Sentences with phrase «trace at my pleasure»

Not exact matches

Proud Proboscis — Ronald «Steady» Barker pays tribute to one of motoring's most magnificent white elephants the 50cv Renault and its successor the 40cv / The Healey Heritage — Malcolm Green traces the development of the big Austin - Healeys from Donald Healey's Riley - powered cars from Warwick to the Mark III 3000 that was built at Abingdon / Back on the Road — Michael Ware reports on some recent restorations by readers of The Automobile / Austin Seven Ulster Rebuild / Batteries — Workshop / Enfield Underslung — Michael Worthington - Williams relates the story of the Adamson cyclecar / Swooping Kestrel — Brian Heath experiences the pleasure of preselector gear changing at the wheel of a 1937 Riley 12/14 Kestrel / Butler's Babies — The American Austin was one of the first attempts to popularise the European small car in the USA Kit Foster tells its story / Commercially Speaking — Panels & Parts

Traveled to Musée Marmottan Monet, Paris (February 12 — May 11, 2008) Be — Bomb: The Transatlantic War of Images and all that Jazz in the 1950s, Museu d'Art Contemporani de Barcelona (MACBA), Spain (October 5, 2007 — January 7, 2008) Contemporary and Cutting Edge: Pleasures of Collecting, Part III, Bruce Museum, Greenwich, Connecticut (September 29, 2007 — January 6, 2008) Twentieth - Century American Women Artists from the Frances Lehman Loeb Art Center, Vassar College, Gallery at the Park Avenue Bank, New York, New York (September 17 — November 2) Americans in Paris: Abstract Painting in the Fifties, Tibor de Nagy Gallery, New York (July 16 — September 29) French Kiss, JGM Galerie, Paris, France (May 25 — July 13) When Art Worlds Collide: The 60s, Woodward Gallery, New York (May 17 — July 14) An Architect Collects: Robert D. Kleinschmidt and a Lifetime of Fine Arts Acquisitions, Krannert Art Museum and Kinkead Pavilion, University of Illinois at Urbana - Champaign (April 20 — July 29) Gestes, Signes, Traces, Espaces: Figures de la peinture moderne française dans les collections publiques normandes, Musée d'art moderne André Malraux, Le Havre, France (February 17 — April 30).

Shows at the London gallery, such as Light Show and Ana Mendieta: Traces, attracted many new visitors to the gallery, while the Hayward's eclectic touring exhibitions, including Curiosity: Art and the Pleasure of Knowing and The Universal Addressability of Dumb Things, brought unexpected art to record - breaking audiences across the UK.

This figure, often fragmented, sometimes even completely abstracted, takes on various forms, from the human face, at once raw material and object of symbolic representation, as with Benglis's objectifying caresses, to the full body as place and tool of the trial and pleasure of repetition, as with Nauman's amateur choreography, bordering on the absurd, to the traces and physical prints left by the artist - creator (or the «art worker» in his service), as with the irregular random geometry of LeWitt, to the peers (Donald Judd) and tutelary figures in the history of art who inspire Flavin's evanescent structures... Now a disenchanted statement «Double Eye Poke» offers a challenge to the being of perception and thought.

At the same time, it is a perennial pleasure to see Fischl's interpretations of the figure, and the most gratifying painterly moments in this exhibition for this viewer are those that can be traced to the life drawing class.