Sentences with phrase «while other exhibitions»

While other exhibitions have presented Russian underground art or Chinese post-Cultural Revolution art, Figurative Diaspora will be the first exhibition to trace the direct artistic influences of the USSR on the artists of the People's Republic of China.

Many of the exhibitions have participatory elements that engage visitors of all ages, while other exhibitions are geared specifically to family audiences.

Some exhibitions are notable for their broad strokes, exposing emerging trends or highlighting past movements, while other exhibitions expound upon a sliver of experience, expanding our understanding of the moment under detailed study.

Not exact matches

In Canada, the provincial government of Ontario appointed a royal commission to study (among other things) «the increasing exhibition of violence in the communications industry; to determine if there is any... relationship between this phenomenon and the incidence of violent crime in society...» Two of the commission's research studies found that 24 per cent of the news items on television and in newspapers dealt directly with violence and 40 per cent were violence - related, while radio news was concerned with violence and conflict almost 60 per cent of the time!

Julie Tomlin and Lou Dawson crafted the words that would explain the context and story of each Station, while Marksteen set about creating response packs that included wristbands, prints, a newspaper and other resources, which were sold at the exhibitions and online to raise money for refugee relief.

Jackson hobbled around on a gimpy ankle through most of the exhibition season while veteran Larry Schreiber and other rookies played unimpressively.

Currently, exhibitions in Dublin simply disappear; in the future they could tour the network, while Dublin could adopt ideas hatched in other centers.

Some are working on products while others are providing consultancy, publishing or organising conferences and exhibitions relating to VR.

True.Meet other single people with shared interests while enjoying London's extraordinary science exhibitions, talks, stargazing a...

A number of new acquisitions are included in the exhibition, while other artefacts have never before been exhibited in the Anne Frank House.

While both players would probably need little prodding to test their strength against each other, this exhibition match actually came about when GO1 called out SonicFox after his tournament win, grabbing a mike and simply saying «SonicFox, you're next».

Fishman is currently the subject of two large exhibitions: «Louise Fishman: A Retrospective» at the Neuberger Museum of Art acts as the 77 - year - old's first comprehensive show, while «Paper Louise Tiny Fishman Rock» at the Institute of Contemporary Art, Philadelphia displays an entirely different body of work, focusing on sketchbooks, smaller paintings and sculptures, and other rarely - seen items.

Invitation to docent tours of select special exhibitions with other Fellow donors, while the de Young is closed to the public

While there she organized several exhibitions, including the critically acclaimed Global Feminisms, co-curated with Linda Nochlin, the permanent reinstallation of The Dinner Party by Judy Chicago, Ghada Amer: Love Has No End, and Burning Down the House, among many others.

Some of these associations are casual while others become definitive movements involving exhibitions and critical dialogues, at times using a manifesto or style of presentation as a means to communicate their aesthetic or to reinforce their social, political, and conceptual aspirations.

Some artists will be present during the exhibition, while others will be working through proxies - L.A. - based artists who have agreed to act on their behalf.

The exhibition will feature images Penn took while working «on assignment» for publications such as The New Yorker, Vogue, Look and Vanity Fair and advertising campaigns for Clinique and De Beers, among others, for which he produced some of the most compelling fashion photographs, portraits and still lifes of our time.

Debate Stage Water Bottles, an exhibition of new drawings by Deb Sokolow, features hand - written texts, some of which are fictional while others are loosely based on presidential candidacies.

While Frankfort's work seems to eschew some of this historical weight in favor of a nuanced linguistic playfulness suggestive of the paintings of various other artists, including Ed Ruscha, Mel Bochner, Suzanne McClelland, and Kay Rosen, it nevertheless both engages with the physicality of paint and retains a certain conceptual directness evocative of Louise Fishman's groundbreaking «Angry Paintings» from 1973 (recently included in the exhibition «WACK!

The new venue's two floors, Mr. Sanders said, could provide opportunities to «hybridize» the space, having an exhibition on one level, for example, while hosting public events on the other.

While each artist is encouraged to work at their own pace, each month will offer opportunities for artist talks, salons, visits to museums, galleries and other studios, and an open house style exhibition at the residency - run, off - site Gallery.

Known for over 25 years as a legendary director of exhibitions at Massachusetts College of Art and Design in Boston, Jeffrey Keough's innovative curatorial vision has connected local artists in the New England region with international artists such as Xu Bing, William Wegman, Kiki Smith, Tony Oursler, and many others, while tackling diverse historical, social, and political themes ranging from the Holocaust, to AIDS, to the bombing of Hiroshima.

While abstraction has generated other more expressionist movements, for example post war Abstract expressionism in the 1940s and 50s, these strands are not examined in this exhibition at the Whitechapel Gallery.

Reflecting on various reoccurring issues pertaining to race, class, and sociopolitical experiences, some of the work in this exhibition provokes critical thought from viewers while other work conveys humor and nostalgia to evoke interest.

The exhibition offers a selection of more than fifty pieces from the 1990s to the present, some of which the artist has especially reconfigured in order to adapt to the Museum's unique architectural spaces while others were created specifically for the exhibition in Bilbao.

Showcasing the modern mastery of his paintings, while also presenting the «other stuff» which has drawn less attention over the years — drawings, woodcuts, collage, sculpture, photography and video — the exhibition demonstrated the depth, breadth and intellectual rigor of Marshall's Chicago - based practice.

Many works have been made specifically for this exhibition, while others are being shown in New York for the first time.

... [while other images] celebrate Africa as a continent in which the geopolitical boundaries imposed by European colonial authorities were completely dissolved... [giving] artists the freedom to... borrow visual icons from any part of the continent... This exhibition has been organized with Pace Primitive, New York, and is accompanied by a fully - illustrated color catalogue with an essay by Dr. Nnamdi Elleh, Assistant Professor of Architecture History and Theory at the University of Cincinnati, Ohio.

While many of our treasures are on display throughout the Museum, this show highlighted objects included in the book of the same name that are not included in thematic exhibitions in other galleries.

Many of the works in this exhibition were made as side pieces while working on other main bodies of work, thus the literal and conceptual idea of marginalia comes into play.

«The other exhibition spaces always take my works down in the end,» says the artist while climbing from floor to floor up to the roof of the museum, turning switches on and off, and thereby setting her kinetic sculptures into motion.

Tate Modern expands the scope of the investigation to include the years pre - and post-1917 (from the first revolution of 1905 to the death of Stalin in 1953), showcasing rarely - seen posters, photographs, and other graphic works, while at the British Museum, an Art Fund supported exhibition explores how Russia and other communist states radically restructured their economies to reflect Marxist ideology.

While some works are subdued aesthetically and others are fabricated with common materials, the exhibition succeeds in expanding their intrigue.

While the large numbers of pencil drawings, watercolors, pastels, and other works on paper by Clyfford Still provide ample evidence that his style underwent a dramatic evolution, this exhibition reveals how Still's interests and the content of his art appear remarkably stable.

While the exhibition considers the art historical background of the relationship between artwork and viewer, and its growing status over time, it asks, how do these works engage and forge relationships with audiences in distinctively different ways from any other works of art?

Host galleries that give up portions of their own space to visiting galleries while mounting their own separate exhibitions mostly miss the mark: either one show eclipses the other or both co-exist awkwardly, in a kind of flat - footed dance that only increases the overall sense of market competition.

Works featured in this exhibition share the distinguished Charles H. Carpenter provenance; many have not been exhibited since the 1930s and 1940s, while others have never been shown at all.

A visual lineage including artists such as Durer, Titian, Giorgione, Hans Baldung Grien, among others will be suggested through reproductions, while quotations from Diogenes, Diderot, Rousseau, Kant, Freud, Irigaray, Foucault, Derrida, and others will offer an intellectual and historical context for the exhibition.

The idea for this exhibition sprang from Donald Judd's great interest in Dürer (Judd owned several woodcuts and etchings) and the wish to see the stark images of two such different artists, who lived five centuries apart, while simultaneously considering the motivation for one's interest in the other.

«And while «Jason Moran» is a solo show, it's also a group exhibition in the way we understand innovation and experimentation in relation to other artists.»

While Lorna, Deep Contact, and other works (including many not in the exhibition) are structured around open - ended narratives, what they presciently anticipated is perception and experience skipping along the internet's seemingly infinite set of links — seemingly, because what Hershman Leeson's work also shows is how circumscribed choice (even on the web) can be.

The Lives of Others is two exhibitions of work by German refugee artists at Ben Uri Gallery and Museum from 29 March — 18 June 2017, while Chaim Stephenson: Between Myth and Reality at St Martin - in - the - Fields (to Wednesday 10 May) showcases work by an artist with a lifelong concern for people driven from their homes.

We originally set out to organize an exhibition about appropriation but found ourselves committed to specific artists — while not to others — who would typically be aligned with the strategy.

Girls» Club presents Change Agents, an exhibition of works by female artists in South Florida, whose careers and creative projects advance the global conversation about contemporary art, demonstrate dynamic ways in which artists can be self - sustaining, while nurturing the career advancement of others.

Some artists in the exhibition look inwards to the mind, which harbors unspoken fantasies and fears, while others make strange familiar phenomena from Times Square to annual trout migrations to a prescription slip.

While MFA exposure and real - world experience are at the core of the Welch Aqua Art Miami program, more than a dozen works were acquired including paintings by Larkin Ford, Joe Hadden and Elham Masoudi, ceramic / DVD works by Rachael Ballard, and photographs by MFA photo graduates, Tyler Mann, John Prince and Ben Lee, among others, as well as follow - up with potential collectors and exhibition leads.

While its new spaces offer fantastic possibilities for exhibitions, commissions and education projects, other sites have also been thinking creatively about how to integrate contemporary works into the city fabric.

Retrofitted and Other Forms of Vintage Futurism, Kofie's debut solo exhibition with White Walls, continues his exploration of the process of organization, deconstruction and form while adhering to a controlled and tuned uniformity.

The highest - profile victory, however, went to performance artist and «dancing economist» Tino Sehgal for his piece in Massimiliano Gioni's «The Encyclopedic Palace» exhibition featuring a man and a woman sitting on the floor, one of them rhythmically uttering incantatory sounds of a vaguely Eastern, quasi-spiritual tenor while the other strikes poses that could possibly be derived from historical artworks.

Where Dada had Hugo Ball and Surrealism had André Breton, the Gutai had Yoshihara whose Gutai Manifesto proclaimed, «In Gutai Art, the human spirit and matter shake hands with each other while keeping their distance» and «Gutai aspires to present exhibitions filled with vibrant spirit, exhibitions in which an intense cry accompanies the discovery of the new life of matter.»