Sentences with phrase «time in major museums»

When I co-curated «Freestyle» in 2001, with director Thelma Golden, we exhibited Mark Bradford, Kori Newkirk and Eric Wesley for the first time in a major museum context.

Not exact matches

Of course, Gareth, most of the pictures displayed in major museums that we consider to be tame were scandalous for their time.

«The first time we brought our small - town, somewhat sheltered kids together with the urban students — most of whom live in the shadows of Chicago's skyscrapers but have never once been to the heart of the Loop or a major museum — one of them pondered, «What are the real differences between life in Effingham and life in Chicago?»»

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My natural history photography has appeared in BBC Wildlife, National Wildlife, National Geographic Magazine, Ocean Realm, Sunset, People, Ranger Rick, Reader's Digest, Scuba Diving, Skin Diver, Scientific American, Nature, Science, New York Times, United Press International, USA Today, has been used in various advertising and publicity campaigns as well as by all of the major textbook publishing houses, is on exhibit in aquaria and museums around the world and is occasionally recognized in photographic competitions.

Major museum exhibitions include «Paintings 1975 — 1995,» Modern Art Museum of Fort Worth, Texas (opened 1995 at the Metropolitan Museum of Art, New York, traveled to the Modern Art Museum of Fort Worth, Kunstverein Düsseldorf, and Hayward Gallery, London in 1996); Irish Museum of Modern Art, Dublin, (2006, traveled to Tate Britain and Museo Nacional Centro de Arte Reina Sofia, Madrid); «Paintings: 1992 — 2007,» Yale Center for British Art, New Haven (2007, traveled to the Fitzwilliam Museum, Cambridge); «Time and Place, 2001 — 2010,» Museum of Modern Art Oxford (2010, traveled to De Pont Museum of Contemporary Art, Tilburg, The Netherlands, and San Diego Museum of Art, 2010 — 11); «Howard Hodgkin,» Fondation Bemberg, Toulouse, France (2013); and «Made in Mumbai,» Curator's Gallery at Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai (museum exhibitions include «Paintings 1975 — 1995,» Modern Art Museum of Fort Worth, Texas (opened 1995 at the Metropolitan Museum of Art, New York, traveled to the Modern Art Museum of Fort Worth, Kunstverein Düsseldorf, and Hayward Gallery, London in 1996); Irish Museum of Modern Art, Dublin, (2006, traveled to Tate Britain and Museo Nacional Centro de Arte Reina Sofia, Madrid); «Paintings: 1992 — 2007,» Yale Center for British Art, New Haven (2007, traveled to the Fitzwilliam Museum, Cambridge); «Time and Place, 2001 — 2010,» Museum of Modern Art Oxford (2010, traveled to De Pont Museum of Contemporary Art, Tilburg, The Netherlands, and San Diego Museum of Art, 2010 — 11); «Howard Hodgkin,» Fondation Bemberg, Toulouse, France (2013); and «Made in Mumbai,» Curator's Gallery at Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai (Museum of Fort Worth, Texas (opened 1995 at the Metropolitan Museum of Art, New York, traveled to the Modern Art Museum of Fort Worth, Kunstverein Düsseldorf, and Hayward Gallery, London in 1996); Irish Museum of Modern Art, Dublin, (2006, traveled to Tate Britain and Museo Nacional Centro de Arte Reina Sofia, Madrid); «Paintings: 1992 — 2007,» Yale Center for British Art, New Haven (2007, traveled to the Fitzwilliam Museum, Cambridge); «Time and Place, 2001 — 2010,» Museum of Modern Art Oxford (2010, traveled to De Pont Museum of Contemporary Art, Tilburg, The Netherlands, and San Diego Museum of Art, 2010 — 11); «Howard Hodgkin,» Fondation Bemberg, Toulouse, France (2013); and «Made in Mumbai,» Curator's Gallery at Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai (Museum of Art, New York, traveled to the Modern Art Museum of Fort Worth, Kunstverein Düsseldorf, and Hayward Gallery, London in 1996); Irish Museum of Modern Art, Dublin, (2006, traveled to Tate Britain and Museo Nacional Centro de Arte Reina Sofia, Madrid); «Paintings: 1992 — 2007,» Yale Center for British Art, New Haven (2007, traveled to the Fitzwilliam Museum, Cambridge); «Time and Place, 2001 — 2010,» Museum of Modern Art Oxford (2010, traveled to De Pont Museum of Contemporary Art, Tilburg, The Netherlands, and San Diego Museum of Art, 2010 — 11); «Howard Hodgkin,» Fondation Bemberg, Toulouse, France (2013); and «Made in Mumbai,» Curator's Gallery at Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai (Museum of Fort Worth, Kunstverein Düsseldorf, and Hayward Gallery, London in 1996); Irish Museum of Modern Art, Dublin, (2006, traveled to Tate Britain and Museo Nacional Centro de Arte Reina Sofia, Madrid); «Paintings: 1992 — 2007,» Yale Center for British Art, New Haven (2007, traveled to the Fitzwilliam Museum, Cambridge); «Time and Place, 2001 — 2010,» Museum of Modern Art Oxford (2010, traveled to De Pont Museum of Contemporary Art, Tilburg, The Netherlands, and San Diego Museum of Art, 2010 — 11); «Howard Hodgkin,» Fondation Bemberg, Toulouse, France (2013); and «Made in Mumbai,» Curator's Gallery at Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai (Museum of Modern Art, Dublin, (2006, traveled to Tate Britain and Museo Nacional Centro de Arte Reina Sofia, Madrid); «Paintings: 1992 — 2007,» Yale Center for British Art, New Haven (2007, traveled to the Fitzwilliam Museum, Cambridge); «Time and Place, 2001 — 2010,» Museum of Modern Art Oxford (2010, traveled to De Pont Museum of Contemporary Art, Tilburg, The Netherlands, and San Diego Museum of Art, 2010 — 11); «Howard Hodgkin,» Fondation Bemberg, Toulouse, France (2013); and «Made in Mumbai,» Curator's Gallery at Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai (Museum, Cambridge); «Time and Place, 2001 — 2010,» Museum of Modern Art Oxford (2010, traveled to De Pont Museum of Contemporary Art, Tilburg, The Netherlands, and San Diego Museum of Art, 2010 — 11); «Howard Hodgkin,» Fondation Bemberg, Toulouse, France (2013); and «Made in Mumbai,» Curator's Gallery at Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai (Museum of Modern Art Oxford (2010, traveled to De Pont Museum of Contemporary Art, Tilburg, The Netherlands, and San Diego Museum of Art, 2010 — 11); «Howard Hodgkin,» Fondation Bemberg, Toulouse, France (2013); and «Made in Mumbai,» Curator's Gallery at Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai (Museum of Contemporary Art, Tilburg, The Netherlands, and San Diego Museum of Art, 2010 — 11); «Howard Hodgkin,» Fondation Bemberg, Toulouse, France (2013); and «Made in Mumbai,» Curator's Gallery at Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai (Museum of Art, 2010 — 11); «Howard Hodgkin,» Fondation Bemberg, Toulouse, France (2013); and «Made in Mumbai,» Curator's Gallery at Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai (2016).

Almost 100 American modernists, influenced by Post-Impressionism and Cubism, were presented in a major museum exhibition for the first time.

The High received its first major art donation in 1949 from J. J. Haverty, an early Museum patron and Atlanta's foremost art collector at the time.

She has been represented in dOCUMENTA in Kassel, Germany, six times since 1972, and has had major retrospectives at the Stedelijk Museum, Amsterdam; Galerie der Stadt Stuttgart, Germany; and the Queens Museum of Art, New York.

On travelling to the Brooklyn Museum, New York, in 1999, «Sensation» caused another major controversy, this time because of Chris Ofili's painting «The Holy Virgin Mary» (1996), which incorporated elephant dung.

Since that time, Thompson has organized such major projects as the annual Creative Time Summit, Kara Walker's A Subtlety (2014), the group show Living as Form (2011), Paul Ramirez Jonas's Key to the City (2010), Jeremy Deller's It Is What It Is (with New Museum curators Laura Hoptman and Amy Mackie; 2009), Democracy in America: The National Campaign (multiple artists, 2008), Paul Chan's acclaimed Waiting for Godot in New Orleans (2007), and Mike Nelson's A Psychic Vacuum, with curator Peter Eltime, Thompson has organized such major projects as the annual Creative Time Summit, Kara Walker's A Subtlety (2014), the group show Living as Form (2011), Paul Ramirez Jonas's Key to the City (2010), Jeremy Deller's It Is What It Is (with New Museum curators Laura Hoptman and Amy Mackie; 2009), Democracy in America: The National Campaign (multiple artists, 2008), Paul Chan's acclaimed Waiting for Godot in New Orleans (2007), and Mike Nelson's A Psychic Vacuum, with curator Peter ElTime Summit, Kara Walker's A Subtlety (2014), the group show Living as Form (2011), Paul Ramirez Jonas's Key to the City (2010), Jeremy Deller's It Is What It Is (with New Museum curators Laura Hoptman and Amy Mackie; 2009), Democracy in America: The National Campaign (multiple artists, 2008), Paul Chan's acclaimed Waiting for Godot in New Orleans (2007), and Mike Nelson's A Psychic Vacuum, with curator Peter Eleey.

«Maybe it [painting] appears that way [dead] if you spend much time in New York City's major museums, where large group shows of contemporary painting are breathtakingly rare, given how many curators are besotted with Conceptual Art and its many often - vibrant derivatives.

Following a large - scale renovation, The Bass — Miami Beach's contemporary art museum — will reopen in October and present several major solo exhibitions timed with the fair, featuring artists Pascale Marthine Tayou (b. 1967), Ugo Rondinone (b. 1964) and Mika Rottenberg (b. 1976).

[5] These were revealed for the first time in 2003, when a major traveling retrospective of her work was held at the Museum of Contemporary Art, Chicago; the Hammer Museum, Los Angeles; and the Museum of Modern Art, New York.

«This is the first time that all of the major museums in Southern California are devoting time to Latin American art in a conscientious way,» she said.

Open Spatial Workshop: Converging in time is the first major museum exhibition by Open Spatial Workshop (OSW), comprising artists Terri Bird, Bianca Hester and Scott Mitchell.

Following her time as Padnos Artist - in - Residence, Daniel said she will return to Israel where she has been invited to contribute her work to a large solo exhibition at a major museum.

In summer 2015, the High Museum of Art will present a major exhibition of 60 works created between 1954 and 2013 by internationally acclaimed American artist Alex Katz, including 15 monumental landscape paintings to be displayed publicly together for the first time.

For the first time, the Clyfford Still Museum in Denver, which holds 95 % of the artist's work, will loan nine major paintings to the exhibition, establishing the artist at the very forefront of Abstract Expressionism.

It will climax with a major museum show at the Cini Foundation which opens at the same time as this year's Venice Biennale in May.

Already this fall, Paris has unveiled a Frank Gehry design for an arts center, the Bronx Museum has a sleeker skin, Daniel Libeskind has housed the Denver Art Museum in what resembles a model airplane, and the Ara Pacis Museum under Richard Meier has become, The New York Times reports, the «first major civic building completed in the historic center of Rome in more than a half - century.»

S. 1; Tate Modern, London; Hirschhorn Museum and Sculpture Garden D.C.; Kunstmuseum Lucerne, Switzerland; Philadelphia Museum of Art; Denver Art Museum; Indianapolis Museum of Art; Museum of Contemporary Art Chicago; Mass MoCA; MoCA Cleveland; San Francisco Museum of Modern Art; High Museum of Art Atlanta; Los Angeles County Museum of Art; Stedelijk Museum, Amsterdam; Kunsthalle Bern, Switzerland; ICA Boston; Albright - Knox Gallery, Buffalo; El Museo del Barrio NY; The Jewish Museum NY; Socrates Sculpture Park; Sculpture Center NY; ICA Philadelphia; New Museum NY; Bronx Museum; Brooklyn Museum; Creative Time NY; Pinchuk Art Centre Kiev; American Academy in Rome; Guggenheim NY, Venice, Bilbao & Berlin; White Columns; Art in General; Studio Museum in Harlem; Zacheta National Gallery of Art Poland; Artists Space NY; The Menil Collection Houston; J Paul Getty Museum LA and many other museums nationally and internationally; as well as every major cultural institution in South Florida.

At the same time, just as importantly, there is a new generation of dynamic young dealers who are very active in post-war Italian art — doing a lot of research and promoting artists with catalogs, museum shows and major highly focused art - fair booths.

The Kunsthistoriches Museum, Vienna presents The Shape of Time, an exhibition which places the museum's permanent collection in dialogue with major artworks dating from 1800 to the presenMuseum, Vienna presents The Shape of Time, an exhibition which places the museum's permanent collection in dialogue with major artworks dating from 1800 to the presenmuseum's permanent collection in dialogue with major artworks dating from 1800 to the present day.

Other significant solo exhibitions include Innen Stadt Außen at the Martin - Gropius - Bau in Berlin (2010); Your chance encounter at the 21st Century Museum of Contemporary Art in Kanazawa, Japan (2009 — 2010); The New York City Waterfalls, a major public art project for the city of New York (2008); Notion motion at Museum Boijmans Van Beuningen in Rotterdam (2005); Colour memory and other informal shadows at Astrup Fearnley Museet for Moderne Kunst in Oslo (2004); Chaque matin je me sens différent, chaque soir je me sens le même at Musée d'Art Moderne de la Ville de Paris in France (2002); Your only real thing is time, at The Institute of Contemporary Art in Boston (2001); and The curious garden at Kunsthalle Basel (1997), among many others.

Hunt helped to produce two major initiatives in Los Angeles, including the Pacific Standard Time Performance and Public Art Festival, co-produced by LA > < ART and the Getty Research Institute, and Made in LA 2012, the first Los Angeles biennial organized by the Hammer Museum in collaboration with LA > < ART.

This isn't the first time Ryan McGinley's photographs from his raucous and exuberant youth are on display: the first major showing of, The Kids Are Alright, was at the Whitney Museum of American Art in 2003, an exhibit that dramatically catapulted his career.

In his time at the museum, he has curated several major exhibitions, including two Barbara Hepworth retrospectives and 2010's Henry Moore survey.

The Palm Springs Art Museum, as part of Pacific Standard Time: LA / LA, a far - reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles, is exhibiting two major installations.

As curator of a major U.S. museum, Germano Celant had access to the most influential figures in the scene at a time when America was the eye of the contemporary art storm.

She was not included in the major exhibitions of realist art that took place in the 1960s in, among other museums, the Museum of Modern Art, New York, in spite of her efforts at ingratiating herself with two of the major curators of the time, Frank O'Hara and Henry Geldzahler, by painting their portraits.

A veritable feast of exhibitions showcasing Brazilian artists has materialized in major museums around the world in recent months, most prominently the important retrospective of Mira Schendel at Tate Modern (running through January), where over 250 artworks spanning the arc of her career are on view, many for the first time.

She was included in Pacific Standard Time: Cross Currents in L.A. Painting and Sculpture, 1950 - 1970 at The Getty Center, the related Pacific Standard Time exhibition Phenomenal: California Light, Space, Surface at The Museum of Contemporary Art, San Diego, and was the subject of a major solo exhibition, Helen Pashgian: Light Invisible, at the Los Angeles County Museum of Art during the spring of 2014.

His work first came to the public's attention in the 1967 landmark exhibition curated by John Szarkowski, New Documents, at The Museum of Modern Art, New York, alongside that of Diane Arbus and Garry Winogrand.The many exhibitions devoted to his photographs since that time include a major traveling retrospective organized by The Museum of Modern Art in 2005.

The lyrical collages and polychrome sculptures by noted Abstract Expressionist painter Esteban Vicente are paired for the first time in a major American museum exhibition, on view through March 26, 2011, at New York University's Grey Art Gallery.

While Marilyn Minter had already been part of the New York scene for two decades by the time she had her first major show at the museum in 2005, it was her more recent hyper - realistic paintings of glittery eyes, lips and body parts that propelled her to superstardom.

His first major one - person museum show was in 1949 at the DeYoung Memorial Museum, San Francisco and he was given a retrospective exhibition at the Guggenheim Museum in 1986, at which time the Guggenheim Museum acquired more than twenty of his painmuseum show was in 1949 at the DeYoung Memorial Museum, San Francisco and he was given a retrospective exhibition at the Guggenheim Museum in 1986, at which time the Guggenheim Museum acquired more than twenty of his painMuseum, San Francisco and he was given a retrospective exhibition at the Guggenheim Museum in 1986, at which time the Guggenheim Museum acquired more than twenty of his painMuseum in 1986, at which time the Guggenheim Museum acquired more than twenty of his painMuseum acquired more than twenty of his paintings.

Exhibition highlights include major shows at ICPNA in Lima, Peru in 2010, the Fitchburg Art Museum, Fitchburg, MA in 2007, the Cantor Fitzgerald Gallery at Haverford College in 2002, the Zoller Gallery at Penn State University in 2003 as well as part of the 2013 100 year anniversary show at Grand Central Terminal «On Time».

The development of Dutch meal still lifes from 1600 onwards will be explored for the first time in this exhibition, which features more than 20 masterpieces including one of the museum's major acquisitions of 2012, Clara Peeters» Still Life with Cheeses, Almonds and Pretzels (pictured).

On October 22, the Dallas Museum of Art (DMA) presents the first major exhibition in the Museum's history dedicated to time - based media.

Hoffmann is positioning himself to be a major player in this emerging field of the exhibition - as - exhibition - history: his most recent book Show Time: The 50 Most Influential Exhibitions of Contemporary Art, published by D.A.P., is a useful compendium of the most important museum exhibitions, biennials, and experimental exhibition projects from the late 1980s through today, offering a thorough look at art exhibitions from the past 30 years that have dramatically altered the way artists, curators, and art patrons experience the contemporary exhibition.

Most recently, in 2014, The Studio Museum Harlem mounted a major solo exhibition titled, Of this Day in Time.

By this time, Minimalism was in full swing, actively collected and sold to major museums throughout Europe.

Previously the subject of three major exhibitions at The Guggenheim in New York, The Museum of Fine Arts in Houston and the Los Angeles County Museum of Art, James Turrell's hallucinatory and sublime installations are recognised as among the most searching and affecting of our time.

While he has continuously in the past 50 years been recognized and singled out with important museum shows and distinctions, in the past three years alone, he has had a major presence in Venice Biennale (2011), Documenta 13 (2012), Punta della Dogana (2013), Pacific Standard Time (2011), combined with a critical mass of press, and a new documentary «Llyn Foulkes: One Man Band,» that is touring film circuits also bringing to light Foulkes's musical practice.

In addition to features on National Public Radio and in the pages of The Wall Street Journal, New York Times, Los Angeles Times, LA Weekly, Filter and Spin Magazines, the artist has had major solo exhibitions at Moore College of Art in Philadelphia, Rice University in Houston, the Museum Ludwig in Cologne, Germany, the Linden Centre for Contemporary Art in Melbourne, Australia, and the Czech Centre in LondoIn addition to features on National Public Radio and in the pages of The Wall Street Journal, New York Times, Los Angeles Times, LA Weekly, Filter and Spin Magazines, the artist has had major solo exhibitions at Moore College of Art in Philadelphia, Rice University in Houston, the Museum Ludwig in Cologne, Germany, the Linden Centre for Contemporary Art in Melbourne, Australia, and the Czech Centre in Londoin the pages of The Wall Street Journal, New York Times, Los Angeles Times, LA Weekly, Filter and Spin Magazines, the artist has had major solo exhibitions at Moore College of Art in Philadelphia, Rice University in Houston, the Museum Ludwig in Cologne, Germany, the Linden Centre for Contemporary Art in Melbourne, Australia, and the Czech Centre in Londoin Philadelphia, Rice University in Houston, the Museum Ludwig in Cologne, Germany, the Linden Centre for Contemporary Art in Melbourne, Australia, and the Czech Centre in Londoin Houston, the Museum Ludwig in Cologne, Germany, the Linden Centre for Contemporary Art in Melbourne, Australia, and the Czech Centre in Londoin Cologne, Germany, the Linden Centre for Contemporary Art in Melbourne, Australia, and the Czech Centre in Londoin Melbourne, Australia, and the Czech Centre in Londoin London.

Karman has also brought major curatorial depth to the fair, thanks in large part to the Curatorial Forum (now in its third iteration) he launched, which sponsors roughly two dozen curators to spend time in and around Chicago's museums, artists, and dealers, visiting studios and galleries, and also in dialogue with one another, during the fair.

Major projects Creative Time undertook while Pasternak was director include Tribute in Light, the twin beacons of light that illuminated the sky above the former World Trade Center site after 9/11; Paul Chan's production of Samuel Beckett's Waiting for Godot in New Orleans's Lower 9th Ward; Nick Cave's Heard NY in Grand Central Terminal; Doug Aitken's Sleepwalkers at The Museum of Modern Art; Jenny Holzer's For New York at Rockefeller Center; Kara Walker's A Subtlety in the former Domino Sugar warehouse in Williamsburg, Brooklyn; and the recent joint project Funk, God, Jazz & Medicine: Black Radical Brooklyn at the Weeksville Heritage Center and its surrounding neighborhood in Brooklyn.

And so, Raad's astringent performance and sizable exhibition of works associated with the long - term project Scratching on Things I Could Disavow (2007 — ongoing) delve into the after - effects of violence in the Middle East that are not only political but also economic, such as the creation of a retirement fund for artists that blithely hops across the major fault line of the Arab — Israeli conflict, or the construction of new museum projects in the Gulf, or the movement of Raad's own work in relation to art - historical narratives in different places and times that exert various pressures on him, which at one point appear to drive the artist - as - performer insane.

McCracken's work has been prominently featured in major group exhibitions worldwide, most recently in three shows organized as part of the 2011 region - wide initiative Pacific Standard Time: Art in L.A. 1945 - 1980 at the Getty Center, Los Angeles; Museum of Contemporary Art San Diego, La Jolla, California; and Pomona College Museum of Art, Claremont, California.