Sentences with phrase «time in a commercial gallery»

The exhibition presents a selection of the artist's rarely seen artworks articulated around the original Il Muro (The Wall), shown for the first time in a commercial gallery.

Not exact matches

Half of the artists have been in their 30s or younger, and more than one - third did not have an affiliation with a commercial gallery at the time of their MATRIX experience.

Showing in a commercial London gallery for the first time, Pasquali has created a large - scale, colourful, plastic cloud in Peckham's MOCA London, and filled Mayfair's Tornabuoni Art with a cross-section of her works, from her best - known pieces made with drinking straws, to a carpet of broom bristles, on which we sit to talk, during a break from installation.

Pieces of the history have been gathered before, most notably in Joellen Bard's «Tenth Street Days: The Co-ops of the 50's,» a small 1977 book about the formation of the D.I.Y and at times gonzo gallery district near Cooper Union largely built by artists banding together against commercial and critical indifference.

The model of the hermetic artist - genius in the studio who lives off a stipend from a wealthy commercial gallery and has a museum retrospective by the time she is thirty - five has been replaced by the model of artist as creative opportunity - maker and community - builder.

Fleming has exhibited internationally in public spaces, non-profit galleries, commercial galleries, and art institutions including Massachusetts Museum of Contemporary Art, Borusan Contemporary of Istanbul Turkey, National Film Museum of Frankfurt Germany, San Francisco Symphony, Colburn School of Music Los Angeles, University of California at Los Angeles, Hammer Museum Los Angeles, Creative Time New York City, University of Austin Texas, and 356 Mission Road Los Angeles.

proyectosLA is part of the Commercial Gallery Program of The Getty's Pacific Standard Time: LA / LA, Latin American and Latino Art in Los Angeles a far - reaching and ambitious exploration of art in the region in dialogue with Los Angeles.

One theme of the exhibition is mobility, made possible by commercial aviation at the time when Dwan founded her gallery in Los Angeles — only a few years before she owned and operated galleries on both coasts.

During that time she was part time registrar at a small commercial gallery in the LES, followed by a production intern at Creative Time, completed a fellowship at Independent Curators International and moved on to the Museum of the City of New York as their Registrar for Exhibitions and Lotime she was part time registrar at a small commercial gallery in the LES, followed by a production intern at Creative Time, completed a fellowship at Independent Curators International and moved on to the Museum of the City of New York as their Registrar for Exhibitions and Lotime registrar at a small commercial gallery in the LES, followed by a production intern at Creative Time, completed a fellowship at Independent Curators International and moved on to the Museum of the City of New York as their Registrar for Exhibitions and LoTime, completed a fellowship at Independent Curators International and moved on to the Museum of the City of New York as their Registrar for Exhibitions and Loans.

At the same time, other studies suggest just three in ten of artists represented in commercial galleries are female and their work accounts for only 3 to 5 percent of major permanent collections in the U.S. and Europe.

First, the large - scale commercial gallery exhibition abc — which many consider to be effectively an art fair — is taking place again, this time making a collective effort to include off - spaces (not - for - profit ventures) in the presentation.

An excerpt from Time Out Bejing: ALTERNATIVE ART: TELESCOPE As a non-profit gallery, Telescope offers an alternative to commercial ones «As an artist, Telescope is my project, an art work in itself,» says James Elaine, the founder and curator of the Caochangdi - based space.

Leila Heller Gallery, which has spaces in New York and Dubai and is the region's largest commercial gallery space, is exhibiting at the fair for the firsGallery, which has spaces in New York and Dubai and is the region's largest commercial gallery space, is exhibiting at the fair for the firsgallery space, is exhibiting at the fair for the first time.

Collaboration, community, and support were entrenched in the ethos of the gallery, which gave exhibition opportunities and representation to many artists who were overlooked by mainstream museums and commercial galleries at that time.

Starting the post-summer gallery programme with a purposeful sense of immediacy, the gallery presents a group exhibition that is brief in time, of five artists, followed by a talk and discussion by Andrew Marsh on the role and position of the commercial art gallery today.

The concurrent exhibitions mark the first time R.H. Quaytman has shown in commercial gallery spaces since 2001.

The work that we were creating at that time was explicitly trying to undermine the commercial gallery museum's access with ephemeral performance art and posters on the wall and posters for the rat population of New York — stuff that undermined the pillars of values that were established in the art world.

in 1971 and New York's A.I.R Gallery was opened in 1972, providing exhibition space for women during a time when most commercial galleries showed the work of men.

He recently showed his work at a commercial art gallery for the first time in more than 40 years, at the Michael Rosenfeld Gallery, which has a history of championing African - American agallery for the first time in more than 40 years, at the Michael Rosenfeld Gallery, which has a history of championing African - American aGallery, which has a history of championing African - American artists.

That project closed after a planned two - year run, but Thomas reopened Pocket Utopia in 2012, this time as a commercial venture on the Lower East Side in partnership with the Upper East Side gallery C.G. Boerner.

She founded the Latela Art Gallery, voted DC's best Commercial Art Gallery in 2016, where she devotes her time as executive director managing artists, organizing exhibitions, and selling contemporary art.

Who Can Apply: Eligibility is limited to studio artists, artist teams, and independent curators who reside in King County, WA and are not represented by a commercial gallery at the time of application.

There was a time when Roman artists were well represented in the main commercial galleries and museums.

This is Roysdon's first exhibition with Higher Pictures and marks the first time she is showing her work in a commercial gallery context after nearly a decade of exhibiting internationally.

Already established as a highly successful commercial illustrator and having recently completed a full time artist residency at Gauntlet Gallery in San Francisco, where he was also a featured curator, Atomica Gallery is delighted to showcase Ireland's work in London for his highly anticipated debut solo exhibition.

We are offering the first work that Francis Bacon ever sold, from his first show at a commercial gallery, in which for the first time he depicts the human form.

One would expect that in the commercial gallery world the majority of your time is spent on business and a good amount of time, but a lesser amount of time, is spent on pure art matters.

At the same time, he was enjoying tremendous commercial success with sell - out exhibitions at the Gorry Gallery in Dublin, in 1992 and 1993, while still working out of his garden shed.

However, it was not until 1972 when Francis won the National Gallery «poster competition» when the gallery itself was celebrating its 150th anniversary that with the prize money he won, he was able to devote himself to being a full time artist, leaving behind over 20 years in a commercial sGallery «poster competition» when the gallery itself was celebrating its 150th anniversary that with the prize money he won, he was able to devote himself to being a full time artist, leaving behind over 20 years in a commercial sgallery itself was celebrating its 150th anniversary that with the prize money he won, he was able to devote himself to being a full time artist, leaving behind over 20 years in a commercial studios.

The gallery became one of the most influential of its generation for a reason that might sound strange in today's aggressively global commercial art world, fueled by fairs in every time zone.

Participation as Artistic Principle, Museum Morsbroich, Leverkusen Group Exhibition Curated by Asha Bukojemsky, Samuel Freeman gallery, Los Angeles You can tell I'm alive and well because I weep continuously, Knockdown Center, New York While I was also listening to David, Eleanor, Mariana, Delia, Genk, Jean, Mark, Pierre, Shima, Simon, Zin and Virginie, Criée centre of contemporary art, Curate by Felicia Atkinson, Julien Bismuth, Sophie Kaplan and Yann Sérandour, Rennes, France Commercial Break, Public Art Fund 40th Anniversary, Public Art Fund, New York 2016 Sequences Art Festival, 10th Anniversary at Marshall House, Reykjavik Breathing Space, Museum Arnhem, Netherlands 8688, curated by Diana Campbell Betancourt, Project 88, Colaba, Mumbai A Moment In Time, BolteLang, Zürich The Sun Placed in the Abyss, at Columbus Museum of Art, Columbus Sea, curated by Monika Kozioł, MOCAK, Museum of Contemporary Art, Krakow Group presentation at Artissima, Turin The Distance of a Day: New in Contemporary Art, curated by Rita Kersting, The Israel Museum, Jerusalem I will go where I don't belong, at Volcano Extravaganza, Stromboli Par tibi, Roma, nihil, Palatin Hill, Rome I»M WAITING FOR SOMEONE TO CALL ME, at Galeria Dawid Radziszewski, Warsaw Six Weeks, in Time, Henry Art Gallery, Seattle True Spirit, Galerie Allen, Paris Publish or Perish, Transmitter Gallery, Brooklyn, Ngallery, Los Angeles You can tell I'm alive and well because I weep continuously, Knockdown Center, New York While I was also listening to David, Eleanor, Mariana, Delia, Genk, Jean, Mark, Pierre, Shima, Simon, Zin and Virginie, Criée centre of contemporary art, Curate by Felicia Atkinson, Julien Bismuth, Sophie Kaplan and Yann Sérandour, Rennes, France Commercial Break, Public Art Fund 40th Anniversary, Public Art Fund, New York 2016 Sequences Art Festival, 10th Anniversary at Marshall House, Reykjavik Breathing Space, Museum Arnhem, Netherlands 8688, curated by Diana Campbell Betancourt, Project 88, Colaba, Mumbai A Moment In Time, BolteLang, Zürich The Sun Placed in the Abyss, at Columbus Museum of Art, Columbus Sea, curated by Monika Kozioł, MOCAK, Museum of Contemporary Art, Krakow Group presentation at Artissima, Turin The Distance of a Day: New in Contemporary Art, curated by Rita Kersting, The Israel Museum, Jerusalem I will go where I don't belong, at Volcano Extravaganza, Stromboli Par tibi, Roma, nihil, Palatin Hill, Rome I»M WAITING FOR SOMEONE TO CALL ME, at Galeria Dawid Radziszewski, Warsaw Six Weeks, in Time, Henry Art Gallery, Seattle True Spirit, Galerie Allen, Paris Publish or Perish, Transmitter Gallery, Brooklyn, New YoIn Time, BolteLang, Zürich The Sun Placed in the Abyss, at Columbus Museum of Art, Columbus Sea, curated by Monika Kozioł, MOCAK, Museum of Contemporary Art, Krakow Group presentation at Artissima, Turin The Distance of a Day: New in Contemporary Art, curated by Rita Kersting, The Israel Museum, Jerusalem I will go where I don't belong, at Volcano Extravaganza, Stromboli Par tibi, Roma, nihil, Palatin Hill, Rome I»M WAITING FOR SOMEONE TO CALL ME, at Galeria Dawid Radziszewski, Warsaw Six Weeks, in Time, Henry Art Gallery, Seattle True Spirit, Galerie Allen, Paris Publish or Perish, Transmitter Gallery, Brooklyn, New Yoin the Abyss, at Columbus Museum of Art, Columbus Sea, curated by Monika Kozioł, MOCAK, Museum of Contemporary Art, Krakow Group presentation at Artissima, Turin The Distance of a Day: New in Contemporary Art, curated by Rita Kersting, The Israel Museum, Jerusalem I will go where I don't belong, at Volcano Extravaganza, Stromboli Par tibi, Roma, nihil, Palatin Hill, Rome I»M WAITING FOR SOMEONE TO CALL ME, at Galeria Dawid Radziszewski, Warsaw Six Weeks, in Time, Henry Art Gallery, Seattle True Spirit, Galerie Allen, Paris Publish or Perish, Transmitter Gallery, Brooklyn, New Yoin Contemporary Art, curated by Rita Kersting, The Israel Museum, Jerusalem I will go where I don't belong, at Volcano Extravaganza, Stromboli Par tibi, Roma, nihil, Palatin Hill, Rome I»M WAITING FOR SOMEONE TO CALL ME, at Galeria Dawid Radziszewski, Warsaw Six Weeks, in Time, Henry Art Gallery, Seattle True Spirit, Galerie Allen, Paris Publish or Perish, Transmitter Gallery, Brooklyn, New Yoin Time, Henry Art Gallery, Seattle True Spirit, Galerie Allen, Paris Publish or Perish, Transmitter Gallery, Brooklyn, NGallery, Seattle True Spirit, Galerie Allen, Paris Publish or Perish, Transmitter Gallery, Brooklyn, NGallery, Brooklyn, New York

Arcadia Missa will be moving the majority of its gallery operations to Soho, London.After 4 years as a project space and a further 3 as a commercial gallery it is time to work in a different space, and a different location.

Many of the pictures in «Rhythms of Time,» her show at the Art League Gallery, depict commercial facades, their simple designs made complex by shadows and reflections.

After showing in the follow - up exhibition, New London Situation, in 1961, he was taken on by Marlborough, at that time the most prestigious commercial gallery in London.

In recent years Dzama has in fact expanded his reach, and embarked upon collaboration projects with artists from other fields: bands Arcade Fire and Department of Eagles; music video and commercial director Patrick Daughters; singer - songwriter Beck — for whom he designed two important albums; José Noé Suro's ceramic workshop in Guadalajara, Mexico; and artist Raymond Pettibon, with whom Dzama worked last year to produce the joint exhibition Let Us Compare Mythologies, presented for the first time at the David Zwirner Gallery in New YorIn recent years Dzama has in fact expanded his reach, and embarked upon collaboration projects with artists from other fields: bands Arcade Fire and Department of Eagles; music video and commercial director Patrick Daughters; singer - songwriter Beck — for whom he designed two important albums; José Noé Suro's ceramic workshop in Guadalajara, Mexico; and artist Raymond Pettibon, with whom Dzama worked last year to produce the joint exhibition Let Us Compare Mythologies, presented for the first time at the David Zwirner Gallery in New Yorin fact expanded his reach, and embarked upon collaboration projects with artists from other fields: bands Arcade Fire and Department of Eagles; music video and commercial director Patrick Daughters; singer - songwriter Beck — for whom he designed two important albums; José Noé Suro's ceramic workshop in Guadalajara, Mexico; and artist Raymond Pettibon, with whom Dzama worked last year to produce the joint exhibition Let Us Compare Mythologies, presented for the first time at the David Zwirner Gallery in New Yorin Guadalajara, Mexico; and artist Raymond Pettibon, with whom Dzama worked last year to produce the joint exhibition Let Us Compare Mythologies, presented for the first time at the David Zwirner Gallery in New Yorin New York.