Sentences with phrase «viewing such an exhibition»

The intimate proportions of Dulwich Picture Gallery provide a very different environment for viewing such an exhibition.

Not exact matches

With your TICKET THROUGH TIME, you can explore the rich collections, contemporary exhibitions and displays at our museums, stroll through glorious gardens, enjoy stunning views and join a free guided tour and discover why our museums and their past occupants are such an important part of Australia's history.

Apsara DiQuinzio, our Curator of Modern and Contemporary Art, and Phyllis C. Wattis, MATRIX Curator, has a number of wonderful small - scale MATRIX shows in the works, and we are doing several borrowed solo exhibitions that are emblematic of the kind of art that we love, such as a survey of Ana Mendieta's films [Covered in Time and History: The Films of Ana Mendieta, on view November 9, 2016, through February 12, 2017].

The exhibition will also feature many little - known treasures such as collages by Anne Ryan, photographs by Gertrudes Altschul, and recent acquisitions on view for the first time at MoMA by Ruth Asawa, Carol Rama, and Alma Woodsey Thomas.»

This is simply a wonderful exhibition and Alice Neel an exceptional artist - a master painter with a sense of compostion and an empathetic, but never ingratiating view of humanity» (Dagens Nyheter); «This is such a show that I did not know how long in advance I longed for.

EAI's activities include viewing access, educational services, extensive online resources, and public programs such as artists» talks, exhibitions and panels.

After a long absence following his last solo show at Paula Cooper (in 1977), Van Buren's work finally began filtering back into public view in New York about 10 years ago, first at small venues such as Mitchell Algus Gallery and Sideshow, and in the revelatory exhibition 2007 traveling exhibition «High Times Hard Times: New York Painting 1965 - 1975.»

The upcoming exhibition addresses the recurring themes throughout Fouts» work, such as time, nature, and religious iconography, and includes key pieces from the past decade, alongside new works on view for the first time.

The exhibition rewards a bit of work at the gallery, such as climbing the stairs toward the second floor for a better view in the stairwell of Blue Blush, a horizontal work that reads more as a still life than the figural suggestion of the vertical paintings.

Explore works by artists such as David Hammons, Romare Bearden, and Lorna Simpson on view in the exhibition Blues for Smoke.

On view October 20, 2015 — March 26, 2016, the exhibition features works by masters of the German Expressionist movement, among them Ernst Ludwig Kirchner, Emil Nolde, and Karl Schmidt - Rottluff, together with such Weimar period innovators as Max Beckmann, Otto Dix, George Grosz, Wassily Kandinsky, and Paul Klee.

The installation is intended to be on view for a minimum duration of 15 years, and follows in MASS MoCA's tradition of long - term installations, such as the exhibition of wall drawings by Sol LeWitt.

Typically when artists are tapped to curate shows, such as Robert Gober with his presentation of Forrest Bess in the last Whitney Biennial, they are given only a moderate amount of space for exhibitions that are viewed as creative curiosities.

More than 1,280 people showed up that Saturday to take in the inaugural exhibitions by renowned artists Bill Viola, Liza Lou, Stephen Antonakos, Kendall Buster, Kehinde Wiley and Alfredo Jaar; peruse the Walter O. Evans Center for African American Studies and the Pamela Elaine Poetter and André Leon Talley galleries; view items from SCAD's personal collection throughout the museum; relax in the Alex Townsend Grand Courtyard; and enjoy treats at the museum's Tad Café such as zucchini bread as well as ham, Brie, apple and onion confit on a baguette.

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.

We're extremely appreciative of all Aimée Burg has done to produce this thoughtful exhibition, and for her distinct point of view, which has made for such a vivid investigation.

St. Louis Public Radio covers a selection of new African American art exhibitions on view in the city, including «Hands Up, Don't Shoot,» a direct response to the Michael Brown killing organized by the Alliance of Black Gallery owners and on view at 14 venues; «Other Ways» at Philip Slein Gallery featuring than 60 works from local private collections by artists such as Radcliffe Bailey, Dawoud Bey, Mark Bradford, Ellen Gallagher, Kara Walker and Kehinde Wiley; «Living Like Kings» at the World Chess Hall of Fame explores the intersection of chess and hip hop; and a presentation of Nick Cave «s Sound Suits at the St. Louis Art Museum opening Oct. 31.

There has been such a rich history of viewing exhibitions in different ways and places, which will continue.

Practical experience, public presentation, and reflection are integrated into the educational process in many ways, such as through Internships and Cooperative learning assignments, play production, musical performance and recording, visual arts production and exhibition, and the production and viewing of video, film, and design.

That such a splendid — and, ultimately, moving — exhibition is now on view should give pause to those who have all but given in to such manifestations of cultural cynicism.

In this video, Alexander S. C. Rower (Chairman and President, Calder Foundation) and Oliver Wick (Curator at Large, Fondation Beyeler) talk about the title and the concept of the exhibition, the differences between the first and the second Calder Gallery at Fondation Beyeler, the restoration of the large outdoor sculpture that will be on view again soon in the park of Fondation Beyeler, and specific works in the show, such as the models for the avant - garde redesign of the Bronx Zoo, and the mobiles The Forest is the Best Place and El Corcovado.

This exhibition, on view at NMWA during April — September 2004, was a hit, and although it was NMWA's first - ever design exhibition, it opened the curators» eyes to Scandinavian women artists such as fascinating Danish painter Anna Ancher.

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.

• Naming rights • Branding opportunities across printed and digital materials • Corporate hospitality and client entertainment in the distinctive and unique setting of the gallery • Invitations to exhibition openings • Events for employees and clients such as behind - the - scenes visits and private views • Staff and client engagement in gallery activities • Association with a leading contemporary art gallery

This exhibition also draws attention to works in the Museum's collection such as Frank Stella's (b. 1936) Moby Dick prints, currently on view in the adjacent Connecting Chaos exhibition, in which he layers cut paper onto multiple print processes, and Keltie Ferris's (b. 1977) The Wrestler (2009) in the Museum's atrium, which incorporates oil, acrylic, and spray paint into an abstract layering of color and shapes.

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.

Rauschenberg's exhibition at Betty Parsons Gallery opened on May 14, 1951, and, as was standard for the time, remained on view for just three short weeks.36 The presentation consisted of thirteen easel - size oils in the smaller gallery while the larger main room featured works by Walter Tandy Murch, an artist known for his realistic depictions of mechanical objects and illustrations for such magazines as Forbes and Scientific American.

The pictorial tension of these complex paintings, such as Parting and Together, 1978, and Twist of Fate, 1979, both of which will be on view in the exhibition, pushed the boundaries of the two - dimensional picture plane, foreshadowing the three - dimensional paintings that would characterize Murray's work in the 1980s.

Viewing such a bold exhibition at the Victoria & Albert Museum shows us, quite neatly in line with «Disobedient Objects», how the contemporary art world is no longer limiting expression but instead celebrating it.

On view in the exhibition, titled «Translations», are a number of works on paper, some of which are reminiscent of Josef Albers's colour studies: grids of different tones marked with phrases such as «Peacock Blue» and «Raw Sienna».

Also view the Tarble's current exhibitions spanning across genres such as the Meiji Period, as well as Modern and Contemporary Art, which showcase a variety of media and styles.

In December, we changed the exhibition The World is Made of Stories — Works from the Astrup Fearnley Collection, with works that have not been on view for a long time, such as Tom Sachs» monumental Presidential Seal (2004), along with new works, such as Richard Prince's new series New Portraits, which present appropriated images from Instagram.

Her work has been included in such exhibitions as, Another Place, Museum of Modern Art of São Paulo, Brazil (2011), and When Lives Become Form, Yerba Buena Center for Arts, San Francisco, CA (2009) which was also on view at Contemporary Art Museum, Tokyo, Japan (2008).

The exhibition takes a broad view of the post war artists working at this time and also features work by artists made long after the 1950s such as Philip Guston's work Low Tide, which dates from 1976.

Faced with an absence of information within a provenance, and having taken into account this policy and considered the research undertaken in accordance with the Gallery's codification of procedures for due diligence, the Gallery may from time to time elect to bring a work into the public domain through exhibition, in such circumstances where the Gallery can demonstrate the highest standard of due diligence has been undertaken and consideration has been given to the view of the current possessor, in belief that such display may encourage other legitimate claimants to make known their interest.

«If we understand the exhibition as a form of communication, it does not simply comment on actualities in our society such as widespread discrimination, bias or deliberate misinformation, but rather it presents a complex view of the real, with no one dominant view, a reality formed by a vibrant and brilliant multitude of perspectives» said Delahunty.

The 512 - page anthology brings together reviews, interviews, and essays from sources that are largely out of print, as well as archival material such as invitation cards, installation views and book covers, as well as excerpts from significant exhibition catalogues.

His solo exhibitions / projects have been on view at venues such as Mixed Greens Gallery (New York, NY), Blue Star Contemporary Art Museum (San Antonio, TX), the University of Wyoming (Laramie, WY), the University of Tennessee College of Architecture + Design (Knoxville, TN), and the McNay Art Museum (San Antonio, TX).

Speaking to their contrasting views on such «segregated» exhibitions, Morris and Hockley noted that while, in both title and subject, the exhibition «is focused purposefully on the work and experiences of black women... it also features the work of men and non-black women of colour, and, through ephemera, references the work of white women artists, feminists, and art world influencers.»

This exhibition features over ninety drawings by many of the preeminent artists of the Dutch Golden Age — among them Rembrandt van Rijn and his followers Ferdinand Bol and Gerbrand van den Eeckhout; Abraham Bloemaert; Aelbert Cuyp; and Jan van Goyen — who were active primarily in their native Holland and who brought their extraordinary talents to bear on such quintessentially Dutch subjects as landscapes and marine views, pastoral and genre scenes, still life, and portraiture.

The sculptures in this exhibition recall in size some of the early domestically - scaled Accumulations, for which Kusama covered such things as ironing boards and travel valises in the stuffed - fabric protuberances, yet the works on view here are painted in the style that has come to characterize Kusama's most recent paintings.

The exhibition presents a rare opportunity to view works from several important stages in the artist's life, including iconic works such as embroideries, ballpoint pen drawings and further works on paper.

Including such established art world figures as Lorna Simpson, Hank Willis Thomas (who also contributes an artist essay in the exhibition's catalogue), Kerry James Marshall, and Glenn Ligon, the exhibition primarily features work within the past decade, and reflects a contemporary point of view rather than a historical one.

The exhibition highlights such recurring forms, bringing together metal wall reliefs related to the paintings on view.

Night Art Gallery offers over 300 + original artworks from 30 + concurrent artist exhibitions where visitors can view many styles such as; traditional, abstract, mixed media, photography, pop culture...

EXHIBITION On view as part of 2018 MFA THESIS EXHIBITIONS March 4 — April 6, 2018 The Art Gallery at the University of Hawai`i at Mānoa COOL KOOL SHIRTS PRESENTS: THOT COLLECTION SERIES 1 BY DANA JONES by Khari Saffo ARTIST STATEMENT: I work in a variety of mediums such as animation, sculpture, video, and Continue Reading»

The museum has also unveiled two other exhibitions: «The Feminine Sublime,» a group show that takes ideas of the sublime, generally depicted from a male point of view, and gives it a decidedly feminine twist, as well as an installation by Ana Serrano, who is creating an immersive «garden» out of simple art materials such as cardboard, paper and paint.

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.

500 Years of Drawings and Watercolors at Bowdoin College, the exhibition will be on view from May 3 through September 3, 2017, and includes more than 150 works by American and European artists across cultures, genres, and time periods, such as Peter Paul Rubens, Giovanni Battista Tiepolo, John Singleton Copley, Winslow Homer, Henri Matisse, Eva Hesse, and Roy Lichtenstein, among many others.

In addition, she championed experimental and underrepresented artists throughout her tenure, while bringing many noteworthy exhibitions to the Walker, such as Merce Cunningham: Common Time, International Pop, and groundbreaking exhibitions like Adios Utopia: Dreams and Deceptions in Cuban Art Since 1950, one of the most comprehensive exhibitions of Cuban art to be organized in the US in decades and currently on view.