Sentences with phrase «traveling museum solo exhibition»

His series The Bacchae was the subject of his 2011 - 2012 traveling museum solo exhibition at the Nasher Sculpture Center, Dallas and the Wexner Center for the Arts, Columbus.

Versions of the sculpture have been included in traveling museum solo exhibitions as well as important international group exhibitions, including the Asia Pacific Triennial of Contemporary Art at the Queensland Art Gallery, Gallery of Modern Art, Brisbane (2002); Whitney Biennial in Central Park, New York (2004); and Louvre's Sculpture Programme for FIAC in the Jardin des Tuileries, Paris (2010); among others.

Not exact matches

She has been the subject of solo exhibitions at the Institute of Contemporary Art, Boston; Samuel Dorsky Museum of Art at SUNY New Paltz (travelled), and forthcoming at UCLA Hammer Museum, Los Angeles.

Solo exhibitions of her work have been organized at Colorado Springs Fine Arts Center, CO (2017); Portland Art Museum, OR (2017); Museum of Contemporary Art, San Diego (2016 and 2011); McNay Art Museum, San Antonio, TX (2016); Museum of Fine Arts Houston, Texas (2012 and 2014); Contemporary Art Museum St. Louis, MO (2013); the Joslyn Art Museum in Omaha, NE (2013); Centro de Arte Contemporáneo de Málaga, Spain (2009); Albright - Knox Gallery, Buffalo, NY (2008); and San Jose Museum of Contemporary Art, San Jose, CA, traveled to the Kemper Museum in Kansas City, MO and Albright - Knox Gallery in Buffalo, NY (2006).

There are solo exhibitions, museum shows, grants and awards, residencies, travel abroad with international exhibitions, private collectors and good collections, sales, perhaps even enough sales to support one's studio or actually pay the bills.

In 1971, his first solo museum exhibition originated at the Stedelijk Van Abbemuseum in Eindhoven, the Netherlands, and traveled throughout Europe.

Recently, Alÿs was the subject of solo exhibitions at Portikus, Frankfurt, Germany, MALBA, Buenos Aires, Argentina (2006); Kunstmuseum Wolfsburg, Wolfsburg, Germany [traveled to Musée des Beaux - Arts, Nantes, France and Museo d'Art Contemporani de Barcelona, Barcelona, Spain, and Museo de San Idelfonso, Mexico City, Mexico](all 2005 - 2006); Musée d'Art Contemporain, Avignon, France (2004); Centro nazionale per le arti contemporanee, Rome, Italy [traveled to Kunsthaus Zürich, Zürich, Switzerland and Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain](all 2003); and Museum of Modern Art, New York, NY (2002).

His most recent solo exhibitions include: Lovers, Le Consortium, l'Académie Conti, Vosne - Romanée, France (2015 - 16); Masks (Pentagon), Rockefeller Plaza, New York (2015); Thomas Houseago: Studies «98 — «14, Gemeentemuseum Den Haag, The Hague (2014); Striding Figure / Standing Figure, Galleria Borghese, Rome, Italy (2014); As I Went Out One Morning, Storm King Art Center, Mountainville, NY (2014); Thomas Houseago: Where the Wild Things Are, Sainsbury Centre for Visual Arts, University of East Anglia, Norwich, UK (2012) and What Went Down, Centre International d'art et du paysage, île de vassivière, Vassivière, France (2012, travelled to Museum Abteiberg, Mönchengladbach, Germany; Modern Art Oxford and The Ashmolean Museum, Oxford).

Recent solo exhibitions include «We'll Not Carry Coals,» Kunsthaus Bregenz, Austria (2003); «Recent Sculptures», Lincoln Center, New York (2004); Vancouver Art Gallery (2005); MAK, Vienna (2008); and «To Build A House You Start with the Roof: Work, 1972 - 2008», Baltimore Museum of Art (2008 - 2009, traveled to Los Angeles County Museum of Art and the Foundation Beyeler in 2009); and «Franz West: Autotheater» the Museum Ludwig, Cologne (2010, travelled to MADRE, Naples and the Universalmuseum, Graz, Austria in 2011).

Solo exhibitions from the past decade include those organized by Museo Archeologico Nazionale, Naples, 2003; Astrup Fearnley Museum of Modern Art, Oslo, 2004 (traveled to the Helsinki City Art Museum, 2005); Château de Versailles, France, 2008; Museum of Contemporary Art Chicago, 2008; The Metropolitan Museum of Art, New York, 2008; Neue Nationalgalerie, Berlin, 2008; Serpentine Gallery, London, 2009; Scottish National Gallery of Modern Art, Edinburgh, 2011; Fondation Beyeler, Basel, 2012; and Schirn Kunsthalle Frankfurt and Liebieghaus Skulpturensammlung, Frankfurt, a joint exhibition in 2012.

Raymond Pettibon: A Pen of All Work, the solo exhibition by «the enigmatic, fantastically erudite artist,» as Peter Schjeldahl wrote in his review in The New Yorker, traveled to the Bonnefantenmuseum Maastricht in The Netherlands following its critically acclaimed debut at the New Museum in New York.

Major solo exhibitions include: Sterling Ruby, Baltimore Museum of Art, USA (2014), Droppa Blocka, Museum Dhondt - Dhaenens, Ghent, Belgium (2013), Chron II, Kunsthalle Mainz, Germany (travelling exhibition, 2013), Soft Work, Centre d'Art Contemporain Genève, Switzerland (travelling exhibition, 2012 - 2014) and Supermax 2008, Museum of Contemporary Art, Los Angeles, USA (2008).

The Denver Art Museum will mount a traveling mid-career survey in the Spring of 2018, to be followed by a smaller solo exhibition at the Ruth and Elmer Wellin Museum of Art in the fall of 2018.

Other recent solo exhibitions include Fred Wilson, Objects and Installations 1979 — 2000, a retrospective organized by the Center for Art, Design and Visual Culture at the University of Maryland, which traveled to seven venues nationally from 2001 — 04, including Saratoga Springs, Berkeley, Houston, Andover, Los Angeles, Chicago and ending its run at the Studio Museum in Harlem; Life's Link at the Savannah College of Art and Design Museum of Art in 2012; Fred Wilson: Works 2004 — 2011 at the Cleveland Museum of Art in 2013; and Fred Wilson: Local Color, Studio Museum in Harlem in 2013.

Solo museum exhibitions include «Paintings 1975 - 1995,» Metropolitan Museum of Art, New York (1995, traveled to Modern Art Museum of Fort Worth; Kunstverein Düsseldorf; and Hayward Gallery, London); Irish Museum of Modern Art, Dublin (2006, traveled to Tate Britain, London; and Museo Nacional Centro de Arte Reina Sofía, Madrid); «Paintings: 1992 — 2007,» Yale Center for British Art, New Haven (2007, traveled to Fitzwilliam Museum, Cambridge); «Time and Place, 2001 — 2010,» Museum of Modern Art Oxford (2010, traveled to De Pont Museum of Contemporary Art, Tilburg, The Netherlands; and San Diego Museum of Art); and «Howard Hodgkin,» Fondation Bemberg, Toulouse, France (museum exhibitions include «Paintings 1975 - 1995,» Metropolitan Museum of Art, New York (1995, traveled to Modern Art Museum of Fort Worth; Kunstverein Düsseldorf; and Hayward Gallery, London); Irish Museum of Modern Art, Dublin (2006, traveled to Tate Britain, London; and Museo Nacional Centro de Arte Reina Sofía, Madrid); «Paintings: 1992 — 2007,» Yale Center for British Art, New Haven (2007, traveled to Fitzwilliam Museum, Cambridge); «Time and Place, 2001 — 2010,» Museum of Modern Art Oxford (2010, traveled to De Pont Museum of Contemporary Art, Tilburg, The Netherlands; and San Diego Museum of Art); and «Howard Hodgkin,» Fondation Bemberg, Toulouse, France (Museum of Art, New York (1995, traveled to Modern Art Museum of Fort Worth; Kunstverein Düsseldorf; and Hayward Gallery, London); Irish Museum of Modern Art, Dublin (2006, traveled to Tate Britain, London; and Museo Nacional Centro de Arte Reina Sofía, Madrid); «Paintings: 1992 — 2007,» Yale Center for British Art, New Haven (2007, traveled to Fitzwilliam Museum, Cambridge); «Time and Place, 2001 — 2010,» Museum of Modern Art Oxford (2010, traveled to De Pont Museum of Contemporary Art, Tilburg, The Netherlands; and San Diego Museum of Art); and «Howard Hodgkin,» Fondation Bemberg, Toulouse, France (Museum of Fort Worth; Kunstverein Düsseldorf; and Hayward Gallery, London); Irish Museum of Modern Art, Dublin (2006, traveled to Tate Britain, London; and Museo Nacional Centro de Arte Reina Sofía, Madrid); «Paintings: 1992 — 2007,» Yale Center for British Art, New Haven (2007, traveled to Fitzwilliam Museum, Cambridge); «Time and Place, 2001 — 2010,» Museum of Modern Art Oxford (2010, traveled to De Pont Museum of Contemporary Art, Tilburg, The Netherlands; and San Diego Museum of Art); and «Howard Hodgkin,» Fondation Bemberg, Toulouse, France (Museum of Modern Art, Dublin (2006, traveled to Tate Britain, London; and Museo Nacional Centro de Arte Reina Sofía, Madrid); «Paintings: 1992 — 2007,» Yale Center for British Art, New Haven (2007, traveled to Fitzwilliam Museum, Cambridge); «Time and Place, 2001 — 2010,» Museum of Modern Art Oxford (2010, traveled to De Pont Museum of Contemporary Art, Tilburg, The Netherlands; and San Diego Museum of Art); and «Howard Hodgkin,» Fondation Bemberg, Toulouse, France (Museum, Cambridge); «Time and Place, 2001 — 2010,» Museum of Modern Art Oxford (2010, traveled to De Pont Museum of Contemporary Art, Tilburg, The Netherlands; and San Diego Museum of Art); and «Howard Hodgkin,» Fondation Bemberg, Toulouse, France (Museum of Modern Art Oxford (2010, traveled to De Pont Museum of Contemporary Art, Tilburg, The Netherlands; and San Diego Museum of Art); and «Howard Hodgkin,» Fondation Bemberg, Toulouse, France (Museum of Contemporary Art, Tilburg, The Netherlands; and San Diego Museum of Art); and «Howard Hodgkin,» Fondation Bemberg, Toulouse, France (Museum of Art); and «Howard Hodgkin,» Fondation Bemberg, Toulouse, France (2013).

Recent solo and major notable museum exhibitions include; «Enlightened Princesses; Caroline, Augusta, Charlotte and the Shaping of the Modern World», Yale Center for British Art, New Haven, Connecticut, USA tours to Kensington Palace, London, UK (2016 - 2017); «Paradise Beyond» Gemeentemuseum Helmond, Netherlands (2016); «Recreating the Pastoral», VISUAL Centre for Contemporary Art, Carlow, Ireland (2016); «End of Empire», Turner Contemporary, Margate, England (2016); «Wilderness into a Garden», Daegu Art Museum, Daegu, Korea (2015); «Pièces de Résistance», DHC / ART Foundation for Contemporary Art, Montréal, Québec (2015); «Cannonball Paradise», Herbert - Gerisch - Stiftung, Neumünster, Germany (2014); «Yinka Shonibare MBE: Egg Fight», Fondation Blachère, Apt, France (2014); «Yinka Shonibare MBE: Magic Ladders», The Barnes Foundation, Philadelphia, Pennsylvania, USA (2014); «Selected Works», Gdansk City Art Gallery, Gdansk, Poland; travelled to Wroclaw Contemporary Museum, Wroclaw, Poland; «Selected Works», «Yinka Shonibare MBE», Royal Museums Greenwich, London, England (2013); «FABRIC - ATION», Yorkshire Sculpture Park, Wakefield, UK; travelled to GL Strand, Copenhagen, Denmark (2013 - 2014); «FOCUS: Yinka Shonibare, MBE», Modern Art Museum of Fort Worth, Texas, USA (2013); «Imagined as the Truth», San Diego Art Museum, San Diego, USA (2012); «Human Culture: Earth, Wind, Fire and Water», Israel Museum, Jerusalem (2011 - 2010); «Looking Up», MBE, Nouveau Musée National de Monaco, Monaco (2010) and «El Futuro del Pasado», Alcalá 31 Centros de Arte, Madrid, Spain, then toured to Centro de Arte Moderno, Las Palmas de Gran Canaria, Spain (museum exhibitions include; «Enlightened Princesses; Caroline, Augusta, Charlotte and the Shaping of the Modern World», Yale Center for British Art, New Haven, Connecticut, USA tours to Kensington Palace, London, UK (2016 - 2017); «Paradise Beyond» Gemeentemuseum Helmond, Netherlands (2016); «Recreating the Pastoral», VISUAL Centre for Contemporary Art, Carlow, Ireland (2016); «End of Empire», Turner Contemporary, Margate, England (2016); «Wilderness into a Garden», Daegu Art Museum, Daegu, Korea (2015); «Pièces de Résistance», DHC / ART Foundation for Contemporary Art, Montréal, Québec (2015); «Cannonball Paradise», Herbert - Gerisch - Stiftung, Neumünster, Germany (2014); «Yinka Shonibare MBE: Egg Fight», Fondation Blachère, Apt, France (2014); «Yinka Shonibare MBE: Magic Ladders», The Barnes Foundation, Philadelphia, Pennsylvania, USA (2014); «Selected Works», Gdansk City Art Gallery, Gdansk, Poland; travelled to Wroclaw Contemporary Museum, Wroclaw, Poland; «Selected Works», «Yinka Shonibare MBE», Royal Museums Greenwich, London, England (2013); «FABRIC - ATION», Yorkshire Sculpture Park, Wakefield, UK; travelled to GL Strand, Copenhagen, Denmark (2013 - 2014); «FOCUS: Yinka Shonibare, MBE», Modern Art Museum of Fort Worth, Texas, USA (2013); «Imagined as the Truth», San Diego Art Museum, San Diego, USA (2012); «Human Culture: Earth, Wind, Fire and Water», Israel Museum, Jerusalem (2011 - 2010); «Looking Up», MBE, Nouveau Musée National de Monaco, Monaco (2010) and «El Futuro del Pasado», Alcalá 31 Centros de Arte, Madrid, Spain, then toured to Centro de Arte Moderno, Las Palmas de Gran Canaria, Spain (Museum, Daegu, Korea (2015); «Pièces de Résistance», DHC / ART Foundation for Contemporary Art, Montréal, Québec (2015); «Cannonball Paradise», Herbert - Gerisch - Stiftung, Neumünster, Germany (2014); «Yinka Shonibare MBE: Egg Fight», Fondation Blachère, Apt, France (2014); «Yinka Shonibare MBE: Magic Ladders», The Barnes Foundation, Philadelphia, Pennsylvania, USA (2014); «Selected Works», Gdansk City Art Gallery, Gdansk, Poland; travelled to Wroclaw Contemporary Museum, Wroclaw, Poland; «Selected Works», «Yinka Shonibare MBE», Royal Museums Greenwich, London, England (2013); «FABRIC - ATION», Yorkshire Sculpture Park, Wakefield, UK; travelled to GL Strand, Copenhagen, Denmark (2013 - 2014); «FOCUS: Yinka Shonibare, MBE», Modern Art Museum of Fort Worth, Texas, USA (2013); «Imagined as the Truth», San Diego Art Museum, San Diego, USA (2012); «Human Culture: Earth, Wind, Fire and Water», Israel Museum, Jerusalem (2011 - 2010); «Looking Up», MBE, Nouveau Musée National de Monaco, Monaco (2010) and «El Futuro del Pasado», Alcalá 31 Centros de Arte, Madrid, Spain, then toured to Centro de Arte Moderno, Las Palmas de Gran Canaria, Spain (Museum, Wroclaw, Poland; «Selected Works», «Yinka Shonibare MBE», Royal Museums Greenwich, London, England (2013); «FABRIC - ATION», Yorkshire Sculpture Park, Wakefield, UK; travelled to GL Strand, Copenhagen, Denmark (2013 - 2014); «FOCUS: Yinka Shonibare, MBE», Modern Art Museum of Fort Worth, Texas, USA (2013); «Imagined as the Truth», San Diego Art Museum, San Diego, USA (2012); «Human Culture: Earth, Wind, Fire and Water», Israel Museum, Jerusalem (2011 - 2010); «Looking Up», MBE, Nouveau Musée National de Monaco, Monaco (2010) and «El Futuro del Pasado», Alcalá 31 Centros de Arte, Madrid, Spain, then toured to Centro de Arte Moderno, Las Palmas de Gran Canaria, Spain (Museum of Fort Worth, Texas, USA (2013); «Imagined as the Truth», San Diego Art Museum, San Diego, USA (2012); «Human Culture: Earth, Wind, Fire and Water», Israel Museum, Jerusalem (2011 - 2010); «Looking Up», MBE, Nouveau Musée National de Monaco, Monaco (2010) and «El Futuro del Pasado», Alcalá 31 Centros de Arte, Madrid, Spain, then toured to Centro de Arte Moderno, Las Palmas de Gran Canaria, Spain (Museum, San Diego, USA (2012); «Human Culture: Earth, Wind, Fire and Water», Israel Museum, Jerusalem (2011 - 2010); «Looking Up», MBE, Nouveau Musée National de Monaco, Monaco (2010) and «El Futuro del Pasado», Alcalá 31 Centros de Arte, Madrid, Spain, then toured to Centro de Arte Moderno, Las Palmas de Gran Canaria, Spain (Museum, Jerusalem (2011 - 2010); «Looking Up», MBE, Nouveau Musée National de Monaco, Monaco (2010) and «El Futuro del Pasado», Alcalá 31 Centros de Arte, Madrid, Spain, then toured to Centro de Arte Moderno, Las Palmas de Gran Canaria, Spain (2011).

Solo exhibition: Branching: The Art of Michael Mazur, Mead Art Museum, Amherst College, Massachusetts (travels to DeCordova Museum and Sculpture Park, Lincoln, Massachusetts, 1998); group exhibition: Singular Impressions: The Monotype in America, National Museum of American Art, Smithsonian Institution, Washington, D.C.

In January, addresses the Massachusetts Board of Education at the statehouse to request increased support for arts in the public school system and to propose several approaches to arts in the core curriculum; during summer, collaborates with Townsend and guest artists Richard Rosenblum, Richard Baker, Paul Bowen, James Balla, George Marsh, and Varujan Baghosian at the New Provincetown Print Project; solo exhibition: Monotypes by Michael Mazur for the Inferno, University of Iowa Museum of Art, Iowa City (travels through 1997 with Mazur and Pinsky giving lectures on their collaboration at eight venues).

The Artist and the Model, a portfolio of twelve intaglio prints, is published by Sylvan Cole at Associated American Artists, New York; receives a Tamarind Artist Fellowship and travels to the Tamarind Lithography Workshop in Los Angeles, where he produces thirty - four editions of primarily black - and - white lithographs that continue the Artist and the Model theme; begins using the airbrush, which he had learned from the artist Billy Al Bengston while at Tamarind; sees the exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington,exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington,Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington,Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, Kentucky.

Major recent solo exhibitions include; «A Bit Like You and Me», Yokohama Museum of Art, Yokohama, Japan; traveling to Contemporary Art Museum, Kumamoto, Japan (2012 - 2013) and «Nobody's Fool», Asia Society Museum, New York (2010).

His most recent solo exhibitions include Intersections Intersected: The Photography of David Goldblatt, organized in 2008 by the Fundação de Serralves, Portugal, and curated by Ulrich Loock (travelled to the Malmo Konsthall, Sweden; The New Museum, NY; and the University Museum of Contemporary Art, Umass Amherst); and South African Photographs: David Goldblatt at the Jewish Museum, NY, 2010.

Meets Jim Dine and introduces him to monotype techniques; writes catalogue essay for The Painterly Print: Monotypes from the Seventeenth to the Twentieth Century, Metropolitan Museum of Art, New York (travels to the Museum of Fine Arts, Boston, 1981); the monotype Window Sequence (Fire)(fig) is included in that exhibition; solo exhibition: Pace Editions, New York; group exhibitions: Aspects of the» 70's: Directions in Realism, Danforth Museum, Framingham, Massachusetts; Three Decades, DeCordova Museum and Sculpture Park, Lincoln, Massachusetts; Realist Works on Paper, Virginia Museum of Fine Arts, Richmond.

Major solo exhibitions include «Bruce Nauman: Inside Out» Museo Nacional Centro de Arte Reina Sofía (1993 - 94, traveled to Walker Art Center, Minneapolis; Museum of Contemporary Art, Los Angeles; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; and Museum of Modern Art, New York, through 1995); «Bruce Nauman: Mapping the Studio I (Fat Chance John Cage),» Dia Center for the Arts, New York (2002); «Mapping the Studio,» Museum für Gegenwartskunst, Basel (2002); «Bruce Nauman: Theaters of Experience,» Deutsche Guggenheim, Berlin (2003); «Bruce Nauman: Raw Materials» Unilever Commission, Tate Modern Turbine Hall (2005); «A Rose Has No Teeth: Bruce Nauman in the 1960s,» UC Berkeley Art Museum and Pacific Film Archive, Berkeley, CA (2007); «Notations / Bruce Nauman: Days and Giorni,» Biennale di Venezia (2009, traveled to Philadelphia Museum of Art; and Museum of Modern Art, New York (through 2010); «Bruce Nauman: Dream Passage,» Hamburger Bahnhof, Berlin (2010); and «Bruce Nauman's Words on Paper,» Art Gallery of Ontario (2014).

Travels to Washington on 3 May for march to the Pentagon in protest of Reagan foreign policy; teaches at Yale Summer School of Music and Art; Mazurs build a summer home overlooking Wakeby Pond in Mashpee on Cape Cod after Gail Mazur's family summer home there is destroyed by fire (1979); after dissolution of the Harcus - Krakow Gallery, continues regular exhibitions at the Barbara Krakow Gallery, Boston (also 1984, 1987, 1989, 1990, 1993, 1995, 1996, and 1998); solo exhibitions: Rutgers University Art Gallery (now the Jane Vorhees Zimmerli Art Museum), New Brunswick, New Jersey (in conjunction with a large acquisition of the artist's work); John Stoller Gallery, Minneapolis; Greenberg Gallery, St. Louis; Andrews Gallery, College of William and Mary, Williamsburg, Virginia; group exhibition: American Prints: Process and Proofs, Whitney Museum of American Art, New York.

His solo exhibition The Cremaster Cycle, organized by the Solomon R. Guggenheim Museum, New York, travelled to the Museum Ludwig, Cologne, and the Musée d'Art Moderne de la Ville de Paris.

Since 1987 Carsten Nicolai has been in over 50 international solo exhibitions, including Galerie EIGEN + ART's 1992 Leipzig exhibition, Carsten Nicolai: Running Sap; Carsten Nicolai: Corpus organized by the Städtische Kunstsammlungen Chemnitz, Germany in 1993, which traveled to the Museum Scloß Morsbroich, Leverkusen, Germany and Espace des Arts, Chalon - Sur - Saône, France until 1994; Carsten Nicolai: Light - Stencil - Installation for the Windows of The New York Kunsthalle at The New York Kunsthalle in 1996; Carsten Nicolai, Konstmuseum Ystad, Ystad, Sweden, October 2000; Carsten Nicolai: Auto Pilot, WATARI - UM, Watari Museum of Contemporary Art, Tokyo, Japan, 2002; Carsten Nicolai - Anti Reflex, Schirn Kunsthalle Frankfurt, Römerberg, Frankfurt, 2005; Carsten Nicolai: Syn Chron, Architectural Body as Interface.

From memory is published by the Fruitmarket Gallery in Edinburgh, Scotland, and Hatje Cantz on the occasion of the solo exhibition at the Fruitmarket Gallery that will subsequently travel to the Modern Art Museum in Oxford and Sydney's Museum of Contemporary Art, Australia in 2007.

His solo exhibition The Cremaster Cycle, organised by the Solomon R. Guggenheim Museum, New York, travelled to the Museum Ludwig, Cologne, and the Musée d'Art Moderne de la Ville de Paris.

Kruger has been the subject of solo exhibitions at several institutions including the Museum of Contemporary Art, Los Angeles (1999), which traveled to the Whitney Museum of American Art, New York, the Institute of Contemporary Arts, London (1983), and the Moderna Museet, Stockholm (2008).

In recent years Emin has been the subject of a number of retrospective museum exhibitions around the world, including a major solo show at the Museo de Arte Latino Americano de Buenos Aires; a solo exhibition at Turner Contemporary in her hometown of Margate (2012); and Tracey Emin: 20 Years, the artist's first retrospective which originated at Scottish National Gallery of Modern Art, Edinburgh (2008), before traveling to the Centro de Arte Contemporáneo, Málaga (2008) and the Kunstmuseum Bern, Switzerland (2009).

This solo exhibition is on view through March 2014 and will travel to the University of Michigan Museum of Art in July 2015.

[iv] In 1962, these woven forms were featured in a solo exhibition at the Art Institute of Chicago, and the following year, the Museum of Contemporary Crafts (later the American Craft Museum and now the Museum of Arts and Design) used her phrase for the title of a traveling exhibition, that included work by Tawney, Dorian Zachai, Claire Zeisler, Sheila Hicks, and Alice Adams.

Whitten has been the subject of numerous solo exhibitions, including the most recent, Jack Whitten: Five Decades of Painting, a traveling exhibition organized by the Museum of Contemporary Art of San Diego in 2014 - 15; Jack Whitten: Erasures at SCAD Savannah College of Art and Design in 2012; an exhibition of memorial paintings at the Atlanta Contemporary Arts Center in Georgia in 2008; a solo show at MoMa PS1 in 2007; a ten year retrospective at the Studio Museum in Harlem in 1983; and a solo exhibition at the Whitney Museum of Art in 1974.

Following her exhibition at the Lynden Sculpture Garden, her drawings and food detritus will be traveling to the Nevada Museum of Art in Reno for a solo show and her field station will go to the San Jose Museum of Art for Around the Table: Food, Creativity, Community.

Otero has been the subject of several solo exhibitions, including Angel Otero at the Contemporary Art Museum, Raleigh, North Carolina (2012 - 13), and Material Discovery at the SCAD Museum of Art, Savannah College of Art and Design in Georgia, which subsequently traveled to the museum's venue in HongMuseum, Raleigh, North Carolina (2012 - 13), and Material Discovery at the SCAD Museum of Art, Savannah College of Art and Design in Georgia, which subsequently traveled to the museum's venue in HongMuseum of Art, Savannah College of Art and Design in Georgia, which subsequently traveled to the museum's venue in Hongmuseum's venue in Hong Kong.

Recent exhibitions include a mid-career retrospective at the Cincinnati Art Museum, traveling to the Hammer Museum, Los Angeles and Fotomuseum, Winterthur, as well as solo exhibitions at Palais des Beaux - Arts, Brussels; Museum of Contemporary Art, Los Angeles; and Sprengel Museum, Hannover.

2005 Flashback: Revisiting the Art of the 80s, Kunstmuseum, Basel (catalogue) Extreme Abstraction, Albright - Knox Art Gallery, Buffalo, New York (catalogue) 25 Years: Selected Solo Exhibitions 1979 — 2004, Part 1, Baumgartner Gallery, New York The Shape of Colour: Excursions in Colour Field Art 1950 — 2005, Art Gallery of Ontario, Toronto (catalogue) Drawings: 1945 — Now, Russell Bowman Art Advisory, Chicago Picturing America: Selections from the Whitney Museum of American Art, Nagasaki Prefectural Museum, Nagasaki (catalogue); travelled to Fuchu City Museum of Art, Fuchu, Japan; 21st Century Museum of Contemporary Art, Kanazawa, Japan; Kitakyushu Municipal Museum of Art, Kitakyushu, Japan; Koriyama City Museum, Koriyama, Japan Logical Conclusions: 40 Years of Rule - Based Art, Pace Wildenstein, New York (catalogue) Universal Medium, McClain Gallery, Houston Another Look at the Collection, Fundació La Caixa, Sala de Exposiciones del Mercado del Este, Santander, Spain A View from 1988 Up to Now, Proje4L Elgiz Museum of Contemporary Art, Istanbul Contemporary Voice: The Contemporary American Art from Misumi Collection, Tottori Prefectural Museum, Japan (catalogue) We Can Do It!

Major solo exhibitions have been presented at SITE Santa Fe, NM (1999); the Bohen Foundation, New York (2002); Deutsche Guggenheim, Berlin (2003); the Astrup Fearnley Museet for Moderne Kunst, Oslo (2006); the Fondazione Prada, Milan (2006); the Des Moines Art Center, IA, which traveled to the Rose Art Museum, Brandeis University, MA (2007); the Lever House, New York (2008); and the Aldrich Contemporary Art Museum, Ridgefield, CT (2009).

This will be Anatsui's first exhibition in New York since his acclaimed solo show, Gravity and Grace: Monumental Works by El Anatsui, traveled to the Brooklyn Museum in 2013.

Recent projects include participation in the 11th Gwangju Bienniale (2016) and a traveling solo exhibition entitled Adam Pendleton: Becoming Imperceptible presented at the Contemporary Art Center New Orleans and Museum of Contemporary Art Denver (2016), as well as Museum of Contemporary Art Cleveland (2017).

Selected solo exhibitions include The Disappearance of Darkness, travelling to Art Gallery of Hamilton, 2015, George Eastman House, Rochester 2015, Ryerson Image Centre, Toronto, 2014, Musée Nicéphore Niépce, Chalon - sur - Saône 2013, National Gallery of Canada, Ottawa 2013, Photographic Proof, Canadian Centre for Architecture, Montréal, 2009, Still Revolution, Museum of Contemporary Canadian Art, Toronto, Engineering the Picturesque: The Landscapes of Olmsted, Canadian Museum of Contemporary Photography, Ottawa, 2008.

His works have been exhibited in numerous solo and group exhibitions, among them, the 2007 retrospective at the Rubell Family Collection, Miami, FL, which presented a decade of the artist's work and traveled to the Brooklyn Museum of Art in February 2008; and Bas's inclusion in the Nordic Pavilion at the 53rd Venice Biennale, curated by Elmgreen & Dragset.

From February to June his solo exhibition Life, Jazz & Lots of Other Things travelled to the Museum of Art at the Savannah College of Art and Design.

This show at Tomio Koyama Gallery is his sixth solo exhibition, and his major group exhibitions include «VOCA 2008» (2008, The Ueno Royal Museum, Tokyo), «Winter Garden: The Exploration of the Micropop Imagination in Contemporary Japanese Art» (2009, Hara Museum of Contemporary Art, Tokyo, traveled to several international museums), «Twist and Shout: Contemporary Art from Japan» (2009, Bangkok Art and Culture Centre), and «Nostalgia and Fantasy: Imagination and Its Origins in Contemporary Art» (2014, National Museum of Art, Osaka).

In both 1981 and 1989, the Denver Museum of Art organized traveling exhibitions of his work; the J.F. Costopoulos Foundation, Athens, organized a retrospective of Samaras» work at the National Gallery of Greece, which was his first solo exhibition in his country of birth.

His recent solo exhibitions include KAWS: WHERE THE END STARTS, Modern Art Museum of Fort Worth, Texas (2016) which traveled to the Yuz Museum, Shanghai (2017); KAWS, Yorkshire Sculpture Park and Longside Gallery, West Yorkshire, United Kingdom (2016).

Bas» work has been exhibited in many international solo and group exhibitions including the 2007 retrospective at the Rubell Family Collection in Miami, FL, which then traveled to the Brooklyn Museum of Art the following year.

A solo museum exhibition surveying Breuer's career to date will open in 2017 at the Milwaukee Art Museum and will tmuseum exhibition surveying Breuer's career to date will open in 2017 at the Milwaukee Art Museum and will tMuseum and will travel.

A solo traveling exhibition of his work, Memory as Medicine, was exhibited at the High Museum of Art, Atlanta, GA in 2011, before traveling to the Davis Museum and Cultural Center, Wellesley College, Wellesley, MA, and the McNay Art Museum, San Antonio, TX.

This show at Chelsea's Yossi Milo Gallery precedes a traveling solo exhibition of the artist's work opening at the Milwaukee Art Museum next year.