Sentences with phrase «through modern art history»

One work which the artist made from the same materials a tarp is normally made of, takes us back through Modern Art History by referencing a tradition of sculpture.

Not exact matches

Culinary Cinema returns with a spread of film delicacies including Bugs, in which Nordic Food Lab chef Ben Reade takes an entertaining journey through one of the last culinary taboos in the west; Sour Grapes, featuring a good humoured take on one of the most impressive wine frauds in modern history; and Barista (above), providing an enlightening and intense glimpse into the art of producing a flawless cup of coffee.

Its facilities offer a tour through the Peruvian history — with its colonial carvings, paintings from the Cusco Art School, as well as modern elements with unique touches of the Andes.

The Deponia games are arguably my favorite modern point and click titles, packing in a beautiful art style with a great sense of humor and fun story that centres around the biggest douchbag in history, a character who somehow manages to keep you playing through his adventures despite how big of a prat he is.

And because it's by Caro, and because he's now dead (R.I.P.), and because it's a piece of art history merchandising already, and because it's the prestigious Pace Gallery; because of all this and more, and for no reason due to its inherent value, since it transparently has none, unless you view it through a thick haze of sentimental regret for simpler and more certain times in abstract art; this pathetic little piece of twaddle has become a luxury commodity, imbued with all the myths of modernism, reflecting back at us our own «good - housekeeping - modern - but - weren't - we - ever - so - radical - back - in - the - sixties» taste.

Apsara DiQuinzio, our Curator of Modern and Contemporary Art, and Phyllis C. Wattis, MATRIX Curator, has a number of wonderful small - scale MATRIX shows in the works, and we are doing several borrowed solo exhibitions that are emblematic of the kind of art that we love, such as a survey of Ana Mendieta's films [Covered in Time and History: The Films of Ana Mendieta, on view November 9, 2016, through February 12, 201Art, and Phyllis C. Wattis, MATRIX Curator, has a number of wonderful small - scale MATRIX shows in the works, and we are doing several borrowed solo exhibitions that are emblematic of the kind of art that we love, such as a survey of Ana Mendieta's films [Covered in Time and History: The Films of Ana Mendieta, on view November 9, 2016, through February 12, 201art that we love, such as a survey of Ana Mendieta's films [Covered in Time and History: The Films of Ana Mendieta, on view November 9, 2016, through February 12, 2017].

Through the works of Motherwell and his colleagues, as well as the archival materials assembled here, the exhibition makes clear how intricately woven the history of Hunter's art department is through the story of modern art in NeThrough the works of Motherwell and his colleagues, as well as the archival materials assembled here, the exhibition makes clear how intricately woven the history of Hunter's art department is through the story of modern art in Nethrough the story of modern art in New York.

On view June 25 through Oct. 1, Paint the Revolution: Mexican Modernism, 1910 — 1950 offers its own sweeping history of Mexico's emergence as a modern art center.

Reading like a who's who of modern artists, this catalog retells the history of 20th - century art through jewels.

Rosenberg's idea of painting as «action», of «becoming» through «doing», is returned to us by Johns as an activity of undoings — undoing the myriad signs given us by the modern world or the history of art.

Conceptual Art Explore the fundamentals of the Modern's permanent collection through these chronological gallery talks led by scholars in art and art histoArt Explore the fundamentals of the Modern's permanent collection through these chronological gallery talks led by scholars in art and art histoart and art histoart history.

Nivedita Menon.Economic and Political Weekly, November 26th, 2005 «Artists seek to fill 9/11 Voids», Christine Lagorio, CBSnews.com, September 12, 2005 «This Mural Devours its Viewers,» Benjamin Genocchio, New York Times, NJ p. 11, July 24, 2005 «A Glimpse of New York from a Magic Carpet,» Dorit Cohen, NY Arts, May / June 2005 «Wall - to - Wall Drawings», Christopher Howard, Brooklyn Rail, July 2005 «Fatal Love», Courtney Martin, Flash Art May / June 2005, p. 94 «Telling Tales of History, Myth, Fantasy (and Real Life, Too)», Benjamin Genocchio, New York Times, Connecticut Desk, April 10, 2005 «The Artist's Tale», Benjamin Genocchio, New York Times, NJ April 10, 2005 «The Artist: Chitra Ganesh», Trikone Magazine, p. 11, March 2005 «Magical Flight Through Modern India,» Holland Cotter, New York Times, Friday March 4, 2005 «Brave New World,» Andrea Scott, Time Out NY, March 17 - 23, 2005

Yet filtering the history of modern art only through catastrophic events can not account for the subtle developments that lead to the profound confusion at the heart of contemporary art.

This reinstallation of the Chrysler Museum's McKinnon Galleries highlights pieces in the Museum's permanent collection through an examination of differing narratives about the history of modern and contemporary art.

Wondrous the metaphor for cultural wipeout extracted by the same Huang Yong Ping from a glop of paper that had held the history of Chinese painting until run through a washing machine (The History of Chinese Art and A Concise History of Modern Painting Washed in a Washing Machine for Two Minutes, 1987history of Chinese painting until run through a washing machine (The History of Chinese Art and A Concise History of Modern Painting Washed in a Washing Machine for Two Minutes, 1987History of Chinese Art and A Concise History of Modern Painting Washed in a Washing Machine for Two Minutes, 1987History of Modern Painting Washed in a Washing Machine for Two Minutes, 1987/1993).

The distinguished art critic Guy Brett, author of Through Our Own Eyes: Popular Art and Modern History (1986), explores key themes around a sense of place, the body and communication that emerge from Hatoum's range of woart critic Guy Brett, author of Through Our Own Eyes: Popular Art and Modern History (1986), explores key themes around a sense of place, the body and communication that emerge from Hatoum's range of woArt and Modern History (1986), explores key themes around a sense of place, the body and communication that emerge from Hatoum's range of work.

Through the works of Motherwell and his colleagues, as well as the archival materials assembled here, the exhibition makes clear how intricately interwoven the history of Hunter's art department and the story of modern art in New York are.

Engaging with the history and mission of The Arts Club itself, the two - part installation will bring together McElheny's film The Light Club of Vizcaya: A Women's Picture (2012) and a new site - specific installation titled The Club for Modern Fashions (2013), a constructed glass pavilion into which performers and guests are invited during the lunch hour, Tuesdays through Fridays, dressed in vintage attire from the 1920s to the 1970s — decades that signify the height of a modernist imperative across the cultures of fashion, design, and architecture.

Reminiscent of early forms of abstract modern art — a moment of convergence that did not actually occur in art history between cubism, constructivism and neoplasticism — her paintings emerge through a process of layering and accrual, with the finished work being «a concentrate of the many paintings underneath».

Drawing a connection between the development of Modern Art and Living History, particularly as part of research she conducted on the Rockefeller family, who built the Museum of Modern Art and Colonial Williamsburg simultaneously, Smith traces alternate lineages of abstract art and social practices through common everyday things of the paArt and Living History, particularly as part of research she conducted on the Rockefeller family, who built the Museum of Modern Art and Colonial Williamsburg simultaneously, Smith traces alternate lineages of abstract art and social practices through common everyday things of the paArt and Colonial Williamsburg simultaneously, Smith traces alternate lineages of abstract art and social practices through common everyday things of the paart and social practices through common everyday things of the past.

Eight years of preparation went into crafting «WACK,» the first comprehensive effort to correct modern art history's shameful gender bias, focusing on work that emerged from the feminist art movement of 1965 through the 1980s and organized by theme.

Each work becomes its own re-telling of the history of abstraction, addressing the breakdown in communication between artist and viewer, and instead creating a new means through which an understanding of Modern art can be reached.

2010 3 minute wonder series, Broadcast commission, Channel 4 (27,28,29,30 Sept; 18, 19, 20, 21 Oct) 06.2010 Persistence of Vision, FACT, Liverpool, UK 05.2010 Steps into the arcane, Kunstmuseum Thurgau, Switzerland 05.2010 It has to be this way ², National Gallery of Denmark, Copenhagen [commissioned solo show] 03.2010 Hands on, (curated by John Hilliard) Galerie Raum Mit Licht, Vienna, Austria 02.2010 Depatterrn, Galleri Erik Steen, Oslo, Norway 10.2009 Performance, Film Weekend: The Jarman Award at KunstHalle, Zurich, Switzerland 09.2009 Performance, Whitechapel Gallery, London, UK06.2009 Mostravideo, Itau Cultural Institute, Sao Paulo, Brazil 02.2009 Altermodern, Fourth Tate Triennial, Tate Britain, UK 01.2009 It has to be this way, Matt's Gallery, London [commissiond solo show] 12.2008 Performance, Event Horizon, Royal Academy of Art [commissioned solo show] 06.2008 Performance, Happy Hand, British Film Institute, London, UK 10.2007 Cinemart, The Auditorium, Rome, Italy 09.2007 Foreign Bodies, White Box, New York, USA 07.2007 Swallowing Black Maria, Smart Project Space, Amsterdam [commissioned solo show] 02.2007 The Believers, Touring show to five cities in Norway, with performances in Stavanger, Forde and Bergen 09.2006 The truth was always there, The Collection, Lincoln [commissioned solo show] 07.2006 UBS Opening, Tate Modern (with Laurie Simmons, Guerilla Girls etc), UK 05.2006 Performance, Human Camera, Mali Salon, Rijeka, Croatia (solo show) 05.2006 I can't tell you, Grundy Gallery, Blackpool [commissioned solo show] 04.2006 Metropolis Rise, CQL Design Centre, Shanghai; DIAF 2006 @ 798 Space, Beijing, China 04.2006 Performance, Inside, Great Eastern Hotel, Masonic Temple, London, UK 03.2006 Performance, Don't Look Through Me, Y Theatre, Leicester, UK 03.2006 Don't look through me, City Gallery Leicester [commissioned solo show] 03.2006 Performance, Screening at Witte de With / Tent, Rotterdam, Holland 03.2006 John Skies or Sally Swims, UKS Gallery, Oslo, Norway 02.2006 Wandering Rocks, Gimpel Fils Gallery, London 11.2005 Image in Me, Market Gallery, Glasgow (solo show) 10.2005 Eyes of Others, Gallery of Photography, Dublin [commissioned solo show] 10.2005 Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK 09.2005 I saw the light, Gasworks Gallery, London [commissioned solo show] 09.2004 Adam, Smart Projects, Amsterdam, Holland 11.2004 Mind the Gap, La Friche, Triangle, Marseille, France 08.2004 Shattered Love, Keith Talent Gallery, London 04.2004 Eating at Another's Table, Metropole Galleries, Folkestone (performance / exhibition) 04.2004 Tonight, Studio Voltaire, London (curated by Paul O'Neill) 03.2004 Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard) 03.2004 Mesmer, Temporarycontemporary, London 02.2004 Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson / Craighead, S Mark Gubb) 09.2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt) 09.2003 Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum) 09.2003 You said that without moving your lips, Limerick City Gallery, Ireland (solo show) 08.2003 Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show) 04.2003 A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass) 01.2003 The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths) 09.2002 History Revision, Plymouth Arts Centre (including Terry Atkinson) 06.2002 Nausea: encounters with ugliness, London Print Studio 04.2002 Dramatic Events, Kent Institute of Art and Design 03.2002 Photoscoptocus, Camden Lock / Henley - on - Thames (Public commission) 03.2002 Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson) 08.2001 Trinity College, Zwemmer Gallery, London 05.2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, «Lindsay Seers, Artist's Eye», Rory Logsdail) 03.2001 For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show] 02.2001 Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith) 09.2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown) 10.2000 Assembly, Stepney City, London 07.2000 A Shot In The Head, Lisson Gallery, London 07.2000 Unfound, Chisenhale Gallery, London 06.2000 City Projects, Artomatic, London (with Jemima Brown, Marcel Price) 05.2000 The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher) 05.2000 On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson) 09.1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall) 07.1999 Quotidian, Paper Bag Factory (curated by Julia Lancaster) 06.1999 Autocannibal, Laure Genillard Gallery, London (solo show) 04.1999 Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean) 10.1998 Multiples, Temple Bar Gallery, Dublin 09.1998 Cannibal, Old Museum Art Centre, Belfast (solo show) 08.1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin 11.1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London 10.1996 Ghost, ACAVA Open Studios, Denmark St, London 09.1996 Ad Hoc, London ArThrough Me, Y Theatre, Leicester, UK 03.2006 Don't look through me, City Gallery Leicester [commissioned solo show] 03.2006 Performance, Screening at Witte de With / Tent, Rotterdam, Holland 03.2006 John Skies or Sally Swims, UKS Gallery, Oslo, Norway 02.2006 Wandering Rocks, Gimpel Fils Gallery, London 11.2005 Image in Me, Market Gallery, Glasgow (solo show) 10.2005 Eyes of Others, Gallery of Photography, Dublin [commissioned solo show] 10.2005 Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK 09.2005 I saw the light, Gasworks Gallery, London [commissioned solo show] 09.2004 Adam, Smart Projects, Amsterdam, Holland 11.2004 Mind the Gap, La Friche, Triangle, Marseille, France 08.2004 Shattered Love, Keith Talent Gallery, London 04.2004 Eating at Another's Table, Metropole Galleries, Folkestone (performance / exhibition) 04.2004 Tonight, Studio Voltaire, London (curated by Paul O'Neill) 03.2004 Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard) 03.2004 Mesmer, Temporarycontemporary, London 02.2004 Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson / Craighead, S Mark Gubb) 09.2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt) 09.2003 Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum) 09.2003 You said that without moving your lips, Limerick City Gallery, Ireland (solo show) 08.2003 Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show) 04.2003 A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass) 01.2003 The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths) 09.2002 History Revision, Plymouth Arts Centre (including Terry Atkinson) 06.2002 Nausea: encounters with ugliness, London Print Studio 04.2002 Dramatic Events, Kent Institute of Art and Design 03.2002 Photoscoptocus, Camden Lock / Henley - on - Thames (Public commission) 03.2002 Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson) 08.2001 Trinity College, Zwemmer Gallery, London 05.2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, «Lindsay Seers, Artist's Eye», Rory Logsdail) 03.2001 For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show] 02.2001 Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith) 09.2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown) 10.2000 Assembly, Stepney City, London 07.2000 A Shot In The Head, Lisson Gallery, London 07.2000 Unfound, Chisenhale Gallery, London 06.2000 City Projects, Artomatic, London (with Jemima Brown, Marcel Price) 05.2000 The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher) 05.2000 On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson) 09.1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall) 07.1999 Quotidian, Paper Bag Factory (curated by Julia Lancaster) 06.1999 Autocannibal, Laure Genillard Gallery, London (solo show) 04.1999 Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean) 10.1998 Multiples, Temple Bar Gallery, Dublin 09.1998 Cannibal, Old Museum Art Centre, Belfast (solo show) 08.1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin 11.1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London 10.1996 Ghost, ACAVA Open Studios, Denmark St, London 09.1996 Ad Hoc, London Arthrough me, City Gallery Leicester [commissioned solo show] 03.2006 Performance, Screening at Witte de With / Tent, Rotterdam, Holland 03.2006 John Skies or Sally Swims, UKS Gallery, Oslo, Norway 02.2006 Wandering Rocks, Gimpel Fils Gallery, London 11.2005 Image in Me, Market Gallery, Glasgow (solo show) 10.2005 Eyes of Others, Gallery of Photography, Dublin [commissioned solo show] 10.2005 Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK 09.2005 I saw the light, Gasworks Gallery, London [commissioned solo show] 09.2004 Adam, Smart Projects, Amsterdam, Holland 11.2004 Mind the Gap, La Friche, Triangle, Marseille, France 08.2004 Shattered Love, Keith Talent Gallery, London 04.2004 Eating at Another's Table, Metropole Galleries, Folkestone (performance / exhibition) 04.2004 Tonight, Studio Voltaire, London (curated by Paul O'Neill) 03.2004 Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard) 03.2004 Mesmer, Temporarycontemporary, London 02.2004 Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson / Craighead, S Mark Gubb) 09.2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt) 09.2003 Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum) 09.2003 You said that without moving your lips, Limerick City Gallery, Ireland (solo show) 08.2003 Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show) 04.2003 A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass) 01.2003 The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths) 09.2002 History Revision, Plymouth Arts Centre (including Terry Atkinson) 06.2002 Nausea: encounters with ugliness, London Print Studio 04.2002 Dramatic Events, Kent Institute of Art and Design 03.2002 Photoscoptocus, Camden Lock / Henley - on - Thames (Public commission) 03.2002 Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson) 08.2001 Trinity College, Zwemmer Gallery, London 05.2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, «Lindsay Seers, Artist's Eye», Rory Logsdail) 03.2001 For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show] 02.2001 Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith) 09.2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown) 10.2000 Assembly, Stepney City, London 07.2000 A Shot In The Head, Lisson Gallery, London 07.2000 Unfound, Chisenhale Gallery, London 06.2000 City Projects, Artomatic, London (with Jemima Brown, Marcel Price) 05.2000 The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher) 05.2000 On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson) 09.1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall) 07.1999 Quotidian, Paper Bag Factory (curated by Julia Lancaster) 06.1999 Autocannibal, Laure Genillard Gallery, London (solo show) 04.1999 Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean) 10.1998 Multiples, Temple Bar Gallery, Dublin 09.1998 Cannibal, Old Museum Art Centre, Belfast (solo show) 08.1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin 11.1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London 10.1996 Ghost, ACAVA Open Studios, Denmark St, London 09.1996 Ad Hoc, London Artforms.

Titled «Human Interest,» this installation, which opened in April and will remain up until next February, treats the portrait as a lens through which to view both the unfolding of modern American art and the history of the Whitney collection itself.

Xico Greenwald considers the political history of Morandi's paintings from the 1930s on view at The Center for Italian Modern Art (CIMA), New York, through June 25, 2016.

Documentary and portrait photography from the collection The Museum of Contemporary Art, Oslo The End of an Age Gemeentemuseum, The Hague 2016 West Concourse Gallery, National Gallery of Art, Washington D.C. Strange and Familiar: Britain as Revealed by International Photographers Manchester Art Gallery, Manchester Rudin Prize for Emerging Photographers Norton Museum of Art, West Palm Beach Nude: Art from the Tate collection Art Gallery of New South Wales, Sydney Intra-Action: Women Artists from the Harn Collection Harn Museum of Art, Gainesville Underway SKMU Sorlandets Kunstmuseum, Kristiansand First Light: Rineke Dijkstra / Nan Goldin ICA, Boston Who Shot Sports: A Photographic History, 1843 to the Present The Brooklyn Museum, New York Invisible Adversaries, Marieluise Hessel Collection Hessel Museum of Art, Annandale - on - Hudson, New York ENERGY FLASH: The Rave Movement MUHKA — Museum van Hedendaagse Kunst Antwerp, Antwerp Counterpoints: Photography Through the Lens of Toronto Collections Justina M Barnicke Gallery, University of Toronto, Toronto Art Alive Festival Louisiana Museum of Modern Art, Humlebæk Idiosyncrasy: Anchovies Dream of an Olive Mausoleum Centro de Artes Visuales - Fundación Helga de Alvear, Cáceres Portrait De L'artiste En Alter FRAC Haute - Normandie, Sotteville - lès - Rouen Private Exposure me Collectors Room, Berlin On Paper: Picturing Painting The Baltimore Museum of Art, Baltimore Strange and Familiar: Britain as Revealed by International Photographers Barbican Art Gallery, London Botticelli Re-imagined The V&A London Queensize Museum Arnhem, Arnhem A quoi tient la beauté des étreintes FRAC - Auvergne, Clermont Ferrand Fire under snow Louisiana Museum of Modern Art, Humlebæk 2015

«Making Art Histories: On the Trail of David Park,» at the San Francisco Museum of Modern Art» through Feb. 24, is, happily, an example of an in - house exhibition that satisfies on several levels.

In 2007 the Museum of Modern Art in New York organised an exhibition with great impact, titled The Painter's Etchings, Freud's place in postwar art history admitted through a side - door rather than placed in the canArt in New York organised an exhibition with great impact, titled The Painter's Etchings, Freud's place in postwar art history admitted through a side - door rather than placed in the canart history admitted through a side - door rather than placed in the canon.

During that time, Guyton pioneered a body of work that builds elegantly on key developments in the history of modern and contemporary art through the use of common technologies, such as the desktop computer, scanner, and printer.

2011 Postcards from the Edge, CRG Gallery, New York, US Litos Grafere, Danish Art Center Silkeborg Bad, Silkeborg, DE; Museum of Stavanger, NO Freeriding, East / West Galleries, Woman's University, Denton, Texas, US Sculpture in So Many Words: Text Pieces 1960 - 75, Ziehersmith, New York, US Intrusions, Galerie Michèle Chomette, Paris, FR Compagni Di Viaggio - Traveling Companions, Mestna Galerija Ljubliana, SI L'Insoutenable Légéreté de L'Être, Yvon Lambert, VIP Art Fair, Online Art Fair, New York, US Box is a Box is a Box, Librairie Florence Loewy, Paris, FR Drawn / Taped / Burned Abstraction on Paper, Kotonah Museum of Art, Kotonah, New York, US As Long as it Lasts, Galerie Sonja Junkers, Munich, DE Works from the Pentti Kouri Collection, Tracy Williams Ltd, New York, US Picasso: Guitars 1912 - 1914, Museum of Modern Art (MoMA), New York, US Berlin International Film Festival, various theaters around Potsdamer Platz, Berlin, DE Observadores - Revelaҫões, Trânsitos e Distâncias, Museu Colecção Berardo, Lisbon, PT Market Art Fair, The Royal Swedish Academy of Fine Arts, Stockholm, SE Feuille à Feuille, Musée de Vence, FR TextVideo / Female: Art after 60's, PKM Gallery, Seoul, KR Topography / Topography, Brooke Alexander Editions, New York, US Bidoun Project, Mercer Street, New York, US Temporary Stedelijk 2 - Making Histories: Changing Views of the Collection, The Temporary Stedelijk at the Stedelijk Museum, Amsterdam, NL Push Pull, Rijksmuseum, Amsterdam, NL Bild / Objekt: Neuere Amerikanische Kunst aus der Sammlung, Kunstmuseum Winterthur, Winterthur, CH Tod's Art Plus Drama Party 2011, Whitechapel Gallery, London, UK Shelf Ramp Wedge Bridge, Fitzroy Gallery, New York, US CLAP, Hessel Museum of Art, Annandale - on - Hudson, New York, US 100 Briques Pour Madagascar Œuvres Contemporaines, Hotel Marcel Dassault, Paris, FR Bomb 30th Anniversary Gala and Silent Auction, Capitale, New York, US Benefit Auction from the Icelandic Wetlands, The Culture House, Reykjavik, IS Locations, Paula Cooper Gallery, New York, US As Long as it Lasts, Arratia, Beer Gallery, Berlin, DE After Hours: Murals on the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvedere.

Now on view at the Museum of Modern Art, this addicting and idiosyncratic 13 minute film explores various creations myths, through a dizzying display of modern and ancient artifacts and images which open and close in windows on the screen, set against a hip hop beat and spoken word poetry on the origins of life, in some ways taking aim at the history and science of anthropological collecModern Art, this addicting and idiosyncratic 13 minute film explores various creations myths, through a dizzying display of modern and ancient artifacts and images which open and close in windows on the screen, set against a hip hop beat and spoken word poetry on the origins of life, in some ways taking aim at the history and science of anthropological collecmodern and ancient artifacts and images which open and close in windows on the screen, set against a hip hop beat and spoken word poetry on the origins of life, in some ways taking aim at the history and science of anthropological collections.

Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art, Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.

★ Museum of Modern Art: «A World of Its Own: Photographic Practices in the Studio» (through Oct. 5) This mostly lively if repetitive overview traces the history of photography as the Modern never has — with images taken in the studio rather than out in the world.

Postcards From The Edge, Metro Pictures, New York, US New York / New Drawing 1946 - 2007, Museo de Arte Contemporáneo Esteban Vicente, Segovia, ES Monuments With A Horizon Line II, Buchmann Galerie, Berlin, DE Desenhos [Drawings]: A-Z, Museu da Cidade, Pavilhão Preto, Lisbon, PT The Porn Identity, Kunsthalle Wien, Vienna, AT A Bit of Matter And A Little Bit More, screening Performatik 09, Cultuurcentrum Strombeek and Performatik, Brussels, BE Regift, The Swiss Institute, New York, US Cut & Paste, Galleri Susanne Ottesen, Copenhagen, DK Down To Earth (Ceramics), Cultuurcentrum Strombeek, Grimbergen, BE Double 40 Jahre Kabinett für Aktuelle Kunst, Bremerhaven, MMK, Frankfurt, DE The First Stop on the Super Highway, Nam June Paik Art Center, Gyeonggi - do, KR Feedbackstage, Galerie Thomas Schulte, Berlin, DE Sharjah Biennial 9: Provisions For The Future (curated by Isabel Carlos), Sharjah Arts Museum, Sharjah, UAE Two in One Contemporary Art from Witte De With & De Appel, Christie's, Amsterdam, NL 40th Anniversary Benefit Exhibition, White Columns, New York, USA Écritures Silencieuses, curated by Herve Mikaeloff, L'Éspace Louis Vuitton, Paris, FR Carnival Within - An Exhibition Made in America, curated by Sabine Russ, Gregory Volk, Uferhallen, BE Espèces d'Espaces, Yvon Lambert, New York, US Take The Money And Run, Brouwergracht 196, Appel, Amsterdam, NL Double Participation, Museum für Moderne Kunst, Frankfurt / Main, DE Beginnings, Middles, And Ends (cur.Gianni Jetzer), Christine Koenig Galerie, Vienna, AT Dematerialised: Jack Wendler Gallery 1971 to 1974, curated by Teresa Gleadowe, Chelsea Space, London, UK Time As Matter, MACBA, Barcelona, ES 15 Years of Collecting Against the Grain, Kunstmuseum Wolfsburg, Wolfsburg, DE Artist Rooms Tate St Ives Summer Season, Tate St.Ives, UK Au Pied De La Lettre, Centre d'Art Contemporain, Chamarande, FR Art - Athina, Galerie Hubert Winter, Faliro Pavillion, Athens, GRSerralves 2009 The Collection: An Exhibition in Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrinth.

Featuring rare works by Pablo Picasso, Andy Warhol, and Roy Lichtenstein in addition to pieces by contemporaries Thalen & Thalen, Gino Miles, Chris Bracey and David Spiller, Silver, Gold, and Bold invites viewers to explore a history of modern art through the eyes of some of the generation's greatests — from decades past to present — all of whom re-contextualized their respective mediums in profoundly personal ways.

Imagine, for a minute, a history of modern art told only through still lifes of flowers, a subject precariously close to kitsch.

★ Frick Collection: «Mantegna to Matisse: Master Drawings From the Courtauld Gallery» (through Jan. 27) This show of 58 drawings from a London museum and institute of art history covers a lot of ground — namely, the Renaissance, Baroque and Modern periods.

Spectacles without Objects explores — through text, images and sound recordings — specific occurrences of utopian performances in the past, way before the XXth century, before the moment Modern Art History usually assigns to the beginnings of performance aArt History usually assigns to the beginnings of performance artart.

Bruce Grenville, Senior Curator of the Vancouver Art Gallery, said: «The MashUp exhibition and publication trace a distinct path through the history of modern and contemporary art and visual culture, in response to a considerable void in the scholarship on this important subjeArt Gallery, said: «The MashUp exhibition and publication trace a distinct path through the history of modern and contemporary art and visual culture, in response to a considerable void in the scholarship on this important subjeart and visual culture, in response to a considerable void in the scholarship on this important subject.

«Throughout my education, I was trying to come to terms with the fact that in this entire history of modern art there was nobody who looked like me or had a name that sounded like mine, that it was a very European history,» Aram says in an interview at the Modern Art Museum of Fort Worth, where his latest show is running through Jumodern art there was nobody who looked like me or had a name that sounded like mine, that it was a very European history,» Aram says in an interview at the Modern Art Museum of Fort Worth, where his latest show is running through June art there was nobody who looked like me or had a name that sounded like mine, that it was a very European history,» Aram says in an interview at the Modern Art Museum of Fort Worth, where his latest show is running through JuModern Art Museum of Fort Worth, where his latest show is running through June Art Museum of Fort Worth, where his latest show is running through June 17.

Ashton notes «because Tàpies is a copious commentator, his sources are well known» ranging «over the whole of literature, including origin myths from East and West, philosophy from ancient to modern, art history from the caves through the twentieth century, poetry, magic manuals, and daily newspapers.»

«Through her track record of innovative exhibitions at the Mildred Lane Kemper Art Museum and Wexner Center for the Arts, Catharina has demonstrated distinctive scholarship and a vision for the history and future of contemporary art,» said Roxana Marcoci, Curator, Department of Photography at the Museum of Modern Art, New YoArt Museum and Wexner Center for the Arts, Catharina has demonstrated distinctive scholarship and a vision for the history and future of contemporary art,» said Roxana Marcoci, Curator, Department of Photography at the Museum of Modern Art, New Yoart,» said Roxana Marcoci, Curator, Department of Photography at the Museum of Modern Art, New YoArt, New York.

His books include Scene jezika [Scenes of language](Belgrade, 1989), Pas Tout (Buffalo, 1994), Prolegomena za analitičku estetiku [Prolegomena for analytical aesthetics](Novi Sad, 1995), Postmoderna [Postmodernism](Belgrade, 1995), Asimetrični drugi [The asymmetrical other](Novi Sad, 1996), Estetika apstraktnog slikarstva [Aesthetics of abstract painting](Belgrade, 1998), Pojmovnik moderne i postmoderne likovne umetnosti i teorije posle 1950 [Glossary of modern and post-modern visual arts and theory after 1950](Belgrade and Novi Sad, 1999), Paragrami tela / figure [Paragrams of body / figure](Belgrade, 2001), Anatomija angelova [Anatomy of angels](Ljubljana, 2001), Figura, askeza in perverzija [Figure, asceticism and perversion](Koper, 2001), Martek — Fatalne figure umjetnika: Eseji o umjetnosti i kulturi XX stoljeća u Jugoistočnoj, Istočnoj i Srednjoj Europi kroz djelovanje umjetnika Vlade Marteka [Martek — Fatal figures of the artist: essays on 20th - century art and culture in South - Eastern, Eastern and Central Europe through the work of Vlado Martek](Zagreb, 2002), Impossible Histories — Historical Avant - gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 — 1991 (Cambridge Mass, 2003), Politike slikarstva [The politics of painting](Koper, 2004), Pojmovnik suvremene umjetnosti [Glossary of contemporary art](Zagreb and Ghent, 2005), Konceptualna umetnost [Conceptual art](Novi Sad, 2007), Epistemology of Art (Belgrade, 2008) etart and culture in South - Eastern, Eastern and Central Europe through the work of Vlado Martek](Zagreb, 2002), Impossible Histories — Historical Avant - gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 — 1991 (Cambridge Mass, 2003), Politike slikarstva [The politics of painting](Koper, 2004), Pojmovnik suvremene umjetnosti [Glossary of contemporary art](Zagreb and Ghent, 2005), Konceptualna umetnost [Conceptual art](Novi Sad, 2007), Epistemology of Art (Belgrade, 2008) etart](Zagreb and Ghent, 2005), Konceptualna umetnost [Conceptual art](Novi Sad, 2007), Epistemology of Art (Belgrade, 2008) etart](Novi Sad, 2007), Epistemology of Art (Belgrade, 2008) etArt (Belgrade, 2008) etc..

Fundació Joan Miró Parc de Montjuic, s / n, 08038 Barcelona, Spain The Fundació Joan Miró and the Fundación BBVA present Endgame: Duchamp, Chess and the Avant - Garde, an exhibition curated by Manuel Segade that revisits the history of modern art through the lens of its relationship to chess.

Los Angeles Modern Auctions (LAMA) achieved the highest sale total in company history, realizing $ 5.28 million including commissions, with a sell - through rate of 90 % of the 386 lots offered in the February 23, 2014 Modern Art & Design auction.

Through its annual exhibitions, art history fellowships, and rich calendar of public programming, CIMA situates Italian modern art in a broad historic and cultural context, illuminating its continuing relevance to contemporary culture.

A comprehensive exhibition including over seventy - five paintings and works on paper, from the earliest phase of Murray's career in the 1960s through her most recent work was presented at the Museum of Modern Art in 2005 (only the fourth by a woman in the history of the Department of Painting and Sculpture a distinction previously given only to Louise Bourgeois, Lee Krasner and Helen Frankenthaler).

Published numerous works including The Meaning of Art (1931), Art Now (1933), Education Through Art (1943), A Concise History of Modern Painting (1959) and A Concise History of Modern Sculpture (1964).

Abstract Expressionism Explore the fundamentals of the Modern's permanent collection through these chronological gallery talks led by scholars in art and art history.

The museum is also in the midst of rethinking how it presents the history of Modern art through its world - class collection.