Sentences with phrase «traveling institutional exhibition»

Featured in the traveling institutional exhibition Art AIDS America, which was shown locally at the Bronx Museum of Art last year, Silano's Arrangements project is presented by Rubber Factory (New York, both C10).

Not exact matches

Within the globalized art scene, its journey takes the many forms of traveling exhibitions, international art fairs, biennials, public contests, and loans from personal or institutional collections.

Institutional solo exhibitions include the Tel Aviv Museum of Art, Israel (2013) and the Whitechapel Gallery, London, (2011), which traveled to MUDAM Luxembourg and the Kemper Art Museum in St. Louis.

Recent institutional exhibitions include the 50th Biennale di Venezia (2003); Museo d'Arte Contemporanea, Rome (2005); Norton Museum of Art, FL (2011, traveled to the Museum of Modern Art Oxford, England, through 2012); and «Jenny Saville Drawing,» Ashmolean Museum of Art and Archaeology, University of Oxford, United Kingdom (2015 — 16).

He has held numerous solo institutional exhibitions around the world, including Florida Living at the SCAD Museum of Art, Savannah (2017), TIME, Hernan Bas: a queer and curious cabinet at the Bass Museum of Art, Miami (2013), The Other Side at the Kunstverein Hannover (2012), Hernan Bas: works from the Rubell Family Collection, Miami (2007) and Brooklyn Museum of Art (2009), and has been included in a number of important group exhibitions, including A Sum of its Parts, at Polk Museum of Art (2016), Tracing Shadows, at PLATEAU, Samsung Museum of Art (2015), Aquatopia, The Imaginary of the Ocean Deep, at Nottingham Contemporary and Tate St. Ives (2013), Nightfall, MODEM Centre for Contemporary Art, Hungary, travelling to Galerie Rudolfinum, Prague (2012), Nothing in the World But Youth, Turner Contemporary, Margate (2011), Busan Biennale, Korea (2008), Like Color in Pictures, Aspen Art Museum (2007), Ideal Worlds - New Romanticism in Contemporary Art, Schirn Kunsthalle, Frankfurt (2005), Whitney Biennial (2004), and The Museum of Contemporary Art, North Miami (2002).

Institutional exhibitions include «The Agony and the Ecstasy,» Museo Archeologico Nazionale di Napoli (2004); «A Selection of Works by Damien Hirst from Various Collections,» Museum of Fine Arts, Boston (2005); «Damien Hirst,» Astrup Fearnley Museet fur Moderne Kunst, Oslo (2005); «For the Love of God,» Rijksmuseum, Amsterdam (2008, traveled to the Palazzo Vecchio, Florence in 2010); «No Love Lost,» The Wallace Collection, London (2009); «Requiem,» PinchukArtCenter, Kiev (2009); «Cornucopia,» Oceanographic Museum of Monaco (2010); «Damien Hirst,» Tate Modern, London (2012); «Relics,» Qatar Museums Authority, Al Riwaq, Qatar (2013); «Signification (Hope, Immortality and Death in Paris, Now and Then),» Deyrolle, Paris (2014); «Damien Hirst,» Astrup Fearnley Museum of Modern Art, Oslo (2015); «Damien Hirst: New Religion,» The Museum of Contemporary Art of Republika of Srpska, Banja Luka, Bosnia & Herzegovina (2016, traveled to Museum of Contemporary Art Vojvodina, Novi Sad, Serbia); «Damien Hirst: The Last Supper,» National Gallery of Art, Washington, DC (2016); and «Treasures from the Wreck of the Unbelievable,» Palazzo Grassi and Punta della Dogana, François Pinault Foundation, Venice (2017).

Institutional exhibitions include «Chris Burden: A Twenty Year Survey,» Orange County Museum of Art, CA (1988, traveled to Carnegie Mellon Art Gallery, Pittsburgh; and Institute of Contemporary Art, Boston, through 1989); «When Robots Rule: The Two Minute Airplane Factory,» Tate, London (1999); «Tower of Power,» Museum Moderner Kunst Stiftung Ludwig, Vienna (2002); «Chris Burden,» Baltic Center of Contemporary Art, Gateshead (2002); «14 Magnolia Doubles,» South London Gallery (2006); «Chris Burden,» Middleheim Museum, Antwerp (2009); «Chris Burden: Three Ghost Ships,» Portland Art Museum, OR (2011 — 12); «Chris Burden,» Magasin III, Stockholm (2012 - 13); «Chris Burden: Extreme Measures,» New Museum, New York (2013 - 14); «Chris Burden: The Master Builder,» Rose Art Museum, Brandeis University, Waltham, MA (2014); and «Chris Burden: Ode to Santos - Dumont,» Los Angeles County Museum of Art (2015).

Institutional exhibitions include Astrup Fearnley Museum of Modern Art, Oslo (2004, traveled to Helsinki City Art Museum, through 2005); Lever House, New York (2005); «Jeff Koons on the Roof,» Metropolitan Museum of Art, New York (2008); Museum of Contemporary Art, Chicago (2008); «Jeff Koons: Celebration,» Neue Nationalgalerie, Berlin (2008); «Jeff Koons: Popeye Series,» Serpentine Galleries, London (2008); «Jeff Koons: Versailles,» Château de Versailles (2008 — 09); «ARTIST ROOMS: Jeff Koons,» National Galleries of Scotland, Edinburgh (2011); «Jeff Koons: The Painter and The Sculptor,» Schirn Kunsthalle and Liebieghaus Skulpturensammlung, Frankfurt (2012); Fondation Beyeler, Basel (2012); Whitney Museum of American Art, New York (2014, traveled to Centre Georges Pompidou, Paris; and Guggenheim Bilbao, through 2015); «Jeff Koons in Florence,» Palazzo Vecchio and Piazza della Signoria, Florence (2015); and «Jeff Koons: Now,» Newport Street Gallery, London (2016).

The format will encourage critical curatorial feedback from their cohort, while opening up the possibility of exploring the potential for cross-programing and institutional collaboration between the participants, and also with ICI's traveling exhibition program.

For his first institutional solo exhibition in Germany at Heidelberger Kunstverein, Mexican artist Rodrigo Hernández looks back at «Figure 1», a sculpture he made in 2013 that has traveled to different locations and has been presented in various contexts.

This is Described in the preface to the exhibition «Dale's past experience in the UK of hospitalization in an outdated mental facility with its confined interiors travels through time and space to collide with his recent investigation into Southern California's exterior streets where those confining institutional walls have ceased to exist.

Recent institutional exhibitions include the 50th Biennale di Venezia (2003); Kunsthistorisches Museum, Vienna (2008); Tate Liverpool, England (2009, traveled to Fondazione Sandretto Re Rebaudengo, Italy; and Museum Ludwig, Budapest, through 2010); the 8th Gwangju Biennale (2010); Upton House, England (2012); «Conversation Piece V,» Frans Hals Museum, The Netherlands (2013 — 14); Des Moines Art Center, Iowa (2016, traveled to Contemporary Arts Center, Cincinnati); «Glenn Brown / Vincent Van Gogh: Suffer Well,» Fondation Vincent Van Gogh Arles, France (2016); «Glenn Brown / Rembrandt: After Life,» Rembrandt House Museum, Amsterdam (2017); and «Piaceri Sconosciuti,» Museo Stefano Bardini, Florence (2017).

Currently on view at the Art Gallery of Ontario, the major traveling exhibition Infinity Mirrors is the first institutional survey to explore the evolution of Yayoi Kusama's immersive infinity rooms.