Sentences with phrase «time such an exhibition»

In 2015, MoMA will once again show Picasso's sculptural works in a show titled «Picasso Sculpture,» marking only the second time such an exhibition has opened on the continent.

Not exact matches

It was such a refreshing change of pace from the rarefied atmosphere of the «Fragments of Time and Space» temporary exhibition at the Hirshhorn and their too often BS - ridden text panels.

With your TICKET THROUGH TIME, you can explore the rich collections, contemporary exhibitions and displays at our museums, stroll through glorious gardens, enjoy stunning views and join a free guided tour and discover why our museums and their past occupants are such an important part of Australia's history.

Some games could not travel to the exhibition in Venice, since they were designed for a particular space and time in Maldives and are shown as documentation, such as The Hunt for the Yellow Banana.

Consisting of twelve identically scaled anodized aluminum works, the historic exhibition at the Kunsthalle Baden - Baden was significant in that it marked the first time Judd used colored anodized aluminum in such a large, floor - mounted format.

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, 2017].

The exhibition will also feature many little - known treasures such as collages by Anne Ryan, photographs by Gertrudes Altschul, and recent acquisitions on view for the first time at MoMA by Ruth Asawa, Carol Rama, and Alma Woodsey Thomas.»

After being shown at prestigious museums such as Moderna Museet in Stockholm, and the Hamburger Bahnhof in Berlin, the exhibition comes to Museo Picasso Málaga, presenting for the first time in Spain the work of this unusual artist, with more than 200 works that summarize her complex, consistent and radical career.

After a long absence following his last solo show at Paula Cooper (in 1977), Van Buren's work finally began filtering back into public view in New York about 10 years ago, first at small venues such as Mitchell Algus Gallery and Sideshow, and in the revelatory exhibition 2007 traveling exhibition «High Times Hard Times: New York Painting 1965 - 1975.»

According to FWM, his «theological concepts, at times rendered through text, diagrams, and architectural elements — such as altars, church pews, and in this exhibition, a pulpit — create unexpected encounters through his use of unique materials.»

The upcoming exhibition addresses the recurring themes throughout Fouts» work, such as time, nature, and religious iconography, and includes key pieces from the past decade, alongside new works on view for the first time.

At the same time, I appreciate blogs that keep me informed about a wide range of art and art news, such as Hyperallergic; painter Sharon Butler «s blog Two Coats of Paint; and critical writing that does keep current with art exhibitions but in an idiosyncratic way, like painter Bradley's Rubenstein «s reviews on Culture Catch.

Our exhibition Burk Uzzle: American Puzzles has been featured in press publications such as CNN, Time Lightbox, New York Times Lens Blog, and BBC.

The exhibition will include Looking for the Map 8 2013 - 14, a new work shown in the UK for the first time on display alongside works made in situ by the artist such as the re-making of the key sculpture Ten Kinds of Memory and Memory Itself 1972 as well as international loans from museums and private collections.

In the wake of the 2016 presidential election, where news media was deemed the «the enemy of the people,» and The New York Times directly attacked and labeled as «fake news,» FLAG began developing an exhibition examining how seminal artists, such as Robert Gober, Ellsworth Kelly, Lorraine O'Grady, Fred Tomaselli, and others, who have used and been inspired by this newspaper in their practice.

The exhibition will feature images Penn took while working «on assignment» for publications such as The New Yorker, Vogue, Look and Vanity Fair and advertising campaigns for Clinique and De Beers, among others, for which he produced some of the most compelling fashion photographs, portraits and still lifes of our time.

Through audio interviews with founders and key staff, a reading room of magazines and publications, documentation, ephemera and narrative descriptions, the exhibition will tell the story of pioneering spaces — like P.S. 1, Artists Space, Fashion Moda, Taller Boricua, ABC No Rio, The Kitchen, Franklin Furnace, Exit Art, 112 Greene Street, White Columns, Creative Time, Electronic Arts Intermix, Anthology Film Archives, Storefront for Art and Architecture, Just Above Midtown, and many more — as well as document a new generation of alternative projects such as Cinders, Live With Animals, Fake Estate, Apartment Show, Pocket Utopia, Cleopatra's, English Kills Art Gallery, Triple Candie, Esopus Space, and others.

The exhibition demonstrates how artists such as Georgia O'Keeffe, Marsden Hartley, Jacob Lawrence, and others challenged convention and forged bold new styles to fit the times.

This show comes 20 years after pivotal exhibitions such as Memorias Intimas Marcas — initiated by Fernando Alvim, in collaboration with Gavin Younge and Carlos Garaicoa, which looked at the residue of trauma caused by the Angolan Civil War — and the 2nd and last Johannesburg Biennale, curated by Okwui Enwezor, which unusually for the international art world at the time included many artists from the Global South.

When the august and ever - expanding Museum of Modern Art offers one of its biggest exhibitions of all time, attention must be paid — who could merit that kind of attention, given the fact that such titans as Willem de Kooning have recently had major events at MoMA?

This exhibition charts Höch's career beginning with early works influenced by her time working in the fashion industry to key photomontages from her Dada period, such as Hochfinanz (High Finance)(1923), which sees notable figures collaged together with emblems of industry in a critique of the relationship between financiers and the military at the height of an economic crisis in Europe.

The exhibition's deconstructed shapes and splitting of light aren't a vacant imitation of the formalism that art history knows and loves, but a pop cultural celebration of discovering such simplicity for the first time.

He works with a wide range of genres, such as sculpture, installation, painting, performance, and interactive multimedia, and has participated in several international exhibitions, including Shanghai Biennale, Shenzhen Sculpture Biennale, Gwangju Biennale in South Korea, Chinese Contemporary Sculpture Documenta, with exhibitions presented at the National Art Museum of China, China Central Academy of Fine Arts Museum, Shanghai Long Museum, Today Art Museum, Songzhuang Art Center, Museum of the Orient in Portugal, Iberia Center for Contemporary Art, C5 Art, Central Institute of Fine Arts in Beijing, Central Academy of Fine Arts Sculpture Center, Times Art Museum, White Rabbit Gallery in Australia, Centro Cultural Providencia in Chile, and Bonn Museum of Modern Art in Germany, and also solo exhibitions held at Ullens Center for Contemporary Art in Beijing, and Phoenix Art Palace.

As Minturn explains in his essay accompanying the exhibition catalogue, «When composing the book [on Ossorio], Dubuffet had many of the works he was writing about right in front of him, some of which had been executed just hours before... Dubuffet makes it clear that his study is not art history written from afar (in time or space), rather, it is art writing «on the spot,» and as such, much closer to journalistic reportage.

This exhibition explores the work of twenty - six contemporary artists — such as Sophie Calle (b. 1953), Adam Fuss (b. 1961), Vera Lutter (b. 1960), Sally Mann (b. 1951), Christian Marclay (b. 1955), and Carrie Mae Weems (b. 1953)-- who investigate the complex and resonant relationship of photography to time, memory, and history.Read more.

LeWitt, Nevelson, Pendleton extends Pace's ongoing series of group exhibitions that initiate conversations between artists working across time periods, geography, and media, following such significant exhibitions as Blackness in Abstraction (2016), Sol LeWitt and Zhang Xiaogang (2016), Alfred Jensen / Sol LeWitt: Systems and Transformation (2012), Light, Time and Three Dimensions (2007), Dubuffet and Basquiat: Personal Histories (2006); and Grids: Format and Image in 20th - Century Art (19time periods, geography, and media, following such significant exhibitions as Blackness in Abstraction (2016), Sol LeWitt and Zhang Xiaogang (2016), Alfred Jensen / Sol LeWitt: Systems and Transformation (2012), Light, Time and Three Dimensions (2007), Dubuffet and Basquiat: Personal Histories (2006); and Grids: Format and Image in 20th - Century Art (19Time and Three Dimensions (2007), Dubuffet and Basquiat: Personal Histories (2006); and Grids: Format and Image in 20th - Century Art (1979).

Young's decision to remove himself from the New York art world at a time when his paintings were included in such exhibitions as the Corcoran Biennial, Nine Young Artists / Theodoron Award at the Guggenheim, and a two - person show with David Diao at Leo Castelli, was the opposite of anyone who wished to embrace the limelight.

Built from the foundation of five early paper negatives by Baron Adolphe Humbert de Molard (b. 1800), first exhibited as part of a three - person show originally presented ten years ago at Andrew Kreps Gallery, New York and Galerie Nelson, Paris, this expanded exhibition further investigates a premise that expounds the ways in which our perception of such work, historically bound to context and experience, has shifted over time, and continues to generate a discursivity and evaluation of content.

His photographs have appeared in gallery and museum exhibitions worldwide as well as many international publications such as The New York Times, Vogue Italia, TIME and Numéro.

In the fall of 2011, the Museum invited submissions from North Carolina artists working with screen - based, new media art work, such as video art, experimental animation and time - based media, to be featured in the inaugural exhibition of the New Media Gallery, a key component of Art works PRIMED, the Museum's interim expansion project.

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.

While portraiture is a traditional, time - honoured genre, this exhibition offers a new perspective by bringing together iconic portrait paintings by artists such as Max Beckmann, Lucian Freud and Frank Auerbach with more unconventional works by artists such as Lara Favaretto and John Bock.

For this exhibition, each time we unpacked a crate we were greeted with such a sense of history.

Published for this exhibition, Antony Gormley: For the Time Being examines recent works exploring this tension, such as the Construct series, which range from a standing male figure with his hands at his sides and his head turned, to a cluster of vertical blocks that could be described as post-Constructivist, and recent public commissions such as «Exposure» (2010, executed for a site in the Netherlands) and «Habitat» (2010, erected in Anchorage, Alaska), which also demonstrate this tension of mass in space versus constellated nodes in space.

However, Fine's achievement and that of other women of her time are now being given serious attention, such as in the June — September 2016 exhibition, Women of Abstract Expressionism, held at the Denver Art Museum.

Her work has been included in group exhibitions such as «SoundSpill,» Zabludowicz Collection, New York (2013), «With the Tip of a Hat,» the Artist's Institute, New York (2012), «Novel,» a screening for Time Again hosted by the Sculpture Center, New York (2011), «Outrageous Fortune: artists remake the Tarot,» Hayward Touring / Focal Point Gallery, Southend (2011), and «The Great White Way Goes Black,» Vilma Gold, London (2011).

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.

With this exhibition, Nuyten (NL, 1986) provides new ways to engage in a critical but humorous relationship with rationally structured systems such as time, language and units of measurement.

Organized by the Brooklyn Museum and the Museum of Fine Arts, Boston, the exhibition unites, for the first time, their holdings of his watercolor paintings — the two most significant such collections.

She has had 40 + solo and group exhibitions in galleries throughout the U.S. Cavanaugh's art has been featured in publications such as The New York Times Magazine, New American Paintings no. 88, American Art Collector (cover artist), American Artist Watercolor, Watercolor Artist magazine, Southwest Art magazine, International Artist magazine, Art Calendar magazine (cover artist), and The Daniel Smith Art Supply Catalogue.

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

Featuring photographs by such artist as Alfred Stieglitz, Paul Strand, Lisette Model, Walker Evans, Helen Levitt, Robert Frank, Garry Winogrand, and Dawoud Bey, this exhibition explores the myriad ways artists have approached the subject of bustling city scenes over time.

Smith had a retrospective exhibition at the Whitechapel Gallery in 1966, while still in his thirties, and participated in some of the most important exhibitions of his time, such as Place at the ICA in 1959; Situation at RBA Galleries in 1960; and Painting and Sculpture of a Decade at Tate in 1964.

These possibilities included engaging the floor, ceiling and corners of the exhibition space; taking advantage of architectural features such as doorways and moldings; fencing off segments of the exhibition space with «barriers» of light; and, by the time of his 1969 retrospective at the National Gallery of Canada, developing special installations, or «situations,» consisting of specially constructed architectural spaces containing room - filling light.

At a time when most young American artists were unaware of their European counterparts, Winters met and was influenced by such artists as Sigmar Polke and Marcel Broodthaers (with whom Winters worked on an installation) and also had a one - person exhibition, at the Konrad Fischer Gallery in Dusseldorf.

During that time, he also made watercolor announcements for exhibitions of his contemporaries as well as artists of earlier generations such as Jackson Pollock, made in 1999, and Andy Warhol, made in 2000.

2018 will offer a variety of exhibitions to cater for everyone's taste in art from spending time with modern masters such as a year in the life of Picasso, Monet's relationship with architecture, drawings by Klimt and Schiele, through classical artists Ribera and Murillo to contemporary greats like Tacita Dean and Joan Jonas not to mention Frida Kahlo's iconic wardrobe.

The exhibition also focuses on two sub-collections: the artists» books (including works by Marcel Broodthaers, Joseph Kosuth, Robert Smithson, Stephen Shore, Matt Mullican, and Rosangela Rennó) and the time - based media works (film, video, or audio works by artist such as Joan Jonas, Nancy Holt, and Christian Marclay).

He has had solo shows at the Institute of Contemporary Art (ICA), Philadelphia (2008); Konsthall C, Stockholm (2009); Fundación Alzate Avendaño, Bogotá (2009); Smack Mellon, Brooklyn (2009) and Art in General, New York (2008); and has been included in group exhibitions such as the upcoming X Biennale de Lyon (2009); The Greenroom, CCS Bard Hessel Museum of Art, Annandale - on - Hudson, New York (2008); Soft Manipulation, Casino Luxembourg (2008); 5x5 Castelló, Espai d'Art Contemporani de Castelló, Spain (2009) and Democracy in America, Creative Time, New York (2008).

His writing and photographs have appeared in such publications as Social Science Research, Places, and The New York Times, as well as in numerous exhibitions including the inaugural Belfast Photo Festival and the Museum of Contemporary Photography's Midwest Photographers Project.