Sentences with phrase «time visitors to the exhibition»

Not exact matches

Finally, visitors to Digital London will vote on the winner who will receive a collection of business - boosting goodies including, of course, exposure, as well as an exhibition stand at next year's Digital London event, access to Wazoku's idea - management software, production time in a video suite to record a promotional video and # 200 to spend at Moo.

The next events in India have already been scheduled: dti will welcome visitors at the Bombay Exhibition & Convention Centre in Mumbai from October 24 to 26, 2018, and will open its doors at the Bangalore Exhibition Centre in Bangalore for the first time from October 17 to 19, 2019.

Visitors should be prepared for bag searches at all of the entrances to the exhibition grounds: «We recommend leaving backpacks and trolley suitcases at home since they can lead to longer waiting times at the entrances», says Gabi Rauch - Kneer, Vice President Exhibition Management at the Frankfurter exhibition grounds: «We recommend leaving backpacks and trolley suitcases at home since they can lead to longer waiting times at the entrances», says Gabi Rauch - Kneer, Vice President Exhibition Management at the Frankfurter Exhibition Management at the Frankfurter Buchmesse.

«Unless the game is tiny to begin with, exhibition mode should ideally be only some vertical slice that's fit to the time a visitor will spend with it.

The Studio Museum is usually not open on Mondays, but for the fist time in several years the Harlem institution is welcoming visitors on the King Holiday to view its current art exhibitions including «Circa 1970.»

Inspired by our current exhibitions, free community workshops are led by artists and designed to support first - time visitors as they explore art and making.

Works central to this exhibition include the theatrical setting A Fashionable Marriage, through which visitors can walk; 40 small paintings comprising Inside the Invisible, seen for the first time in the UK; and The Feast Wagons, an installation of handcarts.

Visitors are invited to spend time here, using the available materials, including books, articles and activities inspired by our exhibitions programme, suitable for children and adults alike.

by Alan Feuer Boston Globe, Nov. 16, Intimacy of attention paid in close up by Sebastian Smee Brooklyn Daily Eagle, Nov. 16, «Visions of an American Dreamland:» New book and Brooklyn Museum exhibition highlight Coney Island by Peter Stamelman The New York Times, Nov. 15, Amusement for Everyone by Ken Johnson Boston Globe, Nov. 11, Andy Warhol and Robert Mapplethorpe Rocked the Boat by Mark Feeney Crave, Nov. 11, Exhibit Warhol & Mapplethorpe: Guise & Dolls by Miss Rosen Antiques and the Arts Weekly, Nov. 10, Q&A: Linda Roth WSFB / Better Connecticut, Nov. 9, Get Some Art History at this Local Stop by Kara Sundlun Take Magazine, November 2015, This MATRIX is Real by Janet Reynolds American Fine Art Magazine, November 2015, Radical Chick and Taylor Made by Jay Cantor Art New England, November 2015, Preview: Warhol & Mapplethorpe: Guise & Dolls by Susan Rand Brown The Hartford Courant, Oct. 16, Gender - Bending «Warhol & Mapplethorpe» Exhibit At Wadsworth by Susan Dunne The Wall Street Journal, Oct. 13, At the Wadsworth Atheneum, an Old Building Gets New Life by Lee Rosenbaum Hartford Courant, Oct. 2, Artist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Stepexhibition highlight Coney Island by Peter Stamelman The New York Times, Nov. 15, Amusement for Everyone by Ken Johnson Boston Globe, Nov. 11, Andy Warhol and Robert Mapplethorpe Rocked the Boat by Mark Feeney Crave, Nov. 11, Exhibit Warhol & Mapplethorpe: Guise & Dolls by Miss Rosen Antiques and the Arts Weekly, Nov. 10, Q&A: Linda Roth WSFB / Better Connecticut, Nov. 9, Get Some Art History at this Local Stop by Kara Sundlun Take Magazine, November 2015, This MATRIX is Real by Janet Reynolds American Fine Art Magazine, November 2015, Radical Chick and Taylor Made by Jay Cantor Art New England, November 2015, Preview: Warhol & Mapplethorpe: Guise & Dolls by Susan Rand Brown The Hartford Courant, Oct. 16, Gender - Bending «Warhol & Mapplethorpe» Exhibit At Wadsworth by Susan Dunne The Wall Street Journal, Oct. 13, At the Wadsworth Atheneum, an Old Building Gets New Life by Lee Rosenbaum Hartford Courant, Oct. 2, Artist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, StepExhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step Right Up!

Solo exhibitions include «the wet wet wanderer», as part of «Para Fiction», Witte de With Center for Contemporary Art, Rotterdam, The Netherlands (2017); «softer and rounder so as to shine through your smooth marble», SALT Galata, Istanbul, Turkey (2017); «And she will say: hi her, ailleurs, to higher grounds...», Kunstmuseum Luzern, Switzerland (2016); «GDM — Grand Dad's Visitor Center», Pirelli HangarBicocca, Milan, Italy (2016); «all behind, we'll go deeper, deep down and she will say,» Museum Für Moderne Kunst Frankfurt Am Main, Frankfurt, Germany (2016); «Into All That is Here», Red Brick Art Museum, Beijing, China (2016); «we would be floating away from the dirty past», Haus Der Kunst, Munich, Germany (2015); «For Forgetting», New Museum, New York, NY, USA (2014); «While You Weren't Looking», Laboratorio Arte Alameda, Mexico City, Mexico (2014); Max Mara Art Prize for Women, Whitechapel Gallery, London, UK and Collezione Maramotti, Reggio Emilia, Italy (2013); «Laure Prouvost / Adam Chodzko» as part of «Schwitters in Britain», Tate Britain, London, UK (2013); The Hepworth Wakefield, Wakefield, UK (2012); and «All These Things Think Link», Flat Time House, London, UK.

With 32 artists and artist collectives, the exhibition invites visitors to explore what it means to be «international» at this moment in time, and to experience museum joy.

According to the guidelines in the exhibition, «while the dancer performs, visitors become bystanders and etiquette decrees that during that time, no one except the performer can set foot in the space», and the way the visitors are guided to circulate is reminiscent of Bronstein's earlier work, Concept for a Public Square (2005) where visitors could not step across, but had to skirt around a low wall demarcating an area of dead space.

This object - heavy approach is generous to lay viewers unaccustomed to the dense theoretical wall texts and schematic drawings that often stifle architecture exhibitions; at the same time, none of the towers were accompanied by a wall text, so visitors to the opening wandered through them as if lost in a maze, stopping to snap selfies for Instagram.

Showcasing many of Basquiat's works, as well as archival footage of MoMA PS1's seminal 1981 New York / New Wave exhibition — a 100 - plus - artist group exhibition that detailed the city's downtown counterculture scene at the time — the show immerses visitors into Basquiat's short but prolific career, just as it was about to blow up.

The bright, squeakily pink doors leading in to the Linbury galleries are the first time the artist has made functioning doors and are Hume's way of welcoming visitors to an exhibition showing well - known work alongside paintings being seen in the UK for the first time.

However, the theme also arrives at a time when technology is changing the way in which museums also construct their exhibitions (earlier this year, The Met even employed 3 - D headsets to give visitors an immersive look into Jackson Pollock's «Autumn Rhythm (Number 30)»).

THE ORGANIZERS of the elegant Blinky Palermo retrospective at the Kunsthalle Düsseldorf and the Kunstverein für die Rheinlande und Westfalen wasted no time in announcing their bold, materially focused agenda: At the entrance to the exhibition, visitors were greeted by a sequence of short videos featuring Palermo, whose own statements about abstraction introduced, in effect, the daring curatorial program within the galleries.

Now, for the first time, the exhibition, Shirin Neshat I Looking for Oum Kulthum, invites visitors to look behind the scenes of the 6 - year - long film production.

Visitors to White Cube Mason's Yard will be getting a whirlwind tour of some of the most recent abstract work to come out of China; the exhibition, which can at times seem claustrophobic, jumps between a wide variety of approaches to painting.

At the same time as this exhibition in London, visitors to the 57th Venice Biennale will be greeted by a monumental painted installation covering the façade of The Swatch Pavilion, for whom he has also designed a Swatch Art Special watch.

Photograph: Dave Morgan / Lisson Gallery There weren't many visitors to Richard Deacon's exhibition, Range, at the Lisson Gallery on a dreary Monday, and I spent a lot of time - probably too much time - there alone, writes Maxie Szalwinska.

Now they «look liked they've been Hoovered», according to one visitor, who recalls the place in less pacific times; and the city is preparing for all the jamboree of the opening of the Turner prize exhibition on 23 October.

Following the event, visitors are invited to stay for the opening celebration of three exhibitions including Lezley Saar: Salon des Refusés and Circles and Circuits I: History and Art of the Chinese Caribbean Diaspora, part of the Getty's expansive initiative on Latin American and Latino art, Pacific Standard Time: LA / LA.

Paul's exhibition at Spike Island evolves around La Perma - Perla Kraal Emporium, a collaborative work that invites visitors to sit around a long table and make clay beads, thereby becoming the work at the same time as creating it.

Even the equipment and fittings of the show itself are «vintage» and enable visitors to undertake a journey back in time to the 1960s and 1970s: the staged «living room» in the exhibition space invites visitors to enjoy the videos at their full length and to cast themselves back to the 1960s.

After numerous solo exhibitions, including one in 2011 at the Irish Museum of Modern Art in Dublin and another in 2014 at FRAC des Pays de la Loire in Nantes, as well as contributions to the Venice Biennale (2007 and 2011) and documenta (13), for the first time in Switzerland the Kunstmuseum St. Gallen will allow visitors to thoroughly engage with the work of an extraordinary representative of contemporary art in the comprehensive exhibition A Late Evening in the Future.

Visitors to this year's Turner Prize 2014 exhibition will find themselves spending much of their time watching films in semi-darkness.

Selected rooms — Museum Restaurant, Museum Shop, and Humanist Space — from Gaba's «Museum of Contemporary African Art», will be presented open - air at Unter den Linden, inviting visitors to engage with the exhibition and spend time there.

, The Independent, October 27 Charlotte Higgins, «An invitation to Turner visitors: pick up a pencil or be an exhibit», The Guardian, October 23 Adrian Searle, «The Turner prize 2013 exhibition: go on, get involved», The Guardian, October 23 Jack Malvern, «Toilet humour, imaginary art and codewords — it's Turner Prize time», The Times, October 23 Rachel Campbell - Johnston, «No longer enough to peer warily», The Times, October 23 Zoe Pilger, «Has the Turner Prize grown up?»

With Hidden Noise is an exploration of sound art that invites gallery and museum visitors to spend time listening with ears they may not know they have... Titled after Marcel Duchamp's readymade of a ball of string containing a mysterious sound - making object hidden in its folds, this Exhibition in a Box brings together evocative sounds, some recognizable from traditional instruments and field recordings, and others masked through electronic processes.

For his exhibition at the Schindler House, Wurm sourced props ranging from banal to blatantly comedic, and then produced a set of instructions for visitors to perform the various sculptures for sixty seconds at a time, consisting of balancing acts, mild contortions, and altered uses of everyday physical objects.

The exhibition includes several works by artists represented in the Amon Carter Museum's collection, including Alexander Calder, Stuart Davis and Louise Nevelson, and is a first - time opportunity for Carter visitors to see how American modernists influenced and were influenced by artists from South America.

Appearing on stage with her baby daughter Celeste, Prouvost also thanked visitors to the exhibition for «giving their energy and time», as well as the UK for «adopting» her.

This enormous patrimony — which covers a broad range of subjects, means of expression and time periods — is displayed on rotation through thematic exhibitions, in order to provide the visitors always fresh experiences.

The artist has been known to enact subtle alterations in an exhibition over time, so - called «renegade actions» 5 — an edgy, organic process counteracting the exhibition - as - frozen - moment, whereby small elements move or disappear, changes invisible to all but a repeat, discerning visitor and the artist himself.

The collaboration will provide free access to visitors to both the museum's temporary exhibitions and all the activities held during that time.

Due to its overwhelming popularity on weekends, we are offering visitors the chance to pre-book timed access to Jon Rafman's innovative new artwork using Oculus Rift technology, Sculpture Garden (Hedge Maze), 2015, as part of his current solo exhibition at Zabludowicz Collection.

Aside from all the exhibitions on view in Antwerp Art Weekend, a number of programmes have been created specifically for the weekend such as The Image Generator, billed as a four day happening at Extra City Kunsthal, that crosses the line between visual and performance art where visitors will be encouraged to participate in the actions of a changing scenography (full times and details on their website).

Upon entering the exhibition, visitors are invited to download an iPhone app that feeds their images in real time onto surrounding monitors.

A control system will allow visitors to experience the content of the exhibition according to a pre-programmed timing sequence.

For the first time, then, the exhibition allows visitors to experience the full breadth and diversity of André Thomkins's oeuvre.

The selection of the works in the exhibition allows the visitor to see how — over time — Weber has both synthesized and alternated between abstraction and comic figuration and between referring to content and generating it.

For the first time, admission to Tate Liverpool's exhibition is free of charge, and the gallery will host a Biennial visitor centre to facilitate visitors in gaining the most from the festival.

That blue line of tape, leading around the exhibition is a curatorial nightmare, but, done right, it gets visitors to Tate Liverpool doing exactly the same thing, time and time again.

C. Higgins, «An Invitation to Turner Visitors: pick up a pencil or be an exhibition» in The Guardian, 23 October 2013 (illustrated in colour, p. 17) A. Dunne, «At Turner 2013 it's life drawing but not as we know it» in The Irish Times, 23 October 2013 installation view illustrated in colour).

This is the first time they're using the easel to draw portraits, and the results are eclectic, colorful, and will be part of a three - dimensional diorama - style drawing of the exhibition and its visitors.

The exhibition's curator Stephanie Rosenthal added, «Through this exhibition we hope to take visitors on a journey of utopian exploration; the show is designed to transport the visitors to another reality, place and time.

Event: The Present Is the Form of All Life: Time Capsule Sealing Ceremony at Pioneer Works In conjunction with Pioneer Works» historic exhibition on 1960s / 70s architecture collective Ant Farm (best known for their installation Cadillac Ranch and 1975 performance Media Burn) and Chip Lord, Curtis Schreier and Bruce Tomb's contemporary group LST, visitors will have the chance to contribute images from their smartphones to a new time capsule that's been built on sTime Capsule Sealing Ceremony at Pioneer Works In conjunction with Pioneer Works» historic exhibition on 1960s / 70s architecture collective Ant Farm (best known for their installation Cadillac Ranch and 1975 performance Media Burn) and Chip Lord, Curtis Schreier and Bruce Tomb's contemporary group LST, visitors will have the chance to contribute images from their smartphones to a new time capsule that's been built on stime capsule that's been built on site.

For the first time, Tate Britain visitors will be able to move directly from the immersive, meditative environment of the so - called «Rothko Room» into a display of Turners from the 1966 MoMA exhibition that Rothko attended.

A time of year witness to the widespread fleeing of the capital's resident art impresarios from its otherwise innocuous grip, the month sees many exhibitions at their tail end pulling in the final throngs of visitors.