Sentences with phrase «through exhibition form»

The forward progression of these dueling interests provided Martinez with a foundation from which to expand such concepts further through exhibition form.

Not exact matches

In common with most of its neighbours, the Luxor also competes for your non-gambling or dining buck, in this instance through two adjoining exhibitions, Bodies, about the human form, and Titanic, an intriguing take on the doomed voyage, featuring artefacts salvaged from the sunken vessel.

Reviewing a 2010 exhibition, Lance Esplund wrote that in Chaet's paintings, «light sparkles through porous forms, which wrap and twist together as if earth, ocean and sky were a single organism.»

This newly formed institution had a goal to present and document new art and its role in modern life through exhibitions, lectures, and other activities.

Presented through all of MUMA's recently designed galleries, the inaugural exhibition sees artists explore performative, media and event cultures, and the post-industrial architecture of the urban fringe, whilst others work with sound, light, sculpture, film, and painting in its diverse and expanded forms, offering a multi-sensory register of art and everyday life, from complex cultural perspectives.

The paintings and works on paper in this exhibition are highly skillful compositions that radiate color and articulate Lerner's experiences, both interior and exterior, through form, composition and color.

The exhibition is able to unfold, through so much original material, just how crucial the frequent critical dialogue and encouragement coming from Freilicher was in forming and supporting the daily lives and work of these poets.

Through their engagement with specific architectural forms, the works in the exhibition offer insights into distinct cultural contexts, histories and social struggles.

«The exhibition uses the theme of the figure to explore how John has time and again asked pressing questions about the political and social nature of our reality — through beautiful, humorous, and subversive forms.»

Since its inception 87 years ago, UMOCA has challenged and delighted visitors through its delivery of the contemporary arts in the form of compelling exhibitions, vital educational programs and community enrichment.

The focus of his first solo exhibition is the human form — organs, limbs and torsos are strewn about, arranged into impossible creatures, disfigured through collision and installed as highly aestheticized, meticulously polished piles of digitally mutilated forms.

Touchstone Gallery presents Figure 8 Plus 1, an exhibition focusing on human form through a variety of media.

The exhibition, which opens September 27 and continues through December 19, forms the final part of «Future of Nations,» 18th Street's yearlong examination of issues related to the 2008 presidential campaign.

From November 3, 2017, through February 18, 2018, the Guggenheim Museum will present Josef Albers in Mexico, an exhibition illuminating the relationship between the forms and design of pre-Columbian monuments and the art of Josef Albers (b. 1888, Bottrop, Germany; d. 1976, New Haven).

CPAC is dedicated to fostering the understanding and appreciation of excellent photography in all forms and concepts through exhibitions, education and community outreach.

Design Observer's OBlog recently highlighted Pratt Manhattan Gallery exhibition Graphic Advocacy: International Posters for the Digital Age 2001 - 2012 (through 8/28), which demonstrates the potency of the art form as a catalyst for social and political change...

Following presentations in Mexico, Colombia, and Ecuador, the exhibition is presented in Lima from August 15, 2017, through November 26, 2017, in a newly adapted form.

The exhibition continues across four dedicated rooms, tracing the evolution of Guston's forms through the 1960s until they are reduced to «the isolation of the single image.»

Group exhibitions include The New Human, Moderna Museet Malmö (touring to Moderna Museet, Stockholm, 2016); SALTWATER: A Theory of Thought Forms, 14th Istanbul Biennial (2015); 10th Shanghai Biennale (2014); In the Holocene, MIT List Visual Arts Center, Cambridge, Massachusetts (2012); Dancing Through Life, Centre Pompidou, Paris and Move: Art and Dance since the 60s, Haus der Kunst, Munich (2011).

The Kohn Gallery's latest exhibition, Engender, features 17 contemporary artists who are approaching a study of gender binaries through the classical form of painting.

All finalists» works will form a major exhibition on view at the Portrait Gallery from November 2, 2019, through September 6, 2020 and the subsequent national tour from October 2020 through January 2022.

By way of contrast, the artists represented in this exhibition exploit a purity of means, be that through line, color, or form, to create a complete, innocent, and at times savage, expression in the world.

Juxtaposing installation photographs, catalog essays, and contemporary press accounts, this book documents and analyzes twenty - five exhibitions from 1962 through 2002: Dylaby, New Realists, Primary Structures, Arte Povera + Azioni Povere, January 5 - 31, 1969, When Attitudes Become Form, 557,087, Information, Sonsbeek 71, Documenta 5, The Bulldozer Exhibition, The Times Square Show, A New Spirit in Painting, Les Immatériaux, Chambres d'Amis, Second Havana Biennial, Freeze, China / Avant - Garde, Magiciens de la Terre, Places with a Past, 1993 Whitney Biennial, Traffic, Cities on the Move, 24th Sao Paulo Biennial, and Documenta 11.

Ebony «The exhibition seeks to reflect [a] tendency towards shape - shifting, whether through complex relationships between linguistic and visual forms,» is a line that stood out to me in Stuart's catalogue essay.

The exhibition's chronological installation brings to light intriguing parallels between these three time periods, revealing dynamic through - threads within the artistic depiction of identity from 1912 to the present, such as the turn to language, symbolic attributes, and the metaphorical significance of color and form.

In his solo exhibition at Cecilia Brunson Projects, Oisín Byrne delves into this form through...

The exhibition, which opens July 12 and continues through September 13, forms the third installment of «Future of Nations,» 18th Street's yearlong examination of issues related to the 2008 presidential campaign.

Digital montage and geometric repetition at Rosewood By Jud Yalkut The two artists in concurrent exhibitions at the Rosewood Gallery through October 21 deal with fragments and impressions from nature that synthesize into new visionary forms.

Through the work of eight mentors and 11 UK - based emerging artists, the exhibition will expand on diaspora as a term, and forms part of the ICF and UAL's joint 22 - month Diaspora Platform project.

The exhibition's chronological installation reveals intriguing parallels between these three time periods, revealing dynamic through - threads within the artistic depiction of identity from 1912 to the present, such as the turn to language, symbolic attributes, and the metaphorical significance of color and form.

Unfolding in three parts, this exhibition examines the physical body through the lens of artists who have represented tactile figures and forms in vibrant ways to question how we experience ourselves in relation to others.

The exhibition explores the sense of place that is Fortitude Valley, Brisbane as it is evoked through the effect of people and time on the built form in that area.

The exhibition walks visitors through the history of NOMA, decade by decade, honoring the collectors and donors who helped to form the museum's permanent collection.

For the exhibition, Blake illuminates these new and evolving forms of representation and examines the implications these developments have had on art and social action through a curatorial approach that draws on their own preoccupation with themes of interracial desire, same - sex love, and racial and sexual bigotry.

The exhibition presents an experimental form of storytelling through a combination of video, photography, sculpture, drawing, and an artist's book, that examines the way narratives develop through geography, history, mythology, fiction and personal experience.

Together, the works in the exhibition employ a heterogeneous range of aesthetic strategies, often emphatically representing the city's inhabitants through forms of bold figuration, and foregrounding New York itself as a location of conflict and possibility.

The work in this exhibition is the result of shuttling these concerns between a historically specific order of matter, and the plasticity of its significance as it passes through various forms.

Through the work of artists in the permanent collection such as Martin Johnson Heade and Andy Warhol, as well as loans by contemporary artists such as Jessica Pezalla and Kendell Carter, the exhibition gives visitors new ways of relating to flowers through relationships to the human figure, scientific study, and moments when the floral form becomes ornamenThrough the work of artists in the permanent collection such as Martin Johnson Heade and Andy Warhol, as well as loans by contemporary artists such as Jessica Pezalla and Kendell Carter, the exhibition gives visitors new ways of relating to flowers through relationships to the human figure, scientific study, and moments when the floral form becomes ornamenthrough relationships to the human figure, scientific study, and moments when the floral form becomes ornamentation.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

These improvisational drawing classes — conducted by participants in all aspects of the International — form a programmatic thread, leading up to and through the exhibition.

This group exhibition explores this question through works that exploit machine and technology and use interactivity as a form of performance, while looking at the role that potentiality and destruction play within those experiences.

Most recently in 2012, the Delaware Art Museum organized an exhibition of her work exploring the subtleties of light and color through abstract two and three - dimensional forms and the artist's desire to make light «visible for its own sake.»

The exhibition reflects the exchanges between both art forms, and is curated on the premise that these exchanges should be experienced through visitor interaction and activation by performers.

Through a precise examination of this distinct form of artistic practice in works by artists ranging from John Cage to Sanford Biggers, this exhibition provides a unique perspective on the ways in which modern and contemporary artists have used language, objects, and images to forge social contracts with their publics.

Exhibitions such as Paint Things (January 27 — April 21, 2013) at deCordova Sculpture Park and Museum and Phantom Limb: Approaches to Painting Today (May 5 — October 21, 2012) at Museum of Contemporary Art Chicago have brought together artists working through resuscitated painting traditions to rebrand process, materiality, and form in ways that are not easily labeled.

Upcoming at Virginia Museum of Fine Arts Posing Beauty in African American Culture April 27 — July 26 This exhibition examines the contested ways in which African and African American beauty has been represented in historical and contemporary contexts through a diverse range of media, including photography, film, video, fashion, advertising, and other forms of popular culture such as music and the Internet.

At once static and dynamic, the book presents a journey through a series of landscapes, juxtaposed with a steadily spinning furniture form — that of the primary exhibition component, a set of colorful benches featuring ergonomics designed to heighten and transform physical and mental awareness.

SELECTED EXHIBITIONS 2017 — Catalina Island Museam, Avalon, California 2017 — New York Botanical garden, The Bronx, New York 2017 — Chihuly Sanctuary, The Fred & Pamela Buffett Cancer Centre 2017 — Crystal Bridges Museam of American Art, Bentonville, Arkansas 2016 Chihuly, Royal Ontario Museum, Toronto, Ontario, Canada 2016 Chihuly in the Garden, Atlanta Botanical Garden, Atlanta, Georgia 2015 Glass Art Garden, Toyama Glass Art Museum, Japan 2015 Chihuly Drawings, Museum of Glass, Tacoma, Washington 2014 Chihuly at Fairchild: A Garden of Glass, Fairchild Tropical Botanic Garden, Florida 2014 Ulysses Cylinders, Dublin Castle, Dublin 2014 Chihuly, Denver Botanic Gardens, Colorado 2014 Dale Chihuly: Beyond the Object, Halcyon Gallery, London 2013 Chihuly, Montreal Museum of Fine Arts, Canada 2012 Chihuly at the Virginia Museum of Fine Arts, Virginia Museum of Fine Arts, Richmond, Virginia 2012 Chihuly Garden and Glass, Seattle Center, Washington 2011 Chihuly, Halcyon Gallery, London 2011 Chihuly: Through the Looking Glass, Museum of Fine Arts, Boston, Massachusetts 2010 Chihuly at Cheekwood, Cheekwood Botanical Garden and Museum of Art, Nashville, Tennessee 2010 Chihuly at the Salk, Salk Institute for Biological Studies, La Jolla, California 2009 Making Worlds (group exhibition), Venice Biennale, Venice, Italy 2008 Chihuly at the de Young, de Young Museum and the Legion of Honor, San Francisco, California 2006 Chihuly at the New York Botanical Garden, New York Botanical Garden 2005 Gardens of Glass: Chihuly at Kew, Royal Botanic Gardens, Surrey, UK 2002 Chihuly 2002: Salt Lake Olympic Winter Games, Salt Lake Art Center, Salt Lake City, Utah 2001 Chihuly at the V&A, Victoria and Albert Museum, London 2000 Chihuly in Iceland: Form from Fire, Reykjavik Art Museum, Iceland 1999 Chihuly in the Light of Jerusalem 2000, Tower of David Museum of the History of Jerusalem, Jerusalem 1995 Chihuly Over Venice, Venice, Italy 1989 20th International Biennial, São Paulo, Brazil 1986 Dale Chihuly: Objets de Verre, Musée des Arts Décoratifs, Louvre, Paris

This exhibition examines the contested ways in which African and African American beauty has been represented in historical and contemporary contexts through a diverse range of media, including photography, film, video, fashion, advertising, and other forms of popular culture such as music and the Internet.

This past year the Museum presented 36 exhibitions and 630 films that showcased native fashion, presented the breadth of pop art icon Andy Warhol's prints, featured Rodin's brilliant human forms, introduced under - recognized African - American artists, and traveled the region and the globe through film.