Sentences with phrase «title of the exhibition comes»

The title of the exhibition comes from the Gikuyu words for mud and trees, the materials used to make the objects in Mutu's new body of work.

«The title of this exhibition comes from [Chakaia] Booker's process of cutting and rearranging materials to create a corpus - like cluster of pattern and texture.»

The title of this exhibition comes from Thompson's painting Yesterday and Tomorrow; characteristic of Thompson's brightly coloured, fluidly painted works, this image of a lion facing a row of statues encapsulates the joy and spirit of this exciting artist's practice.

The title of the exhibition comes from a William Carlos Williams poem («To Elsie») and includes work by Blalock, Lehr, and Owen Kydd as well as photographs by Walker Evans, Pratt alumna Jan Groover (BFA Painting,» 65), and Aaron Siskind.

The title of the exhibition comes from Shilpa Gupta's work I Look at Things with Eyes Different from Yours.

The title of the exhibition comes from the tradition of living history where historical events like the American Revolution and Civil War are reenacted by amateur performers using storytelling and props, always in an attempt to portray history as unchangeable as accurately as if it was fixed.

Carl Andre defined his work in 1966 as «sculpture as place», from which the current title of the exhibition comes from.

The title of this exhibition comes from artist Marsden Hartley's tribute «Rex Slinkard — Ranchman and Poet - Painter,» which referred to the late artist's reputation as «the legend of Rex Slinkard.»

The title of this exhibition comes from the musical term for slow tempo, here referring to the speed of walking.

Leslie Hewitt's Still Life Series also asks us to consider the relationship between text and image through the bringing together of vernacular snapshots with books such as James Baldwin's The Fire Next Time (where the title of the exhibition comes from).

The title of the exhibition comes from the -LSB-...]

The title of the exhibition comes from a work by Scottish artist Scott Myles, who screen - printed the text «OPEN HOUSE» on The Modern Institute's Aird's Lane gallery office door, removed it from its original frame and re-installed it on the gallery wall as part of his 2017 solo show.

The title of the exhibition comes from a statement made in 2013 by Georg Baselitz, the German artist who sometimes hangs his large canvases upside down.

Not exact matches

The research project will come to an end in 2020 with the publication of an illustrated and critical work, and an exhibition dedicated to the best non-fiction titles published worldwide.

This event celebrates the publication of Come as You Are: Art of the 1990s and the exhibition by the same title, on view at the Montclair Art Museum this spring before embarking on a national tour.

Leading up to his two exhibitions later this autumn at David Zwirner's gallery spaces in London (October 5 — November 17) and New York (November 1 — December 19), I discussed with Tuymans a number of subjects that come out of his two new bodies of work, including the questions they raise around the romanticized life of artists, the recurring issue of otherness in his work, and how a talking parrot in a charmingly ramshackle tapas bar close to his studio inspired the title for a series of new paintings.

Maybe the exhibition title suggests that the works are only just at the point of gesture, like the Andrea Madjesi - Jones painting, where gesture seems to be included in a wider pictorial strategy, or perhaps that they have arrived at the point of gesture having set out from some other place, Clem Crosby's work, for example, coming out of the monochrome tradition to a reconsideration of the role of drawing.

«One knows that, by some accidental brushmarks, suddenly appearance comes in with a vividness that no accepted way of doing things would have brought about» — Francis Bacon This, according to Francis Bacon, is «the mystery of appearance in the mystery of making» — the title and structuring concept for the major new exhibition of -LSB-...]

The title of the exhibition, Electric Bathing, comes from Rem Koolhaas's Delirious New York in which, speaking of Coney Island, he writes: «Bright lights are placed at regular intervals along the surf line, so that now the sea can be enjoyed on a truly metropolitan shift system, giving those unable to reach the water in the day time a manmade, 12 hour extension -LSB-...] false daytime is not regarded as second rate.»

The work is part of an exhibition, titled «Coming...

The title, Picture Fiction, which comes from a work in the exhibition by Robert Cumming, distills Josephson's skill at bending the truth in order to expose the inner workings of photographic images.

The fundamental role exhibition announcements once played was also apparent in a pair of exhibitions at MoMA earlier this year — now online — titled «Please Come to the Show: Invitations and Event Fliers from the MoMA Library,» Part 1 (ca. 1960 — 80) and Part 2 (ca. 1980 — now).

HR: Did the title of the exhibition, Natures, Natural and Unnatural, come after you were drawn to the works or was the nature motif something you were already thinking about?

In addition, this led to a similar retrieval of significant artists from Eastern Europe associated with the Zagreb conceptual scene, specifically the Gorgona Group, which includes Julije Knifer and Mangelos, whose pieces in a recent exhibition titled Meandering, Abstractly, perfectly exemplify the content and quality we can come to expect from the gallery.

His exhibition title came about during his stay at the Rauschenberg Residency in Florida (2017) where he found a path that had naturally emerged though the process of people repeatedly walking through a forest.

The title of this exhibition, From time to time, comes from Du Pasquier's shift from representing constructed compositions to constructing compositions directly on the canvas, and from representational work to abstract work.

Bildungsroman, the title of the exhibition, makes use of the literary term for a coming - of - age novel, thus reflecting how the constellation of works can be read as a journey in the shaping of Barney's artistic practice.

As an unprecedented gesture of institutional engagement through collectivity, all exhibitions and adjacent programming come together under one title.

Titled To Wit, evoking the Middle English expression that has come to express a certain formality today and is defined as «namely,» or «that is to say,» the exhibition gave new meaning to the term «site specific,» featuring vibrant, gestural works Pettibon created in conversation with his surroundings that operated as a sort of archive, both product and record of his relationship to that space and time.

The title of this visual arts exhibition comes from the Tarot's Major Arcana.

The works on view come in a diverse range of media and techniques, and the title of the exhibition is derived from a pink and blue neon text work by British artist Tracey Emin.

Since the African - American women Thomas portrays in her paintings are in control and decidedly done up — dressed to the nines and posed in studio spaces full of busy fabrics — there's clearly an ironic twist in the exhibition title, She's Come Undone!

The exhibition title comes from a line in Philip Larkin's poem Take one home for the Kiddies, offering themes of life, death, change and new beginnings.

As the title of the exhibition suggests the visitor comes into contact with over thirty paintingsa large number of drawings, as well as a selection of sculptures from throughout his career.

Seven artists come together in this exhibition titled The Death of Socrates.

Ian Monroe's exhibition «The Instantaneous Everything» at Haunch of Venison Berlin draws its title from an earlier work by Ian Monroe, and plays with the proposed notion of a single identifiable moment in which the entirety of a universe comes into being — both real and imagined.

But given artists like Kulendran Thomas» embrace of the inevitable in the Absolute Bearing collaborative exhibition with Annika Kuhlmann and Jesse Darling, and the concerns of urban displacement in the Woolley - curated K.I.S.S. group exhibition, the title's allusion to a sort of drill for the coming precarity might have something to do with it.

This exhibition comes on the heels of Bunny's latest book launch, titled Cunny Poem Vol.

In the Daily Telegraph, Mark Hudson visits Tate Britain's exhibition of Queer British Art and comes away a little disappointed: «For all the radicalism promised by its bold title, the exhibition proceeds in a perfectly coherent, but fairly tame fashion through all the predictable marker moments.»

The exhibition also includes highlights such as the monumental work Svayambh, the title of which comes from a Sanskrit word meaning «self - generated».

The exhibition winds its way through U.S. history, examining the Great Depression and the aftermath of the Second World War, coming finally to a section dealing with the cold war titled War And Abstraction.

Tatiana Trouvé is well known for the large - scale spatial installations integrated with architecture and her paintings, while Laure Prouvost mainly works on video and immersive installations combined with video.The exhibitions are named for the titles of their works: «The Sparkle of Absence» is from Trouvé's conceptual series, consisting of works that have never been materialized and that are only in the existence of titles; «Into All That Is Here» comes from the latest work of Prouvost's most representative series «Granddad».

With such a title as On Deciphering the Pharmacist's Prescription for Lip - Reading Puppets, the diverse nature of this exhibition will come as no surprise.

Its best - known event, Bushwick Open Studios is thereby also now a decade old, and in the spirit of reflection and a focus on the life of the world to come, has cast the title and theme of this year's annual open call exhibition, held at DAVID&SCHWEITZER Contemporary, «Seeking Space: Making the Future,» curated by Michael David and Julie Torres.

Coming almost twelve years after the first comprehensive exhibition of its kind at the Queens Museum in 2005 titled «Fatal Love: South Asian American Art Now,» «Lucid Dreams» unequivocally paves the way for what Vishakha Desai, the former president of the Asia Society, and chair of the advisory board of the Smithsonian Asian Pacific American Center, describes as a need to «project» these untold marginalized stories.

If you come to the exhibition you can see how each one is different — and you can ask me to tell you the meaning of the title Jacob's Ladder.

The large canvases come with grandiose titles such as Wall of Light Sky, which leads one to report that the exhibition is generally overcast with brighter spells developing later.

The Southern landscape, renowned in literature as a backdrop for social relationships, comes to the fore in a new exhibition titled Through a Window of Paint: A Sampling of Southern Realistic Landscape Painters at Swan Coach House Gallery.

The exhibition title comes from the young adult book «Wringer» by Jerry Spinelli, which tells the coming - of - age story of a boy refusing a small town's tradition of pigeon shooting and the subsequent «wringing» of the necks of pigeons to ensure death.

«The curatorial staff comes up with the idea for a title, and then they send it around to a group of us, including the director, the director of exhibitions, and myself,» says Kim Mitchell, chief communications officer at the Museum of Modern Art in New York.