Her work has been shown in
various institutional exhibitions around the world, including Black Friday at the Whitney Museum of American Art in New York.
Not exact matches
In addition to her work on
various exhibitions and publications, she oversees Glenstone's Oral History Program, conducting interviews to document its
institutional history and to enrich the understanding of the artists in the foundation's collection.
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).
Over 20
institutional exhibitions, project spaces and private collections will take place alongside
various line - ups of screenings, talks and performances as well as art awards.
[9] The
exhibitions draw on
various sources including holdings of the Club, its members, and of
institutional libraries.
The 2017 Tate
exhibition rejected
institutional norms: photos in
various sizes, framed and unframed, were tacked, taped or hung on the walls of 14 rooms in seemingly random ensembles, like a forensic study of lives, with no single photo being accorded more importance than others.
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.
Her work has been the subject of many important
institutional exhibitions and is included in
various public collections.
«Taboo,» a provocative
exhibition of contemporary Australian and international artists, whose works are presented alongside
various archival ephemera ---- newspaper clippings, postcards, and photographs ---- attempts to lay bare the moral impositions wrought by collective
institutional bodies upon individual ones.