Sentences with phrase «view in his exhibition made»

While the art now on view in his exhibition Made by Whites for Whites at Jack Shainman Gallery's 20th Street space (more work by Cave also fills the gallery's 24th Street space) uses a similar selection of found materials, it does so to a much different end.

Not exact matches

In view of this conflict between the misunderstanding of the mob and the testimony of the experts, we may justly make one claim: Christianity has a right to be judged in terms of its own noblest exhibitions and not in terms of its perversions and caricatureIn view of this conflict between the misunderstanding of the mob and the testimony of the experts, we may justly make one claim: Christianity has a right to be judged in terms of its own noblest exhibitions and not in terms of its perversions and caricaturein terms of its own noblest exhibitions and not in terms of its perversions and caricaturein terms of its perversions and caricatures.

The exhibition includes a sketch made in preparation for the bust, as well as an etching shown with various levels of ink saturation, all giving different views the leader's iconic face.

Context is crucial, particularly when viewing postmodern, ready - made art like Marcel Duchamp's famous installation, Fountain, which placed a urinal in an exhibition — much to the dismay of the artistic establishment.

Carlson gives us a journalist's - eye - view of what brought Nikita Khrushchev to the United States in the first place, depicting Vice President Richard Nixon as an awkward emissary who visited Moscow to further his own political career and made a spectacle at the American National Exhibition by debating the merits of kitchen appliances with the leader of the Soviet Union.

«America Is Hard to See,» the Whitney Museum's inaugural exhibition in its new building, showcased art by Castle, Bill Traylor (who was born into slavery in Alabama and began making art at age 85), and Horace Pippin (one of the first self - taught African American painters to attract the attention of major museums like the Museum of Modern Art and the Whitney), but was also, in Edlin's view, «something of a missed opportunity,» considering the overall ratio of those few works to the entire installation.

This summer, I made four visits to Roland Reiss» studio to discuss his new Floral Paintings — which will be on public view in his upcoming retrospective at Begovich Gallery, California State University, Fullerton in November and a large exhibition in Los Angeles at Diane Rosenstein Fine Art in December.

For The New York Times critic Roberta Smith, viewing the show in New York, the exhibition conveyed «the complexity of Mr. Williams's achievement and of art making itself with a wondrous lucidity.»

In part a celebration of the artist's 75th birthday, the show boasts drawings, sketches, and architectural models in addition to numerous large - scale works, and offers a unique viewing experience as well — Stella staged the exhibition himself, making the most of the museum's customizable, flexible wall systeIn part a celebration of the artist's 75th birthday, the show boasts drawings, sketches, and architectural models in addition to numerous large - scale works, and offers a unique viewing experience as well — Stella staged the exhibition himself, making the most of the museum's customizable, flexible wall systein addition to numerous large - scale works, and offers a unique viewing experience as well — Stella staged the exhibition himself, making the most of the museum's customizable, flexible wall system.

More than ten years in the making, the exhibition of 120 works is now on view at TAM through January 10, 2016.

On view last year at Jeu de Paume in Paris (Simpon's first European exhibition), the presentation at Addison Gallery features «Chess,» 2013, a three - channel video installation making its U.S. debut.

The NGA exhibition opens just over a year after Stella's retrospective opened at the Whitney Museum in New York, yet by focusing on the rich seam of prints, a cohesive view of this extraordinary artist is attainable, making it an important show on many levels.

LONDON - Presenting works made between 2008 and 2017 in various media, including sculpture, painting, film, installation, photograms and posters, the exhibition asserts McElheny's view that «reconstructing history» can be a creative process itself and that aesthetics are always political.

The mixed - media pieces brought together in this exhibition are not intended to be viewed individually, but rather make up a complete environment.

This presentation follows the artist's recent major European survey, All I Have Learned and Forgotten Again, that was on view in 2013 at Lille Métropole, musée d'art moderne, d'art contemporain et d'art brut in Villeneuve d'Ascq, France, before it traveled to the Camden Arts Centre in London, making it the first solo exhibition of his work in the city.

SKG artist Mike Disfarmer is featured in the group exhibition, All of Arkansas: Arkansas Made, County by County, on view at the Arkansas Made Gallery through March 11, 2018.

The event will feature hands - on art making using water - based media, artist demonstrations of watercolor painting techniques, and interactive tours of the gallery exhibition «2018 Mid-Atlantic Regional Watercolor Exhibition,» on view in the Kaexhibition «2018 Mid-Atlantic Regional Watercolor Exhibition,» on view in the KaExhibition,» on view in the Kay Gallery.

The exhibition's title conjures both mythological and astronomical associations, and the primary medium of the work on view — the wool of the shag rugs Betbeze has distressed and distorted — makes it difficult to resist considering a further literary one, the 1870 novella Venus in Furs by the Austrian writer Leopold von Sacher - Masoch, from whose name the term «masochism» is derived.

When planning the exhibition, a consideration is made in terms of how the work is going to be viewed, like you'll looking at it from across a room like three times as big as your last solo show?

The animating conceit of Telepathic Improvisation, a film by Pauline Boudry / Renate Lorenz and the centerpiece of their first U.S. solo museum exhibition of the same title at the Contemporary Arts Museum Houston, on view through Jan. 7, is that viewers are invited to «participate» retroactively in the making of the film.

Each of the museum's two current headline exhibitions — Anna Betbeze's Venus and Matthew Angelo Harrison's Dark Povera Part 1, both on view through December 17 — engage that complicated relationship in indirect but interesting ways: Betbeze is a Georgia native who continues to make work here despite now living in New York, and Detroit artist Harrison's show draws much of its source material from Atlanta - based collections of African art.

The largest column - free museum exhibition space in New York, the Neil Bluhm Family Galleries measure 18,200 square feet and feature windows with striking views east into the city and west to the Hudson River, making for an expansive and inspiring canvas.

American Art of the 80's, curated by Gabriella Belli and Jerry Saltz, Palazzo delle Albere, Trento, Italy A Passion for Art: Watercolours and Works on Paper, Tony Shafrazi Gallery, New York, NY Closet No. 9, Queens Museum of Art, Flushing, NY Just What Is It That Makes Today's Home So Different, So Appealing, The Hyde Collection, Glen Falls, NY The 1980's; A Selected View From the Permanent Collection, Whitney Museum of Fine Art, New York, NY Metropolitan Home Showhouse 2, New York, NY To Benefit Fashion Moda, Brooke Museum of Art, New York, NY Children in Crisis, A Benefit Exhibition, Lorence Monk Gallery, New York, NY

DIY is the kernel of Czudej's exhibition, or rather: the manner in which «making home» is predominantly seen as a masculine operation, while «home - making» is more readily viewed as a feminine activity.

Three artistic points of view are presented in this group exhibition; using everyday objects, the artists inscribe their vision with ultimate intensity, making the least visible realities visible in very sensitive ways.

In fact, the gallery had moved a wall to separate the street entrance from the exhibition, making the viewing space narrower than it normally was.

Now on view at Romer Young Gallery, Made in San Francisco is a group exhibition featuring the work of Facundo Argañaraz, Greg Ito, and Jonathan Runcio.

Both made expansive series of works during the 1950s, some of which are on view in this exhibition, which document their relentless experimentation.

Hamptons Art Hub has put together a list of photography exhibitions on view in New York City museums and galleries that showcase what's possible when working with light and the various ways photographers have made artistic choices with the photography medium and its possibilities.

The Cristea exhibition, devoted entirely to prints, allowed for a more intimate viewing experience and also included works the Tate missed, such as the etchings made after Joyce's Ulysses [see Kit Smyth Basquin's article, «Ineluctable Modality of the Visible: Illustrations for Joyce's Ulysses,» in Art in Print, Vol.

Hélio Oiticica's installation Cosmococa C1 (1973/2010), made in collaboration with Neville D'Almeida, is featured in the exhibition Suprasensorial: Experiments in Light, Color and Space, organized and previously exhibited by The Museum of Contemporary Art, Los Angeles and on view until May 13th at the Hirshhorn Museum and Sculpture Garden in Washington, D.C.. His famous installation Tropicália (1967) is currently being exhibited in From Revolt to Postmodernity (1962 - 1982) at the Museo Nacional Centro de Arte Reina Sofia in Madrid.

Make art a part of your life by witnessing the creative process in action, enrolling in a class or workshop, viewing quality themed exhibitions, or volunteering your time and talents to bring art to others in our community!

Recently, Huang was featured in the Solomon R. Guggenheim Museum exhibition, «Theater of the World: Art in China after 1989,» and is currently included in «What Absence Is Made Of» at The Smithsonian's Hirshhorn Museum and Sculpture Garden, on view through summer 2019.

Although a vast majority of exhibitions of art made in the 1980s zeroes - in on the return to figuration or the new rise of painting, Brand New: Art and Commodity in the 1980s goes down a different rout by introducing an alternative view, one with much greater complexity.

The first works in the series were debuted in Douglas's 2016 Hasselblad Award solo exhibition at the Hasselblad Center in Gothenburg, Sweden, and the compositions that will be on view in this exhibition represent a more expansive and nuanced investigation into pictorial abstraction as well as the complex relationship between technology and image making.

SARAH CHARLESWORTH: DOUBLEWORLD, the 2015 New Museum exhibition of this leading neo-conceptualist who «made subversive use of photography in order to show how images shape our perception of the world,» is on view at LACMA through the beginning of 2018.

On view through April 2, the exhibition will span the Museum's nine galleries and feature 60 of Still's mature abstract works, including a series of works that the artist made late in life.

Gagosian is pleased to present «View of Dawn in the Tropics: Paintings, 1989 — 1990,» an exhibition of paintings by Julian Schnabel that are being shown in New York for the first time, twenty - five years after they were made.

The exhibition, which takes its title from a protest sign captured by Bettmann on Fifth Avenue in Manhattan during the Women's Liberation Parade in August 1971, is curated to complement and expand on Making Space: Women Artists & Postwar Abstraction currently on view at the Museum of Modern Art (MoMA, New York).

Artworks by Jesse Burke will be on view in three museum exhibitions opening in September: «Made Masculine» at the University of New Hampshire Museum of

The exhibition, «One Hundred Views of Kesennuma» (the title refers to the well - known series by Hokusai), was made in response to the earthquake and tsunami that destroyed much of the east coast of Japan almost exactly one year ago.

The works on view in the exhibition were made during the course of their friendship, with the exception of Smith's Portrait of an Eagle's Keeper, 1948 - 49.

Mickalene Thomas's rejoinder - the crux of her first solo museum exhibition, «Origin of the Universe,» which opened at the Santa Monica Museum of Art and is currently on view at the Brooklyn Museum - is rooted in this retrospective, and the physical fact of confronting the panel seems key to what she makes of it: three versions of the original (all works 2012), with herself and her partner alternately serving as the models for the cropped, attenuated figure disappearing under the folds of rumpled bed linens.

By exploring a single year, this exhibition is not an attempt to recount the events of 1969, but rather, to present a variety of works made in a single year, each one with its own narrative and point of view.

* some alterations will be made to the viewing conditions of the exhibition from 6 pm and a special performance event will take place in the main gallery from 8 pm

Select group exhibitions and biennials / triennials featuring his work include Synthesize: Art + Music, Museum of Contemporary Art Jacksonville, FL (forthcoming, 2017); Shifting Views: People and Politics in Contemporary African Art, Baltimore Museum of Art, MD (2016 - 2017); PERFORMA 15, Arnold Schönberg's Erwartung - A Performance by Robin Rhode, New York (2015), Making Africa.

Thirteen of Truitt's sculptures, made between 1962 and 2004, will be on view, making this the most comprehensive exhibition of Truitt's work in New York in almost 20 years.

Narrated by Liev Schreiber, this film was made in conjunction with the exhibition Power and Pathos: Bronze Sculpture of the Hellenistic World, on view at the Gallery from December 13, 2015, to March 20, 2016.

This film is made in conjunction with the exhibition Los Angeles to New York: Dwan Gallery, 1959 — 1971, on view from September 30, 2016, to January 29, 2017.

Over half of the works in Robert Ryman: Drawings will make their public premiere in this exhibition, and many others have not been on view publicly in decades, such as The Watermark Series (1968)-- last presented in the artist's mid-career retrospective at The Solomon R. Guggenheim Museum in 1972.