Sentences with phrase «view in the exhibition range»

In addition to No Title Required 3, six square paintings will be on view in the exhibition ranging in size from 18 x 18» to 26 x 26».

Not exact matches

The Morgan Library and Museum's remarkable exhibition on Henri Matisse's book works provided a wide - ranging, in - depth view of his achievements in the realm of the artist's book and, perhaps surprisingly to some viewers, more commercial types of publication.

A selection of her work will be on view in Milan's Palazzo Reale as part of «Le Grande Madre» (The Great Mother) exhibition, curated by Massimiliano Gioni and featuring works from more than 125 international artists ranging from Max Ernst to Marlene Dumas.

It ranges from the NMWA's women only collection and exhibition - programme to an entire wing of the Brooklyn Museum being dedicated to feminist art; there's also The Metropolitan Museum of Art's decision to show work by lesser - known artists like Helen Torr and Elizabeth Catlett that has never been on view in «Reimagining Modernism: 1900 — 1950» (the rehang of their modern art collection); and there's the recent acquisition by the Tate of a painting by Mary Beale, who is regarded as Britain's first professional female artist.

The exhibition will include works ranging from the early 1990s to the present, on view in the 1st Floor Main Galleries, with an additional work concurrently on view at The Museum of Modern Art in the 2nd Floor Café.

Francis Alÿs: A Story of Deception, a two - part exhibition on view at MoMA PS1 and The Museum of Modern Art, presents a range of work from the mid-1990s to today by the artist Francis Alÿs (Belgian, b. 1959), who uses allegorical methods to explore the cyclical nature of change in modernizing societies, the urban landscape, and patterns of economic progress.

Representing a broad range of materials, working methods and subject matter, the diverse sculptural works in this exhibition are presented against the Park's spectacular waterfront view of the Manhattan skyline.

On view April 15 — May 28, 2016, this eclectic group exhibition will encompass works in a wide range of media by Martin Creed, Moyra Davey, Vincent Fecteau, Paul Gabrielli, gelitin, Paul Lee, Tony Matelli, Doug Padgett, Karin Sander, Gedi Sibony, Lily van der Stokker, and George Stoll.

Guisset opened her own studio in 2009 and the objects on view in the recent exhibition showcased her poetic, yet sophisticated work for a range of producers, from small French companies like Petite Friture, which produced her award - winning light fixture, Vertigo, and Moustache to major firms such as Molteni and Louis Vuitton.

The range of the German artist's practice goes on view in this exhibition of new and recent pieces, which includes a selection of concrete sculptures, wall - mounted paintings and assemblages, and examples of her ongoing «Schauspieler (Actors)» series.

This program, presented in conjunction with the Experiments in Form: Sam Gilliam, Alan Shields, Frank Stella exhibition (currently on view at the Block Museum), showcases a 60 - year range of films and videos that explore handmade and cameraless approaches to abstraction.

The works on view come in a diverse range of media and techniques, and the title of the exhibition is derived from a pink and blue neon text work by British artist Tracey Emin.

Pulled together for their affinity for color that results in a very diverse viewing experience, the exhibition features paintings that range from reference - based representation (Fimmel) to subtractive abstraction (Blank) and experimentation with stencil and negative space based abstraction (Gonzales).

Representing a broad range of materials, working methods and subject matter, the diverse sculptural works in this exhibition are presented against the spectacular waterfront view of the Manhattan skyline.

In gallery news: after 10 years in operation, London's Supplement Gallery is closing — its final exhibition will be of artist Mimi Hope which will run 14 — 29 April; the veteran New York Postmasters Gallery is turning to crowdfunding to support its activities — it has joined Patreon with subscription levels ranging from special viewings to exclusive lunches, hoping to follow «a new model — a radical hybrid combining the strength of the market with the support of the community»; New York's Gladstone Gallery now represents Vivian Suter, with a solo exhibition planned for early 2019; and P.P.O.W., New York, will represent Judith LinhareIn gallery news: after 10 years in operation, London's Supplement Gallery is closing — its final exhibition will be of artist Mimi Hope which will run 14 — 29 April; the veteran New York Postmasters Gallery is turning to crowdfunding to support its activities — it has joined Patreon with subscription levels ranging from special viewings to exclusive lunches, hoping to follow «a new model — a radical hybrid combining the strength of the market with the support of the community»; New York's Gladstone Gallery now represents Vivian Suter, with a solo exhibition planned for early 2019; and P.P.O.W., New York, will represent Judith Linharein operation, London's Supplement Gallery is closing — its final exhibition will be of artist Mimi Hope which will run 14 — 29 April; the veteran New York Postmasters Gallery is turning to crowdfunding to support its activities — it has joined Patreon with subscription levels ranging from special viewings to exclusive lunches, hoping to follow «a new model — a radical hybrid combining the strength of the market with the support of the community»; New York's Gladstone Gallery now represents Vivian Suter, with a solo exhibition planned for early 2019; and P.P.O.W., New York, will represent Judith Linhares.

This installation view of the Larry Gagosian Gallery exhibition Rauschenberg: The White and Black Paintings 1949 — 1952 (April 18 — May 31, 1986) shows the range of scales and surface textures that Rauschenberg explored in his Black paintings.

The exhibition's nearly two dozen paintings by artists including Jiro Yoshihara, Kazuo Shiraga, and Shozo Shimamoto — several on view for the first time in the U.S. — range from pre-Gutai works to the «action painting» that characterized the early years of the movement to post-Gutai paintings that reveal how the artists remained rooted in their quest for freedom through novel means, even after the group disbanded.

Ranging from photographs, video, film installations, and feature films for the cinema, American artist Amie Siegel's work has been exhibited in solo exhibitions including Amie Siegel: Provenance, currently on view at the Metropolitan Museum of Art and at the University of Michigan Museum of Art, Ann Arbor, as well as recent solo and group exhibitions including Utopia for Sale?

An exhibition of nine new works by Tim Hawkinson made in 2008 and 2009 from various materials ranging from eggshells and feathers to bondo and bronze will be on view at PaceWildenstein, 32 East 57th Street, New York City, from May 8 through July 24, 2009.

The extraordinary range and persistence of this effort was on full view this past summer in the hundreds of prints, multiples, books, posters and photographs that filled the exhibitions «Sigmar Polke: The Editions» at the me Collectors Room in Berlin and «Gerhard Richter: The Editions» at the Museum Folkwang in Essen.3

On view through March 21, 2010, DCKT is featuring an exhibition of Josh's newest photographs, which range in images derived from cinema, journalism and amateur photography.

Nan Goldin will join MOCA curator Lanka Tattersall for a wide - ranging conversation about Goldin's work, on view in the museum's exhibition REAL WORLDS — BRASSAÏ, ARBUS, GOLDIN.

Ranging from photographs, video, film installations, and feature films for the cinema, American artist Amie Siegel's work has been exhibited in solo exhibitions including Amie Siegel: Provenance, currently on view at the Metropolitan Museum of Art, New York, as well as in recent solo and group exhibitions including Utopia for Sale?

REQUIRED VIEWING To fully appreciate Elaine de Kooning's range as a painter, I encourage you to visit the National Portrait Gallery's current exhibition «Elaine de Kooning: Portraits,» organized by Brandon Frame Fortune, chief curator and senior curator of painting and sculpture, on view in Washington through January 10, 2016.

Conceived by an exhibition committee that included the then director Karina Ericsson Wärn, the program encompassed a wide - ranging and comprehensive view of contemporary art and was interested in «indexing theoretical thought.»

The pieces on view in this exhibition represent a diverse range of iconic word - based arrangements including a desktop calendar, diary entries, movie script, and Chinese scrolls, while referencing specific texts such as the Constitution of the United States of America, The New York Times, the Periodic Table, Twitter and authored books, all dovetailed with an array of artistic mediums from fine art prints, painting on paper, and collage; to installation art, aerial sculpture, and video art.

The exhibition features a range of media, including painting, sculpture, drawing, photography, installation and video; never - before - seen works from the 1980s; new large - scale sculptures; and the artist's most ambitious architectural installation to date: a vast and immersive mirrored labyrinth that will go on view in ICA Miami's Atrium Gallery.

Long involved in the civil rights movement, Whitten created «memorial paintings» — several of which were featured in the exhibition Jack Whitten: Five Decades of Painting (on view at the Walker Art Center September 2015 through January 2016)-- which pay homage to cultural events and figures ranging from Ralph Ellison and Martin Luther King, Jr. to the Sandy Hook Elementary massacre of 2012 and the terrorist attacks of September 11, 2001.

2012 Outside the Box: Inaugural Show, LxWxH Gallery, Seattle, WA Tenses of Landscape, Fine Arts Center Gallery, University of Arkansas, Fayetteville, AR Old ghost ranges..., Main Gallery, Cornish College of the Arts, Seattle, WA Decoy, Francine Seders Gallery, Seattle, WA National Juried Exhibition, Juror: Dore Ashton, First Street Gallery, New York City, NY The Back View, Prographica, in association with Francine Seders, Seattle, WA My Broken Loom, Curator / Exhibiting Artist, Steele Gallery, Gage Academy of Art, Seattle, WA Differing Approaches: 4 Artists, Pulliam Gallery, Portland, OR Refable, Cullom Gallery, Seattle, WA RED CURRENT (sweet fruit), Roq La Rue Gallery, Seattle, WA

Aljira, a Center for Contemporary Art is pleased to present Bending the Grid: Pat Lay: Myth, Memory and Android Dreams.This major survey exhibition presents for the first time a broadened view of Lay's expansive vocabulary, in two and three dimensions, in a range of various media and styles, influenced by her extensive travels and informed by her overlapping art and non-art interests.

Human emotions emanate, ranging from exuberant to melancholic, tender or longing, apparent in the 109» x 77» x 46» cast bronze sculpture Untitled (1996 - 97) on view in this exhibition.

Combining a wide range of colors, Judd used the material to create five large - scale floor pieces (including one in the Museum of Modern Art, New York) and horizontal wall works in unique variations of color and size, such as those on view in this exhibition.

The paintings in the exhibition cover the range of the artist's career and are culled from collections including the Sarah Campbell Blaffer Foundation (permanently on view at the MFAH) and the National Gallery of Art.

The two - part exhibition in two parts brings together a diverse range of works, offering a retrospective view of Bob Law.

The latest in the Hayward Gallery's traveling series of shows curated by British contemporary artists (a program initiated in 1991, when Deanna Petherbridge installed The Primacy of Drawing: An Artist's View), Leckey's exhibition draws on a wide range of material, both historical and contemporary, utilitarian and artistic to consider the «magical world of new technology.»

At Tripoli Gallery, the works on view range from Gran Twister, 2012, a majestic conflagration of loops that hover above the exhibition space as if in orbit, to Space Slipper, 1992, a diptych of fragmented ellipses that lean against the wall like errant surfboards.

On view in the exhibition are works ranging from 1977 until today including films, collages and drawings, in which the artist addresses how we interact with the objects and symbols in our immediate environment, how we relate to them, appropriate, transform and reinterpret them.

Its complete collection — with works dating from 1920 to 2000 and ranging from artist's films to documentary and educational videos to narrative feature films — was presented for viewing in the exhibition «Reproductive Labour: An

Fellowship artists are awarded a grant and a residency in the Park's outdoor studio and are also provided with technical support and access to tools, materials and equipment to facilitate the production of new sculptures and installations for exhibition in the Park.The artists develop their projects throughout the summer in the open studio and on site in the landscape, offering visitors the opportunity to experience both the creation and presentation of their works.Representing a broad range of materials, working methods and subject matter, the diverse sculptural works in this exhibition are presented against the Park's spectacular waterfront view of the Manhattan skyline.

The quality of the art on view in this exhibition is wide - ranging, some good and some not.

The latest exhibition on view at the Columbus Museum of Art explores the ways in which black photographers and artists have portrayed a range of familial relationships.

Sculptor Arlene Shechet sits down with host Will Corwin to discuss the wide range of her current exhibitions: Porcelain, No Simple Matter, on view through April 4, 2017, at The Frick Collection, Turn Up the Bass at Sikkema Jenkins & Co, and From Here On Now at Phillips Collection in Washington DC, through May 7, 2017.

Video installations in the exhibition include 100 Raw, Pictures, and Recess, a single vantage exposure of a public school playground over many hours that reveals a rather chilling view of the range of human emotions exhibited by children at play.

Catherine Morris has been responsible for a wide range of special exhibitions in addition to overseeing the permanent collection for the Sackler Center, which includes The Dinner Party by Judy Chicago on long - term view.