Not exact matches
The
exhibition's
title aims to
reflect Borgmann's prescience in acquiring works by a new generation
of artists.
The
title for the
exhibition is taken from American poet Frank O'Hara's poem «Why I Am Not a Painter,» which
reflects on the elusiveness
of the creative process, often resulting in a finished work that bears no resemblance to its initial inspiration.
Yet each half
of Tan's two - part solo
exhibition (each
titled after the installation it houses) responded to the other,
reflecting on the gradual passage
of time and the inevitably
of loss.
Reflecting on the contrast between these two
titles claiming the same source, the
exhibition considers the relationship between conceptual intelligibility and a Buddhist emphasis on direct perception — what is lost and what is found in the process
of translation.
* The
exhibition is accompanied by a fully illustrated catalog with an essay by Mark Rosenthal,
titled Reflecting on the Coordinates
of Wayne Thiebaud's Art (quote from p. 7).
As hinted at in the
exhibition title, Axell engages with both contemporary stereotypes
of femininity as well as centuries old role ascriptions and correctively intervenes in persistent gender relations:
reflecting on art history — such as Venus iconography, Leda with the Swan depictions and distinguished portraits like Leonardo da Vinci's Mona Lisa — she subverts historically sedimented, male perceptions
of femininity and renegotiates the socially constructed image
of women as either «angel in the house» or femme - fatale.
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.
In 2006 Brice had her first solo
exhibition of paintings at Goodman Gallery Johannesburg
titled Night Vision in which the artist
reflected on the uncertainties
of childhood.
«Step inside and you are no longer a stranger»: the
exhibition's
title reflects the conflicting dimensions
of my practice.»
The
title of the work, as the
exhibition itself, can be read as an allegory: When a «face» looks into «water face», referring to the watery - fluids found in another person's eye, one sees not only the other's face, but his own face as is
reflected in the other's eye.
In turn, Scully's extensive run
of exhibitions worldwide
reflects the journey taken by this remarkable artist as he earned his
title as one
of the world's most accomplished living painters.
The
exhibition title also
reflects the current climate
of the surreal revival
of past forms
of prejudice and injustice thought to have been eradicated but resurfacing like a societal necrosis.
Taking its
title from Dr. Martin Luther King, Jr.'s final speech before his assassination in 1968, the High Museum
of Art's photography
exhibition ««A Fire That No Water Could Put Out»: Civil Rights Photography» (Nov. 4, 2017, through May 27, 2018) will
reflect on the 50th anniversary
of that tumultuous year in American history.
These perspectives are
reflected in the
exhibition's
title that paraphrases theorist and artist Rammellzee (1960 - 2010), who argued that language as a social agreement is not a passive vessel or known quantity but rather possesses the potential to reimagine structures
of power.
As
reflected in the
title of the
exhibition, the works» ambition is to transcend boundaries and invite viewers to contemplation.
Presented at Woodward Gallery, the
exhibition will be ironically
titled VALHOLLA and present an abstract series through which successfully manages to
reflect on his own fame, self - worth and a personal transition through this period
of his life.
The
exhibition —
titled for a 1936 Paul Klee painting
of utopian geometry that
reflects the artist's interest in color theory and musical composition — features 40 paintings, sculptures, and works on paper by some 20 artists, including Alexander Calder, Alberto Giacometti, Fernand Léger, Francis Picabia, and Joaquín Torres - García.
The
title of the
exhibition derives from the story Sitt Marie Rose by Etel Adnan, which
reflects on the life and execution
of Marie Rose Boulos during the Lebanese Civil War.
Can you talk about the
title of the
exhibition and how it
reflects the works that will be on display?
Taylor's
exhibition and work
titles are somewhat colloquial in nature and
reflect the surroundings
of his North London home.
In an article
titled «Richard Prince Sucks», Paddy Johnson
of artnet news wrote about Prince's
exhibition and stated that «the most remarkable feature
of the show is that the printouts are
reflected perfectly in Gagosian's shiny floor.
The
title for the
exhibition is borrowed from American poet Frank O'Hara's poem Why I Am Not a Painter, which
reflects on the elusiveness
of the creative process, often resulting in a finished work that bears no resemblance to its initial inspiration.
The
exhibition titled «Inventory»
reflects upon the artists constant process
of cataloging, collecting, and taking inventory
of ephemera that he incorporates into his paintings.
According to gallery director Ralph Rugoff, curator
of the
exhibition, its
title reflects the fact that at various points during the show visitors will be expected to make decisions, «with those choices leading to quite dramatically different experiences».
As the
title of this
exhibition, this question, to be posed reciprocally, opens the doors to this home and invites the artists to
reflect on mutual understanding as a creative activity produced when there's an engagement with unfamiliarity and transformation in exchanges with others and within our own mechanisms
of adaptation.
A Heritage Transposed is the
title of Berlin free space gallery Box Freiraum's current
exhibition, a group show
of both Iranian and non-Iranian artists with a common interest in Iran but whose work
reflects and comments on the country in different ways.
As part
of London project space Banner Repeater's Snow Crash program, run throughout June and July and taking its
title from the 1992 science fiction novel by Neal Stephenson
of the same name, the
exhibition reflects the overwhelming idea
of Big Data through a space brimming with information.
Reflected in its
title, this
exhibition is inspired by the Italian word displuvio, which describes the geographic line
of the mountain range that divides condensation and rain, guiding it in that manner towards larger bodies
of water.
For the last ten years, Bob Trotman has
titled his
exhibitions Business as Usual — a catch phrase that
reflects the implacable force
of profit - making which lies at the heart
of corporate culture and much government policy.
The
exhibition title reflects the hopes and aspirations behind many
of the modern art movements
of the 20th century — that despite differences in their formulations, styles and forms, they often shared a certain optimism, even impatience, about the future.
The
exhibition title was selected to
reflect the variety
of approaches taken at the time, from updated modernism to full - blown abstraction.