Sentences with phrase «view in the exhibition look»

Not exact matches

View the new exhibition Abstract Passion and enjoy the champagne reception while receiving dating advice for singles looking for love online in time for the holidays.

Looking forward to the Private View of this exhibition tomorrow night at The Mall Galleries in London where two of our small paintings, No. 11 and A Cutter Rigged are included in the show.

The works of Josef and Anni Albers have been featured both together and separately in exhibitions worldwide, most recently including A Beautiful Confluence: Anni and Josef Albers and the Latin American World, Mudec, Museo delle Culture, Milan, 2015 - 2016; and Leap Before You Look: Black Mountain College 1933 - 1957 at the Institute of Contemporary Art, Boston in 2015 (traveled to the Hammer Museum, Los Angeles and will be on view at the Wexner Center for the Arts, Columbus, Ohio, from September 17, 2016 — January 1, 2017).

The Nevelson piece, Sky Cathedral / Southern Mountain, 1959, which was borrowed from LA MoCA, is installed somewhat differently than these other works, directly on the floor in a portion of the room where the ceiling is lower.It looks consistent with similar Nevelsons I viewed at Pace Gallery or the Jewish Museum in New York during the»80s and»90s, before the advent of the enormity of scale that typifies so many of the new exhibition spaces of today.

Selected Group Exhibitions 2017 Ted Stamm / Gerrit Rietveld, OV Project, Brussels, Belgium 2017 Painting on the Edge: A Historical Survey, Stephen Friedman Gallery, London 2012 Times Square Show Revisited, Hunter College Art Galleries, New York, NY 2010 Black & White, Galleri Weinberger, Copenghagen, Denmark 1987 Recent Acquisitions, Guggenheim Museum, Brooklyn, NY 1987 Recent Acquisitions, Brooklyn Museum, New York, NY 1985 Art Heritage at Hofstra, Emily Lowe Gallery, Hofstra University, Hempstead, NY 1985 Constructures: New Perimetries in Abstract Painting, Nohra Haime Gallery, New York, NY 1984 Fourth Annual Anniversary Show, John Davis Gallery, Akron, OH 1984 Fifteen Abstract New York Painters, Susan Montezinos Gallery, Philadeiphia, PA 1984 Small Works, Muhlenberg College, Allentown, PA 1984 Mail Art, Franklin Furnace, New York, NY 1984 Artists Call, Judson Memorial Church, New York, NY 1984 Process Black, LIU South Hampton, New York, NY 1984 A Decade of Art, Artists Space 105 Hudson, New York, NY 1984 Offset: A Survey of Artists Books, New England Foundation for the Arts, Wakefield, RI 1983 David Reed, Sean Scully, Ted Stamm; Zenith Gallery, Pittsburgh, PA 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; 1708 East Main Street, Richmond, VA 1983 Abstraction Two Views: Davis and Stamm, The Contemporary Arts Center, Cincinnati, OH 1983 Second Anniversary Exhibition, Harm Bouckaert Gallery, New York, NY 1983 Hundreds of Drawings, Artists Space, New York, NY 1983 A More Store, Jack Tilton Gallery, New York, NY 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; Condeso / Lawler Gallery, New York, NY 1983 Artists for Nuclear Disarmament, Colburn Gallery, Burlington, VT 1982 A Look Back: A Look Forward, Aldrich Museum, Ridgefield, CT 1982 Pair Group, Art Galaxy, New York, NY; travelled to Jersey City Art Museum, Jersey City, NJ 1982 Destroyed Prints, Pratt Manhattan Center, New York, NY 1982 Annual Holiday Invitational, A.I.A. Gallery, New York, NY 1982 Group Exhibition, Roy Boyd Gallery Chicago, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL 1982 Pair Group II, Jersey City Museum, Jersey City, NJ 1982 Black and White, Freeport Mc Mo Ran, New York, NY 1982 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post, Greenvale, NY 1981 Drawings, Roy Boyd Gallery, Chicago, IL 1981 Abstract Painting: New York, Hofstra University, Hempstead, NY 1981 Arabia Felix, Art Galaxy, New York, NY 1981 Words and Images: Contemporary Artist's Books, Southern Alleghenies Museum of Art, Loreto, PA 1981 Love: Hate: Fear and Suicide, University of Brussels, Brussels, Belgium 1981 New Directions, Commodities Corp..

«Kerry James Marshall: Painting and Other Stuff,» the first comprehensive survey of his practice, is on view in Antwerp, Madrid, Copenhagen and Barcelona (and includes a catalog); «Look See,» his first exhibition with David Zwirner Gallery, his representative in London, opens; and he receives the Wolfgang Hahn Prize for contemporary art from the Museum Ludwig in Cologne, Germany.

On view from March 1 - June 2, 2018, the exhibition looks to the sky and the earth, and considers questions of geology, cosmology, and our place in the world.

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?

Published to coincide with Chicago - based Kerry James Marshall «s first exhibition at David Zwirner Gallery in London, this catalog documents the 14 paintings on view («the majority of which are portraits of subjects whose disassociated stares suggest the differences between «looking» and «seeing»»).

A new exhibition «Looking Back (Looking Forward): The Black Mountain Experience,» on view at Vanderbilt University's Fine Arts Gallery in Nashville through March 2, retraces the radical educational experiment that brought European Modernism to the American South, creating a vision of tomorrow that we're still catching up with today.

«Review: Bradford Young, New York, at Bethel Tabernacle AME Church» by Miriam Atkin Art in America Miriam Atkin takes a look back at «Bynum Cutler,» Bradford Young's three - channel film on view at the Bethel Tabernacle AME Church in Crown Heights, Brooklyn during «Black Radical Brooklyn: Funkgodjazzmedicine,» the community - based exhibition co-organized by Creative Time and the Weeksville Heritage Center.

In this video, we have a look at the exhibition on the occasion of the private view of the show on October 13, 2014.

In Scaffali, the recent exhibition by Michelangelo Pistoletto on view at Luhring Augustine, we look in the mirror and find ourselves captive in a scene that -LSB-..In Scaffali, the recent exhibition by Michelangelo Pistoletto on view at Luhring Augustine, we look in the mirror and find ourselves captive in a scene that -LSB-..in the mirror and find ourselves captive in a scene that -LSB-..in a scene that -LSB-...]

Installation view of «You Are Looking at Something That Never Occurred», a group photography exhibition at the Zabludowicz Collection in London.

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!

The paintings, drawings and prints on view invite extended and repeated looking; collected together in a single exhibition, they promise a sublime experience.

1993 Les Amis des Musées de Verviers: Aspects de la mouvance construite internationale, Fondation Pro Mesures Art International, Verviers, Belgium (catalogue) Yale Collects Yale, Yale University Art Gallery, New Haven, CT Skowhegan 93, Colby College Museum of Art, Waterville, ME (booklet) Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston, MA Artists» Photographs: A Private View, Blum Helman Gallery, New York Live in Your Head, Hochschule für Angewandte Kunst and Galerie Metropol, Vienna (curated by Robert Nickas, catalogue) The Tradition of Geometric Abstraction in American Art 1930 — 1990, Whitney Museum of American Art, New York 15th Anniversary Group Exhibition, Arthur Roger Gallery, New Orleans, LA Drawing the Line Against AIDS, AmFAR Art Against AIDS, Venice Biennale, Venice Looking at Collecting Today, Chateau de Tanlay, Burgundy, France Legend In My Living Room, Rhona Hoffman Gallery, New York I Love You More than My Own Death, Venice Biennale, Venice Italia - America, L'Astrazione Ridefinita, Galleria Nazionale d'Arte Moderna, San Marino, Italy (curated by Demetrio Paparoni, catalogue) New York Painters, Sammlung Goetz, Munich (catalogue) Legend in My Living Room, Rhona Hoffman Gallery, New York Wall Works, Edition Schellmann, Cologne, Germany Works on Paper, Kohn Abrams Gallery, Los Angeles Twenty Years, Daniel Weinberg Gallery, Santa Monica, CA Peter Halley, Todd Levin, Thread Waxing Space, New York (video project) Living with Art: The Collection of Ellyn & Saul Dennison, The Morris Museum, Morris, NJ (catalogue) Color, Pamela Auchincloss Gallery, New York New York on Paper, Galerie Thaddaeus Ropac, Parin Your Head, Hochschule für Angewandte Kunst and Galerie Metropol, Vienna (curated by Robert Nickas, catalogue) The Tradition of Geometric Abstraction in American Art 1930 — 1990, Whitney Museum of American Art, New York 15th Anniversary Group Exhibition, Arthur Roger Gallery, New Orleans, LA Drawing the Line Against AIDS, AmFAR Art Against AIDS, Venice Biennale, Venice Looking at Collecting Today, Chateau de Tanlay, Burgundy, France Legend In My Living Room, Rhona Hoffman Gallery, New York I Love You More than My Own Death, Venice Biennale, Venice Italia - America, L'Astrazione Ridefinita, Galleria Nazionale d'Arte Moderna, San Marino, Italy (curated by Demetrio Paparoni, catalogue) New York Painters, Sammlung Goetz, Munich (catalogue) Legend in My Living Room, Rhona Hoffman Gallery, New York Wall Works, Edition Schellmann, Cologne, Germany Works on Paper, Kohn Abrams Gallery, Los Angeles Twenty Years, Daniel Weinberg Gallery, Santa Monica, CA Peter Halley, Todd Levin, Thread Waxing Space, New York (video project) Living with Art: The Collection of Ellyn & Saul Dennison, The Morris Museum, Morris, NJ (catalogue) Color, Pamela Auchincloss Gallery, New York New York on Paper, Galerie Thaddaeus Ropac, Parin American Art 1930 — 1990, Whitney Museum of American Art, New York 15th Anniversary Group Exhibition, Arthur Roger Gallery, New Orleans, LA Drawing the Line Against AIDS, AmFAR Art Against AIDS, Venice Biennale, Venice Looking at Collecting Today, Chateau de Tanlay, Burgundy, France Legend In My Living Room, Rhona Hoffman Gallery, New York I Love You More than My Own Death, Venice Biennale, Venice Italia - America, L'Astrazione Ridefinita, Galleria Nazionale d'Arte Moderna, San Marino, Italy (curated by Demetrio Paparoni, catalogue) New York Painters, Sammlung Goetz, Munich (catalogue) Legend in My Living Room, Rhona Hoffman Gallery, New York Wall Works, Edition Schellmann, Cologne, Germany Works on Paper, Kohn Abrams Gallery, Los Angeles Twenty Years, Daniel Weinberg Gallery, Santa Monica, CA Peter Halley, Todd Levin, Thread Waxing Space, New York (video project) Living with Art: The Collection of Ellyn & Saul Dennison, The Morris Museum, Morris, NJ (catalogue) Color, Pamela Auchincloss Gallery, New York New York on Paper, Galerie Thaddaeus Ropac, ParIn My Living Room, Rhona Hoffman Gallery, New York I Love You More than My Own Death, Venice Biennale, Venice Italia - America, L'Astrazione Ridefinita, Galleria Nazionale d'Arte Moderna, San Marino, Italy (curated by Demetrio Paparoni, catalogue) New York Painters, Sammlung Goetz, Munich (catalogue) Legend in My Living Room, Rhona Hoffman Gallery, New York Wall Works, Edition Schellmann, Cologne, Germany Works on Paper, Kohn Abrams Gallery, Los Angeles Twenty Years, Daniel Weinberg Gallery, Santa Monica, CA Peter Halley, Todd Levin, Thread Waxing Space, New York (video project) Living with Art: The Collection of Ellyn & Saul Dennison, The Morris Museum, Morris, NJ (catalogue) Color, Pamela Auchincloss Gallery, New York New York on Paper, Galerie Thaddaeus Ropac, Parin My Living Room, Rhona Hoffman Gallery, New York Wall Works, Edition Schellmann, Cologne, Germany Works on Paper, Kohn Abrams Gallery, Los Angeles Twenty Years, Daniel Weinberg Gallery, Santa Monica, CA Peter Halley, Todd Levin, Thread Waxing Space, New York (video project) Living with Art: The Collection of Ellyn & Saul Dennison, The Morris Museum, Morris, NJ (catalogue) Color, Pamela Auchincloss Gallery, New York New York on Paper, Galerie Thaddaeus Ropac, Paris

Private View: Friday 21 January 2011, 17.30 - 20.00 Three Stones in the City of Ladies * is a group exhibition about repetition and looking back.

This book is a result of that collaboration, and is an extremely informative and comprehensive look at these projects and exhibitions that allows the reader an in depth view of Irwin's recent work.

The Riverside Arts Center is pleased to present our latest off - site exhibition at Riverside Town Hall: «Looking Through You,» a solo exhibition of paintings by Sherry Mangan Fascetta.The exhibition is on view in the first floor lobby at Riverside Town Hall at 27 Riverside Rd, Riverside, IL, from March 29 through June 28th, 2017.

Join us for an in - depth look at the current exhibitions Mies's McCormick House Revealed: New Views and Iñigo Manglano - Ovalle: Untitled Film (Red).

McCullough spoke at the Gallery in honor of the exhibition A New Look: Samuel F. B. Morse's «Gallery of the Louvre,» on view from June 25, 2011 to July 8, 2012.

«SELECTIONS FROM THE PERMANENT COLLECTION» New exhibitions include «Selected Recent Acquisitions: Building a Collection,» «Look and Look Again: Contemporary Observation,» «American Views: Artists at Home and Abroad,» «William Merritt Chase: A Life in Art,» «Fairfield Porter: Modern American Master,» «Esteban Vicente: Portrait of the Artist» and «Collective Conversations: Abstract Expressionism, Figuration, and Pop.»

Exhibitions on view are «Look and Look Again: Contemporary Observation,» «Changing Views: Expanding the Horizon», «Portraits», «Esteban Vicente: In the Company of Friends», «Poets and Painters», «Dennis Oppenheim: Splash Buildings», and «House and Studio: The Spaces Between».

«Currently on view at Marc Straus Gallery in NYC, an exhibition by Paul Pretzer brings primates, cardinals and painterly expression together for a carnivalesque look at the history of art.

The View From Here is presented by the San Francisco Museum of Modern Art as part of 75 Years of Looking Forward, a series of exhibitions and events organized in celebration of the museum's anniversary.

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).

New installation by Judi at Venice Biennale in the exhibition, Dialogue of Fire: Camera dei Sogni, May 5th - November 22nd, 2015 at Palazzo Tiepolo Passi Read the Press Release and take a look at some of the new work that will be on view.

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

In the video above, curator Nicholas Cullinan narrates a first look at the exhibition Twombly and Poussin: Arcadian Painters on view at the Dulwich Picture Gallery from June 29 - September 25, 2011.

Damien Hirst was standing in the middle of the top - floor exhibition space at Newport Street Gallery, the private museum that houses his collection, looking over the latest show to go on view there, Dan Colen's «Sweet Liberty.»

Whether a curator is looking to include art in an exhibition, a collector is coming to view a body of work, or a dealer is interested in representing your work, there is a certain art to the visit.

A physical counterpart to the work is included in the exhibition Looking at one thing and thinking of something else, Part one: Dialogues with Art History, Carroll / Fletcher Eastcastle Street, 11 November — 26 November 2016 (the online exhibition can be viewed here and details of the physical exhibition can be found here).

In the second instalment, she looks at a pair of exhibitions by Marianna Simnett and Ericka Beckmann currently on view at the Zabludowicz Collection, exploring how the body is mythologised, historicised, or pathologised.

This exhibition continues to explore the artist's interest in opacity, transparency and the psychology of looking, with specific references to the Claude glass — an 18th - century painter's tool that contained a lustrous black mirror made of glass or obsidian and was used to view tonalities in landscape subjects.

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.

As Schnabel wrote about the seminal painting Jack the Bellboy, featured in the last room of the exhibition, «The difference between the physical and pictorial elements of the painting confounded an easy viewing; it was hard to look at.

As a survey exhibition that is also an extended work itself, Relocating the Remains offers a broad look at the long - term impact new media technologies are already having, both in terms of how we build and maintain our world views and the transformation of exhibition spaces into open - ended and interactive environments.

Visitors to Boys» Quarters look through a glass door to view his office and the Windowall installations which change with each exhibition featured in the surrounding galleries.

We look forward to considering the extensive works of art and artefacts that feature in this exhibition, viewing circles from new aspects and viewpoints.»

Currently on view at HALSEY MCKAY, New York is the group exhibition «Paint On, Paint Off», a continued look at contemporary modes in abstract painting.

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 mLook 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 mlook 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?]

The new exhibitions in the permanent collection galleries are «Look and Look Again: Contemporary Observation,» «Changing Views: Expanding the Horizon», «Portraits», «Esteban Vicente: In the Company of Friends», «Poets and Painters», «Dennis Oppenheim: Splash Buildings», and «House and Studio: The Spaces Between»in the permanent collection galleries are «Look and Look Again: Contemporary Observation,» «Changing Views: Expanding the Horizon», «Portraits», «Esteban Vicente: In the Company of Friends», «Poets and Painters», «Dennis Oppenheim: Splash Buildings», and «House and Studio: The Spaces Between»In the Company of Friends», «Poets and Painters», «Dennis Oppenheim: Splash Buildings», and «House and Studio: The Spaces Between».

And if Merz's imagery is at the same time a hortus conclusus and an infinite sky that burns, so the exhibition at Met seems to look with one eye at the chaotic and creative intimacy of her house - atelier in Turin (on view too few photographs bear witness to the relationship between her art and domestic environment, which is by contrast well documented in the catalogue) and with the other to the endless possibilities of recombination allowed by her works (eloquent, in this perspective, are the rooms in which significant groups of drawings converse with recent paintings, installations, and sculptures).

«I look at myself in those days as being unconscious,» says the artist, whose early work is the subject of a major exhibition now on view at the Hammer Museum.

At first look, Kate Clark's discomfiting human - animal hybrids and Andrea Dezsö's intricate drawings and paper objects, now on view in a dual exhibition at the Newcomb Art Museum, couldn't be further in spirit from the acclaimed early 20th - century pottery with which Newcomb is still associated.

2013 Oh Christmas Tree, Dommuseum zu Salzburg, Salzburg One Foot in the Real World, Irish Museum of Modern Art, Dublin More Love: Art, Politics and Sharing since the 1990s, Cheekwood Botanical Garden & Museum of Art, Nashville White Light / White Heat: Contemporary Artists & Glass, The Wallace Collection, London Mak Hix: The Collection Exhibition, Cock «n» Bull Gallery, London Art from Britain and Poland from 1990, The Centre for Contemporary Art, Ujazdowski Castle, Warsaw (con) TEXT, Sharon Arts Centre, Peterborough, New Hampshire Stedelijk @ TrouwAmsterdam: Contemporary Art Club, TrouwAmsterdam, Amsterdam Mad, Bad & Sad: Women and the Mind Doctors, Freud Museum, London Frayed: Textiles on the Edge, Time and Tide Museum, Great Yarmouth Be Dramatic, Bechter Kastowsky Galerie, Vienna Ballet of Heads: The Figure in the Collection, Berkeley Art Museum & Pacific Film Archive, California Writings Without Borders, Lehmann Maupin, Hong Kong do it, MU artspace, Eindhoven do it, Manchester Art Gallery, Manchester Ordinary / Extra / Ordinary, The Public, West Bromwich Fail Better, Hamburger Kunsthalle, Hamburg Postcard Narratives, Room Artspace, London Arthouse, Museum of St Albans All You Need is Love: From Chagall to Kusama and Hatsune Miku, Mori Art Museum, Tokyo Looking at the View, Tate Britain, London Contemporary Magic: A Tarot Deck Art Project, The Dali Museum, St. Petersburg Contemporary Magic: A Tarot Deck Art Project, The Virginia MoCA, Virginia Beach More Love: Art, Politics, and Sharing since the 1990s, Ackland Art Museum, North Carolina Economy, Stills Gallery, Edinburgh & CCA: Centre for Contemporary Arts, Glasgow

Sulkowicz, for her part, says she is happy with the prints she made for her final thesis show that are now on view in a group exhibition at the Southampton Arts Center, under the title Newspaper Bodies (Look, Mom, I'm on the Front Page!).

Produced on the occasion of Marshall's first exhibition at David Zwirner in London in 2014 and designed by JNL Design in Chicago, Look See features beautiful reproductions of every painting on view in the show as well as numerous details, preparatory drawings, installation photographs, new scholarship by Robert Storr and a conversation between the artist and Angela Choon, a Senior Partner at the gallery.

Beyond the ways in which photographs can not capture the minute detail inseparable from the immense scale of Pindell's work, the exhibition builds a complex understanding of a way to view her work that draws us in by asking us to look deeply and closely at and beneath its surface.