre artist Vasily Perov, landscape artists Ivan Shishkin, Alexei Savrasov, and Arkhip Kuindzhi, portraitist Ivan Kramskoy, war artist Vasily Vereshchagin, historical artist Vasily Surikov and, especially, Ilya Repin, who is considered by many to be the most renowned Russian artist of the 19th century.

For the first time, their work is brought together in an exhibition considering the birth of art photography, featuring striking portraits of sitters such as Charles Darwin, Alice Liddell, Dante Gabriel Rossetti, Thomas Carlyle, George Frederick Watts, Ellen Terry and Alfred, Lord Tennyson.

As Robert Slifkin notes in his essay written for the exhibition catalogue: «while Roszak certainly identified himself first and foremost as a sculptor, coming of age as an artist when such medium - specific monikers were fundamental to aesthetic practices, he consistently produced finished drawings... that can not be considered ancillary to any specific sculpture... A relentlessly productive artist, Roszak invested all of his creative practice with equal vigor and intensity.

Through these exhibitions and other activities, such us talk, workshops and performances, the Fondazione Memmo aims to support these institutions, which are considered vital in the maintenance and development of the contemporary visual arts and culture in Rome.

That said, you can also find artworks that speak to you and still have investment potential if you consider some key market indicators such as exhibition history, gallery representation, auction results, and recent press or publications.

IMMA has included the artist in landmark exhibitions such as The Moderns (2010 - 2011) ensuring that her work continues to be considered within the canon of Irish and international Modernism.

Different curatorial models including solo and group exhibitions, film series, archives and commissions were considered and various contexts such as the museum, galleries or festivals were examined.

The Weather Makers will present three large - scale video works alongside a new print series, weaving together myth and metaphor with scientific research and new digital technologies, The exhibition asks the viewer to consider what the future might look like if we continue on our current trajectory of planetary pillaging and consumption, and why we have allowed ourselves to arrive at such a moment of global environmental crisis.

Loosely inspired by the liminality — the interfacing of the threshold between two planes — of such an imagined space, Indian artist Surendran Nair's new body of work in «Cuckoonebulopolis: (Flora and) Fauna,» presented in the artist's first solo exhibition at Aicon Gallery, explores notions of indeterminacy and ambiguity, while intending to push the viewer to consider new hypothetical realms of possibilities.»

But over the past several years, in what could be considered a «digital media art» vogue, the exhibitions, galleries, and collections of today, such as Dot Dash 3, Vngravity, Daata Editions, and Sedition, have increasingly moved — sometimes entirely — into virtual marketplaces.

The exhibition is not about new forms of art, but as these difficult and contradictory ideas about humanity sink in, older forms such as sculpture, ceramics and painting are as quick to embrace and consider the new world as performance, video and computer animation.

The exhibition considers questions specific to our time such as: «How can we navigate the space between the digital and the physical?»

Nine times out of ten when we are considering an unfamiliar artist for exhibition at the gallery they have come recommended from artists or gallerists we have worked with in the past or through due diligence were discovered in the archives of web based artist registries such as BAC.org, White Columns or Perogi among others.

The Museum's Art Program features some important figures of contemporary art, such as David Hockney, whose exhibition is considered by the critics as one of the best in the year; Claes Oldenburg; or Egon Schiele.

Ferguson's exacting and conceptually ambitious exhibition will consider the possibility of rigorous and intentional composition in the work of such prominent contemporary photographers as Stan Douglas, Annette Kelm, Barbara Probst, Jeff Wall, and Christopher Williams.

This weekend course will include a strong practical element, in which participants will consider crucial questions such as the relationship between language, style and individual works of art, and what types of judgement are involved in reviewing exhibitions.

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.

Iconic figures such as Frank Auerbach and Leon Kossoff are presented next to other established, mid-career and emerging artists such as Gary Wragg, Phoebe Unwin and Joella Wheatley revealing intriguing, surprising connections, contrasts and underlying preoccupations.The exhibition brings together a diverse range of artists whose achievements arise from protracted periods of time spent in their studios, looking, considering, making, revising and finally producing richly complex works of art.

The pioneering exhibition program at artist - run space Randolph Street Gallery (founded 1979) allowed many of the artists we now consider Chicago's finest, such as Jeanne Dunning, Iñigo Manglano - Ovalle, Dan Peterman, and Tony Tasset, both to exchange ideas and to position their works in a broader social and cultural context.

Though Pop artists did not consider themselves as being a part of a unified movement, the exhibition will include over 50 works from such artists as: Jasper Johns, Jim Dine, Claes Oldenburg, Tom Wesselmann and lesser - known names such as Red Grooms and HC Westermann who defined and gave intellectual substance to the genre.

The exhibition's title means «supplementary» or «accessory» in Greek, yet the artist creates such a fluid dialogue between her own works and the cast of artifacts and relics that she from the museum that it's unclear which one should be considered supplemental.

Leslie Hewitt's Still Life Series also asks us to consider the relationship between text and image through the bringing together of vernacular snapshots with books such as James Baldwin's The Fire Next Time (where the title of the exhibition comes from).

Other roles and projects which I would consider important in the development of the art scene in Singapore would include my time at the ICA Singapore (2004 to 2008), when we organised many exhibitions which introduced practices and artists that were previously not widely seen in Singapore, such as On Kawara, Antony Gormley and Wolfgang Laib, among others.

The exhibition begins by considering the documentation of important performance works such as Yves Klein's Anthropometrie de l'epoque blue 1960, a live painting event using the bodies of naked women, as well as key 60s performances by Yayoi Kusama, Marta Minujín and Niki de Saint Phalle.

This exhibition invents such a format, by considering words through works of art which come together in «clusters» in order to explore, interrogate and expand their meaning.

The group exhibition Caza — a word that in Spanish means «searching» or «hunting,» and is a homophone of «casa» (home)-- is an attempt to respond to such questions, or an occasion to at least consider them.

Our curatorial team considers a number of factors, such as scope of the exhibition, availability of current scholarship on the subject, exhibition budget and schedule.