Sentences with phrase «traditional spaces of the museum»

Collishaw will also be showing works within the traditional spaces of the Museum including a lightbox image referencing the narrative of Romulus and Remus as children nurtured by savage wolves, and a new snowdome work made especially for the Foundling.

Not exact matches

When faced with the clean slate of a traditional gallery or museum space, I find less to speak to than when given a triangular - shaped room or a place where sound needs to engage not only with a public but also with the potentially unpredictable interactions of nature or machines.

21c erases the boundaries found in a traditional museum, with curated exhibitions installed in dedicated galleries, as well as works of art featured in unexpected spaces.

In addition to a long career of exhibition in traditional museums and galleries, he is a respected innovator and pioneer for his projects engaging with public space, which can now be found in over fourteen countries around the world.

The school's structure acknowledges that contemporary artists have to be trained at the intersection of several fields — an approach exemplified by the school's new pilot program, the Masters in Art and Public Space, a two year program starting in fall 2014 that focuses on art in spaces outside of the traditional museum or exhibition institution.

In doing so, he not only makes himself accessible to whatever public encounter will come his way, but he also collapses the traditional museum boundaries of private office space and public gallery space, thus foregrounding the participatory nature of his art - making practice.»

The exhibition spaces that radiate from this nucleus throughout the Museum's three floors have been installed typologically, as in a traditional natural history museum, or thematically, as in many museums of moderMuseum's three floors have been installed typologically, as in a traditional natural history museum, or thematically, as in many museums of modermuseum, or thematically, as in many museums of modern art.

He views graffiti as a vital method of communication, one that keeps him in touch with a larger, more diverse audience than can be reached through the traditional spaces of a gallery or museum.

Contemporary art's embrace of «time - based media», such as sound and moving image, poses a stark challenge for traditional museum and gallery spaces, which predate such technologies and were designed for a very different kind of experience.

«Daydreamers», Motel7's second solo show, affirms the ease with which she straddles the divide between urban and gallery spaces - where the traditional process of work progressing from gallery environment to museum or public commission, is reversed.

Maguire's preoccupations draw him to the margins of the art world — alternative space, prisons, women's shelters, and mental homes — making shows in traditional gallery and museum spaces something of a rarity.

Organized by the Frye Art Museum and conceived and curated by Maikoiyo Alley - Barnes, a Seattle - based artist, Young Blood continues Davis» exploration of the ways in which spaces such as The Underground Museum interact, intersect, and exchange value with traditional arts institutions.

In order to make the upcoming exhibition as immersive as possible, the museum space has been transformed into an environment inspired by the traditional architecture of Moroccan medinas, buildings which are typically walled and riddled with many narrow, maze - like streets.

Ranging from masterworks by the leading Abstract Expressionists, whose groundbreaking work in the wake of World War II forever transformed the very possibilities of art, to sculptors expanding the traditional boundaries of three - dimensional space, to a group of trailblazing African - American artists who have donated works to benefit the Studio Museum in Harlem, the artists represented in Sotheby's Contemporary Art Evening Auction this May have possessed a prescient eye and demonstrated a fearless drive to push traditional boundaries.

The space is unified, there are no traditional exhibition halls or secluded treasure rooms, almost all parts of the museum can be perceived from every point inside it and the visitors always know where they are and where they are going.

Selected Exhibitions 2009 Zenith Gallery, Washington, DC, For Real, group exhibit 2008 Zenith Gallery, Washington, DC, What Remains: The American Landscape Portfolio Edition, solo exhibit Zenith Gallery, Washington, DC, Trees of Life, 30th Anniversary Show, group exhibit 2007 Zenith Gallery, Washington, DC, What Remains: The American Landscape, solo exhibit 2006 Zenith Gallery, Washington, DC, 28th Anniversary Exhibition, group exhibit 2005 Zenith Gallery, Washington, DC, Into the Minds of Nine, group exhibit Zenith Gallery, Washington, DC, La vie quotidienne: Scenes from Paris to Provence, solo exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 22nd Annual Portrait Show 2004 Land Trust of Virginia, Middleburg, VA, Vanishing Landscapes 2004, group exhibit Parker Gallery, Washington, DC, Beyond Brittany: 1977 - 1979, group exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 21st Annual Portrait Show Zenith Gallery, Washington, DC, Zenith Style: Art & Craft for Home & Office, group exhibit Zenith Gallery, Washington, DC, This Land is Your Land, This Land is My Land, group exhibit 2003 Bermuda National Gallery, Hamilton, Bermuda, Inside & Out, House & Home, group exhibit Zenith Gallery, Washington, DC, Near and Far: Recent Landscape Paintings, solo exhibit Francesca Anderson Fine Art, Portraits North, Lexington, MA, 20th Annual Portrait Show 2002 Land Trust of Virginia, Middleburg, VA, Vanishing Landscapes Zenith Gallery, Washington, DC, The Dog Days of Summer Zenith Gallery, Washington, DC, New Artists... New Space, Summer Show 2002 2002 Hilligoss Galleries, Chicago, IL, Oil Painters of America, Eleventh Annual National Juried Exhibition of Traditional Oils Francesca Anderson Fine Art, Portraits North, Lexington, MA, 19th Annual Portrait Show 2001 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour Northern Virginia Fine Arts Association, Alexandria, VA, Contemporary Realism: A Survey of Washington Area Artists Zantman Art Galleries, Palm Desert, CA, Oil Painters of America, Tenth Annual National Juried Exhibition of Traditional Oils Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Francesca Anderson Fine Art, Portraits North, Lexington, MA, 18th Annual Portrait Show 2000 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour Rock Creek Gallery, Washington, DC, Studio 310 Reunion Francesca Anderson Fine Art, Portraits North, Lexington, MA, 17th Annual Portrait Show Spectrum Gallery, Washington, DC, Spectrum Plus Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Zenith Gallery, Washington, DC, Zenith Gallery at 22 1999 National Park Academy of the Arts, Jackson Hole, WY, Arts for the Parks Top 100 Tour, recipient of the Steven L. Aschenbrenner Collector's Award Zenith Gallery, Washington, DC, New Works for the Millenium Francesca Anderson Fine Art, Portraits North, Lexington, MA, 16th Annual Portrait Show Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape 1998 Byrne Gallery, Middleburg, VA, Lightmotifs, solo exhibit Mystic Maritime Gallery, Mystic, CT, 19th Annual International Marine Art Exhibition Francesca Anderson Fine Art, Portraits North, Lexington, MA, 15th Annual Portrait Show Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape Howard / Mandville Gallery, Kirkland, WA, Paintings of the American Landscape 1997 Arts Club of Washington, Washington DC, Luminous Journeys, solo exhibit Ballantyne & Douglass Fine Art Gallery, Cannon Beach, OR, featured artist The Artists» Museum, Washington, DC Francesca Anderson Fine Art, Portraits North, Lexington, MA, 14th Annual Portrait Show Morgan Peyton Fine Arts, Charleston, WVA, Journeys through the Virginias, solo exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit Howard / Mandville Gallery, Edmonds, WA, Paintings of the American Landscape 1996 Howard / Mandville Gallery, Kirkland, WA, Pleasures of the Garden Francesca Anderson Fine Art, Portraits North, Lexington, MA, 13th Annual Portrait Show Howard / Mandville Gallery, Edmonds, WA, 2nd Annual Paintings of the American Landscape Gallery 4, Alexandria, VA, Landscapes Cudahy Gallery, Richmond, VA, 15th Anniversary Celebration Charles County Community College, La Plata, MD, Landscapes, solo exhibit 1995 Cudahy Gallery, Richmond, VA, Landscapes 1994 Hollis Taggart Gallery, Washington, DC, Portraits Montgomery County College, Rockville, MD, George Washington Faculty Exhibit DeMatteis Gallery, Annapolis MD, The Figure Fine Arts Gallery, Georgetown University, Washington, DC, Portraiture, co-curator 1993 Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1992 Fine Arts Gallery, Georgetown University, Washington, DC, faculty exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1991 Fine Arts Gallery, Georgetown University, Washington, DC Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1989 Plum Gallery, Kensington, MD, Capital Image 1989 Cudahy Gallery, Richmond, VA, National Portrait Exhibit Dimock Gallery, George Washington University, Washington, DC, faculty exhibit 1988 Fine Arts Gallery, Georgetown University, Washington, DC, Images of Georgetown, A Bicentennial Celebration 1986 Dimock Gallery, George Washington University, Washington, DC, Alumni Juried Exhibition 1985 Gallery 4, Alexandria, VA, Washington Landscapes Plum Gallery, Kensington, MD, The Capitol Image Today 1985 The Times Journal Co., Springfield, VA, In and Around Washington 1984 St. Petersburg Historical Society, St. Petersburg, FL 1984 Dimock Gallery, George Washington University, Washington, DC, Alumni Juried Exhibition Strathmore Hall, Rockville, MD, Metro Art Fairfax County Council of the Arts, Fairfax, VA, juried exhibit curated by Michael Botwinick, director, Corcoran Gallery of Art, Washington, DC World Bank Art Society, Washington, DC 1983 Arlington Arts Center, Arlington, VA, Areawide Painting Exhibition, juried by Frederick Brandt, curator, Virginia Museum of Fine Arts, Richmond, VA American Artists Professional League, New York, NY, Juried Grand National Exhibition Twentieth Century Gallery, Williamsburg, VA

Positioned between a traditional museum and an alternative space, the New Museum's stated mission was to be a catalyst for a broad dialogue between artists and the public by establishing «an exhibition, information, and documentation center for contemporary art made within a period of approximately ten years prior to the present.&museum and an alternative space, the New Museum's stated mission was to be a catalyst for a broad dialogue between artists and the public by establishing «an exhibition, information, and documentation center for contemporary art made within a period of approximately ten years prior to the present.&Museum's stated mission was to be a catalyst for a broad dialogue between artists and the public by establishing «an exhibition, information, and documentation center for contemporary art made within a period of approximately ten years prior to the present.»

The first section of the exhibition is a transitional area that appears the most like a traditional museum exhibition; however, the space then unfolds as a private living space and outdoor scene complete with a tree house.

Although Kelley was never identified with the movement, he specified before his death that the work, «Mobile Homestead» — a faithful re-creation of his childhood ranch - style home that will sit in a once - vacant lot behind the museum — should not be an art location in any traditional sense but a small social - services site, with possible additional roles as space for music and the museum's education programs.

Mickalene Thomas and Racquel Chevremont will assemble The Aesthetics of Matter across a 2,600 - square - foot space in the heart of PIER 90, an array of freestanding museum - style walls that afford and en - courage dialogue between artists, as well as a specifc focus in contrast to the traditional booth architecture and solo projects surrounding it.

Though McGee views graffiti as a vital method of communication, one that keeps him in touch with a larger, more diverse audience than can be reached through the traditional spaces of galleries or museums, he makes fine use of traditional exhibition spaces, using them not only to communicate a subcultural point of view to gallery goers but also to point out ways in which space can be reclaimed.

Co-curated by Betti - Sue Hertz of Yerba Buena Center for the Arts, Ruijun Shen of GuangDong Times Museum in Guangzhou, China, and Xiaoyu Weng of Kadist Art Foundation, which has offices in Paris and San Francisco, the group exhibition is also a site to bring together three public art spaces and curators around a shared interest — though not in the forms one might first associate with the concept: traditional Chinese landscape and Bay Area figurative painting.

In addition, the museum has a programmatic dedication to the many hybrid forms that emerge from the increasing integration of film and visual arts, at the exact moment when a growing number of independent, adventurous filmmakers («auteurs») are tempted to seek refuge in the traditional spaces of visual art such as museums, galleries, and biennials, for reasons connected to the intensified commercialization of the film circuit throughout the 1980s and»90s.

«McKeough's reconfiguration of the gallery into a diner subverts the traditional ideology of the art museum and opens the space up for dialogue.»

Presented to mark the 40th anniversary of the Public Art Fund, the exhibition highlights artworks that have transformed both the public spaces of New York as well as public expectation of the role and potential of art that exists outside of the traditional confines of museums and galleries.

[9] During this period, exponents of land art rejected the museum or gallery as the setting of artistic activity and developed monumental landscape projects which were beyond the reach of traditional transportable sculpture and the commercial art market, although photographic documentation was often presented in normal gallery spaces.