Sentences with phrase «view in the exhibition what»

Halvorson's paintings were recently on view in the exhibition What Looks Back at Sikkema Jenkins & Co., New York.

Not exact matches

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.

The aquarium is known for its location — right on the Monterey Bay with views of sea otters and seals from the aquarium's windows — as well as the sea otter exhibit, the giant kelp forest (reflecting what's in the waters of the bay) and its special exhibitions that currently includes a show of cephalopods.

His most recent exhibition, What Separates Us, at the Embassy of Brazil in London, centers around themes of circuits of exchange and value from a cultural, social, and political point of view.

Visit our Gallery Guide or our Exhibition Finder to discover what's on view in The Hamptons, The East End and New York City.

Frankly, what's presented in his upcoming exhibition is a powerfully different point of view; because if you think you know POSE, think again.

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

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.

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.

This exhibition utilizes Kant's approach to reconsider how certain twentieth - century artists engaged the frontiers of human understanding in works that pit people's sight and insight against the limits of what they are able to comprehend, i.e. the things they believe themselves to be seeing as opposed to «things - in - themselves» (Kant's code word for humans» inability to move beyond their own constructed views).

Lawler, whose work will be on view at MoMA in Spring 2017 in an exhibition titled, Why Pictures Now, uses imagery to speak about the spectacle of the photograph and invites the viewer to adjust their expectations to what they are seeing, according to Marcoci.

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.

An exhibition entitled Early Works suggests that we should view the work on show not simply in terms of what's in front of us, but rather in terms of the later works that are not there.

Both exhibitions are large and global in their outlooks; both identify what is on view with the feminist revolution.

To find out about his plans for the institution, and to hear about the shows he has in the works — including the new Tracey Emin exhibition, initiated by Clearwater, that opens during Art Basel Miami Beach — Artspace editor - in - chief Andrew M. Goldstein spoke to Gartenfeld about what he has in store, and how he views his new perch.

What / Why: «Vis a Vis: Adria Arch and Anne Krinsky, an exhibition of paintings and works on paper by Adria Arch and Anne Krinsky, will be on view at Soprafina Gallery in Boston from April 1 to 30, 2016.

Prompted by what they viewed as a «gulf in consciousness» between the exhibition's organisers and the collective, they painted slogans onto various photos and texts, as well as read a statement.

For more in this series, see my thoughts on Private views, Art itself, Appointment only exhibitions, Artificial Intelligence replacing artists, Everyone's a Critic, Photo London, The Turner Prize, Art for art's sake, Conceptual art is complicated, Condo, How performance art is presented in museums, Frieze week floozies, too much respect for an artist's legacy, opinions not being welcome, an exhibition across three countries, tackling race and gender in art, artist - curators, art fair hype, top 5s and top 10s, our political art is terrible, gap left by Brian Sewell, how art never learned from the Simpsons, why artspeak won't die, so - called reviews, bad reviews are bad for business, the $ 179m dollar headline, art fairs appealing to the masses, false opening hours, size matters and what's wrong with video art.

Art Slant Chicago Art Talk Chicago Bad at Sports Bite and Smile Brian Dickie of COT Bridgeport International Carrie Secrist Gallery Chainsaw Calligraphy Chicago Art Blog Chicago Art Department Chicago Art Examiner Chicago Art Journal Chicago Artists Resource Chicago Art Map Chicago Art Review Chicago Classical Music Chicago Comedy Examiner Chicago Cultural Center Chicago Daily Views Chicago Film Examiner Chicago Film Archives Chicago Gallery News Chicago Uncommon Collaboraction Contemporary Art Space Co-op Image Group Co-Prosperity Sphere Chicago Urban Art Society Creative Control Defibrillator Devening Projects Digressions DIY Film ebersmoore The Exhibition Agency The Flatiron Project F newsmagazine The Gallery Crawl... Galerie F The Gaudy God Happy Dog Gallery HollywoodChicago Homeroom Chicago I, Homunculus Hyde Park Artcenter Blog InCUBATE Joyce Owens: Artist on Art J - Pointe Julius Caesar Kasia Kay Gallery Kavi Gupta Gallery Rob Kozlowski Lookingglass Theatre Blog Lumpen Blog Marquee Mess Hall N'DIGO Neoteric Art NewcityArt NewcityFilm NewcityStage Not If But When Noun and Verb On Film On the Make Onstage Peanut Gallery Peregrine Program Performink The Poor Choices Show Pop Up Art Loop The Post Family The Recycled Film Reversible Eye Rhona Hoffman Gallery Roots & Culture Gallery SAIC Blog The Seen Sharkforum Sisterman Vintage Site of Big Shoulders Sixty Inches From Center Soleil's To - Do's Sometimes Store Steppenwolf.blog Stop Go Stop Storefront Rebellion TOC Blog Theater for the Future Theatre in Chicago The Franklin The Mission The Theater Loop Thomas Robertello Gallery threewalls Time Tells Tony Wight Gallery Uncommon Photographers The Unscene Chicago The Visualist Vocalo Western Exhibitions What's Going On?

What, then, to make of Berlin - based artist Susanne M. Winterling's video montage Piles of Shade, 2006, on view in her recent exhibition «I'll be your mirror, but i'll dissolve...» at Daniel Reich Gallery?

What / Why: «The MIT List Visual Arts Center is pleased to present In the Holocene, a group exhibition on view from October 19, 2012, to January 6, 2013, that explores art as a speculative science, investigating priniciples more commonly associated with scientific or mathematical thought.

Notable group exhibitions include; «Cake and Lemon Eaters: Viktor Pivovarov and Ged Quinn», Galerie Rudolfinum, Czech Republic (2014); which toured to The Gallery of Fine Arts in Ostrava, Czech Republic (2014); «Somos Libres II», Pinacoteca Giovanni e Marella Agnelli, Italy (2014); «Landscape 2000», Osnabrück Cultural History Museum and Felix Nussbaum Haus, Germany (2013 2014); «Looking at the View», Tate Britain, London, England (2013); «The Future is Not What It Used To Be», Newlyn Art Gallery, Penzance, UK (2013); «Beyond Reality: British Painting Today», Galerie Rudolfinum, Prague, Czech Republic (2012); «Everywhere and nowhere», Reydan Weiss Collection, Oberstdorf, Germany (2012); «The Witching Hour», Water Hall, Birmingham Museum & Art Gallery, Leverkusen (2010); «Lust for Life & Dance of Death», Kunsthalle Krems (2010); «Newspeak: British Art Now», Saatchi Gallery, London (2010) touring to State Hermitage Museum, St. Petersberg (2009); «Made Up», Liverpool Biennale, Tate Liverpool (2008); «Collezionami 2», Biennale of Southern Italy, Bari, Puglia (2006); and «The Real Ideal», Millennium Galleries, Sheffield (2005).

Her friend Dorothea Lange sent her a letter, on view in the exhibition, asking Javitz's advice about some «photographs [that] were started early in the Depression, and were made with no particular purpose in mind except that I was strongly moved by what was surrounding us in those days.»

The result of a curatorial survey of the area immediately surrounding the gallery, the exhibition embraces a wider view of creativity and interdisciplinary thinking, less concerned with questioning what is and what is not «art» than with celebrating creativity, differing notions of which can co-exist side by side in the most unexpected and unintended of places.

Interestingly, while turning the viewer's attention to what one would normally dismiss — and certainly not warrant close inspection — the work takes various forms and affects, not only in relation to the space it is exhibited in and in terms of scale, but also in accordance to its designated context, be it a solo or a group exhibition (in the latter case shaping the viewing experience of other artists» works on display).

Recent solo exhibitions We Were Promised Anarchy, But What We Got Was Chaos, Solstice Art Centre, Ireland (2015); Youth Outreach In N. Korea, Supermarket 2015, Stockholm, Sweden; The Parallax View, Ormston House, Limerick, Ireland (2014); and group exhibitions 2FUTURES: Anthology 2, Royal Hibernian Academy, Dublin, Ireland (2015); Telling Lies, RUA RED, Dublin, Ireland (2015); Please return, Embassy Gallery, Edinburgh, Scotland (2015), among others.

Carrie Mae Weems delivers what promises to be a dynamic lecture held in conjunction with the exhibition From Here I Saw What Happened and I Cried, on view at Hammonds House Muswhat promises to be a dynamic lecture held in conjunction with the exhibition From Here I Saw What Happened and I Cried, on view at Hammonds House MusWhat Happened and I Cried, on view at Hammonds House Museum.

In the exhibition we want to show the artists views on what romance looks like to them, what they think about traditional forms and new possibilities of being romantic, where they (don't) see romance and if they either have a emotional or rational way of dealing with it.

In group exhibitions with more conceptually complex themes, it can often be a struggle to find common threads between the works on view, becoming more of an exercise of «is this what they meant or did they mean anything at all?»

Recent activities include solo exhibitions We Were Promised Anarchy, But What We Got Was Chaos, Solstice Art Centre, Ireland (2015); Youth Outreach In N. Korea, Supermarket 2015, Stockholm, Sweden; The Parallax View, Ormston House, Limerick, Ireland (2014); and group exhibitions 2FUTURES: Anthology 2, Royal Hibernian Academy, Dublin, Ireland (2015); Telling Lies, RUA RED, Dublin, Ireland (2015); Please return, Embassy Gallery, Edinburgh, Scotland (2015), among others.

If criticism manifests most strongly in the face of what is meant to move us forward as a species, one can only imagine what curator John Cheim was expecting for the onset of his most recent exhibition, The Female Gaze, Part II: Women Look at Men.1 It might be easier, though perhaps a bit militant in this case, to look askance at a man for tackling a women - centric show, or at the canon - grounded lineup, or at the cautionary, simplified curatorial statement [Would we view these works differently if they were made by men?]

Accompanying the exhibition, the installation «Working on What the Heart Wants» is also on view, in which Evans offers a glimpse of the work's production process.

By placing an image of a power chord on the floor in lieu of an actual chord — taped as though purely functional and part of the trimmings of an exhibition space — Emma intervened in my viewing experience, offering me the chance to evaluate both how and what I was seeing and to think about why she had done this.

The Jimmy O'Neal (M.F.A. painting, B.F.A. illustration) exhibition «What Essence Was It, That Time Was Of» is on view in the Alexander Hall Gallery through Wednesday, July 13, 2016.

2002 CAB Gallery Retrospective 1999 - 2001, Essor Gallery Project Space, London, UK Between Language and Form, Yale University Art Gallery, New Haven, Connecticut, US Amsterdam Revisited: Adam & Eve On Sex, Tolerance and other Dependencies, De Appel, Amsterdam, NL Reaction - A Global Response to 9/11, Exit Art, New York, US Art Aficionado Auction of Cigar Box Art, Birmingham Museum of Art, Birmingham, Alabama, US Just Remember: It's Vienna, Galerie Hubert Winter, Vienna, AT Welfare State International, London, UK Light & Shadows..., Galerie Anselm Dreher, Berlin, DE From the Observatory, Paula Cooper Gallery, New York, US Galerie Pietro Spartà, Chagny, FR Coolecção Onnasch: Aspectos da Arte Contemporânea, Museu Serralves / Museu Arte Contemporânea, Porto, PT Conceptual Art 1965 - 1975 from Dutch and Belgian Collections, Stedelijk Museum Amsterdam, NE DIN Art 4 - 560 Künstler und 1 Formular, Museum für Kommunikation, Hamburg, DE 2002 Benefit Silent Auction and Gala, White Columns, New York, US Parole, Parole, Parole, Galleria Civica di Arte Contemporanea, Trento, IT Water - Sand — Space, The International Art Exhibition: Sharjah Art Museum, UAE; Städtischen Galerie Wolfsburg, DE Private Views, London Print Studio Gallery, London, UK Collections, Stedelijk Museum, Amsterdam, NL Startkapital, K21 Kunstsmamlung Nordhein - Westfalen, DE 20 Years in Danish Art, Stalke Galleri & Galleri Kirke Sonnerup, DK The Artists» Memory, Stadtische Museen Jena, Kabinett im Stadtmuseen, DE Ideal Avalanche, The Pond, Chicago, Illinois, UK Pièes de Collection / Oeuvres Contemporaines, Une Proposition de Françoise et Jean - Philippe Billarant, Ecole Supérieure des Beaux - Arts de Nîmes, ESBAN @ Hôtel Rivet, FR Hors d'Oeuvre, Artist's Pages, Le Journal de l'art Contemporain en Bourgogne, No. 10, FR Frenetic Interferences a presentation of MEMORY / CAGE EDITIONS, Museum Store of The New Museum of Contemporary Art, New York, US Sens Giratoire Exposition Collective Peintures, Photographies, Installations PASSAGES, Centre d'Art Contemporain, Troyes, FR Ilona Ruegg, Kunsthalle Bern, Bern, CH Kunst und Schock Der 11, September und das Geheimnis des Anderen, Eine Austellung mit Bildern und Texten in Zusammenarbeit mit Lettre International, Haus am Lützoplatz, Berlin, DE Art Unlimited, Basel Art Fair, Basel, CH Les Horizons du Paysage, curated by François Montliau & Hubert Besacier, Maison de la Culture de Bourges, FR Ansammlungen von Ingrid Wald und Gerhard Jaschke («Freibord»), Sommerallerie, Unterretzbach, AT Out of Print Edição Esgotada, Museu Serralves, Museu de Art Contemporaneâ, Porto, PT De Concert, Oeuvres d'une Collection Privé, Frac des Pays de la Loire, FR What About Hegel (And You)-RRB-?

Another solo exhibition, War Is Not What You Think, was on view at La Salle University Art Museum and the Connelly Library in Philadelphia in 2012.

After seeing James Bishop, which is currently on view at David Zwirner (September 6 — October 25, 2014), I would urge anyone who cares about what an artist can do with paint to go and immerse themselves in this beautiful, sensitive, astringent exhibition of eleven mostly square, human - scaled paintings in oil and four small works (all are less than six inches in height and width), done in oil and crayon on paper.

The Stedelijk Museum Bureau Amsterdam presents A Sign of Autumn — Vincent Vulsma a solo - exhibition on view 15 October — 27 November 2011, By employing strategies of spatio - temporal montage, Vulsma brings together objects and patterns taken from their contexts in ethnographic collections and the canons of modernist design and photography, deliberately moving back and forth along the lines between what is classified as commodity, art or ethnographic object.

Co-edited by Lauren Haynes and Ian Berry, the exhibition catalog «Alma Thomas» A go beyond what was on view in the show, including a more expansive selection of the artist's works.

The Santa Monica Museum of Art presents Yutaka Sone and Benjamin Weissman: What Every Snowflake Knows in Its Heart, an exhibition on view from November 21, 2013 to April 5, 2014.

While the gallery clearly prods us to view the latter as providing the exhibition's heft, the lighter pieces hung in the hallway hint at what the leaden centerpieces lack; namely, the lubricant image play that gives rise to slipperiness of meaning — between personal memory and collective history, perhaps — that has animated Bailey's art in the past.

What's on view: The gallery, which is separated into two exhibition spaces, contains a series of Fraga's amorphous, figurative paintings on crinkly found paper in one space, while in the other, his collection of altered found objects and materials forms the basis of a spacious, room - sized installation.

The artist, whose solo exhibition «Sanctuary,» is on view at the Museum of Arts and Design in New York through Aug. 12, says the narratives of African American life and history in Lawrence's paintings are so familiar to him and his experiences that what really draws his attention is how he constructs his images, a defining element Thomas also emphasized.

What's happening now: The Sound of Silence, an exhibition of works by Alfredo Jaar (Season 4), is on view at Galerie Lelong in New York through May 2.

The exhibition asks «What if our pupil had a crack in its lens; allowing for a fragmented view of a world in which no singularity prevailed?»

The exhibition programming at The Drawing Center and the work in the Viewing Program definitely feature a broad interpretation of what drawing can be.

This is not uncommon in viewing a painting, even at its most brazen, but as your eyes scan Hylden's exhibition, bearing witness to the slight procedural differences between each work, noticing what is depicted as much as how they are painted, it becomes clear they are a singular organism.

The exhibition offers a rare opportunity for European audiences to view O'Keeffe's work in such depth and what better moment to celebrate her influential career than 100 years after her debut andcoinciding with the opening of the new Tate Modern.»

The exhibition will be on prominent view in a central gallery of the museum and will be the first of what is hoped to be a series of exhibitions — allowing the Ashmolean, the world's oldest encyclopaedic museum, to present the art of our time.

View current exhibitions to see what is going on right now in the galleries, upcoming exhibitions to see what will be happening in the CWAM this year and next, and past exhibitions for information about previous projects.