Sentences with phrase «while viewing this exhibition»

The expression of language and communication, however, is more of an interesting thread to follow while viewing this exhibition.

While viewing the exhibition, I found my own trajectory.

South African artist Sam Nhlengethwa (b. 1955) had his first U.S. museum show, «Life, Jazz and Lots of Other Things,» at the Savannah College of Art and Design Museum, as part of the deFINE Art Festival, when I chatted with him while viewing the exhibition.

The exhibition will feature not only paintings, but wall paintings and installations, inviting a viewer to proceed inside of the stories while viewing the exhibition.

Guests enjoyed cocktails and hors d'oeuvres while viewing the exhibitions «Lynda Benglis: Water Sources» and «Outlooks: Luke Stettner».

While viewing the exhibition in Montclair, Sarah Goffstein initially spoke with Tegeder who at that moment was in Cuernavaca enjoying a favorite abstract mural by David Alfaro Siqueiros.

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.

While I strategized how to get a better view of the exhibition stalls, an older gentleman motioned for me to take a seat next to his family.

Click below to watch Per Kirkeby discuss his work while visiting his retrospective exhibition at BOZAR Brussels, on view through May 20, 2012.

At the New Museum's exhibition «Trigger: Gender as a Tool and a Weapon,» she has on view a glass sculpture in which clay is drained and re-drained while a sound recording tells viewers that the object is effectively useless.

The Hamptons» own Lee Krasner demonstrates the expressive possibilities of the first medium in «The Umber Paintings, 1959 — 1962,» while «David Hockney: Works on Paper, 1961 — 2009» provides a close - up view of the world of the beloved British painter, who is currently the subject of a major exhibition at The Met.

In this two - venue exhibition, paintings by renowned contemporary American artist Mark Bradford — who will represent the United States at the 2017 Venice Biennale — will be on view at the DAM, while a presentation of Still's work selected in collaboration with Bradford will be on view here at CSM.

On view exclusively at The Met Breuer, this major international loan exhibition of about 120 works draws on The Met's rich collections of European sculpture and modern and contemporary art, while also featuring a selection of important works from national and international museums and private collections.

Akdogan often utilizes objects counter to their intended use — traditionally, colored gels for cinematic and theatrical lighting create distinct light conditions while remaining hidden from view; the artist extracts and edits the atmospheric and surface properties of these materials, often directly in the exhibition space — manipulating layers of color pigments, print, and light sources.

At first view the exhibition seems complete and it takes a while to realize that The Whitney Museum continues its long - term policy of undermining American painting and sculpture in subtle ways and in some not so subtle ways.

While we still await a proper retrospective in New York, the exhibition at the AXA Gallery, 787 Seventh Avenue at 51st Street, remains on view through May 27.

The students sent in some great photos that they took while viewing the MFA Thesis Exhibition.

With the expansion, Lévy Gorvy significantly increased its exhibition space through the addition of the ground floor, while expanding its private viewing rooms and research facilities on the lower level.

DIY is the kernel of Czudej's exhibition, or rather: the manner in which «making home» is predominantly seen as a masculine operation, while «home - making» is more readily viewed as a feminine activity.

The works on view at the exhibition evokes conversations between abstract forms and a variety of human or animal protagonists, as locations strike up to have a conversation with the people, recognizable images chat with paint smears while looping gestures address spectators within his imageries.

This exhibition, organized by GMOA and originally on view at the Robert C. Williams Paper Museum in Atlanta, will feature prints and paintings Routh created while traveling throughout the South during the Great Depression.

Aptly entitled «A View from a Window», the exhibition introduces Wakely's prominent themes of boundaries, edges and divisions, while revisiting a 40 - year career.

The rest are reduced to an «installation view» of wall - hung paintings by the likes of Max Brand, Claudia Comte, Thomas Jeppe, Jan Kiefer and more, while a link to Pauline Beaudemont «s concurrent L'Age D'or exhibition next door comes in two square concrete «chairs», designed for the almost empty garage cubicles outside.

While any work of art is an artist's point of view, the works in this exhibition focus on that quality.

In April, the Walker Art Center in Minneapolis will present his first museum exhibition, introducing him to a wider audience while giving those familiar with his ingenuity a chance to view his various art forms under one roof.

On view February 29 — June 5, 2016 The groundbreaking exhibition Poetry in Beauty received national and international recognition, including an intimate interview with its curators on BBC News, while it was on view at the Museum (November 7, 2015 — January 31, 2016).

In this exhibition, Museum Curatorial staff examine the Collection from a chronological point of view while highlighting works of great interest.

While Tanner is well represented in PAFA's collection and that of the Philadelphia Museum of Art (PMA, which organized a Tanner exhibition in 1991), his work is widely dispersed in public and private collections in the U.S. and France, and the exhibition brings them together and into public view, many for the first time since they were acquired.

Jamie Loftus interviews Molly Soda about her artistic practice, while the artist is preparing for her second solo exhibition Comfort Zone on view 14 October 2016 at Annka Kultys Gallery in London.

Weems (American, born 1953) began the work while completing an MFA at the University of California, San Diego, where the late artist Allan Sekula created a similar installation about this family, Aerospace Folktales (1973), on view in the historical wing of the museum during the run of the exhibition.

For a new exhibition opening at Houston's Art League, on view through Jan. 20 and funded by grants from the City of Houston through Houston Arts Alliance, Donnett is tying his own work to a long history of vibrant protest movements created by African Americans while slyly referencing geometric abstraction.

Interspersed throughout this exhibition they serve as a visual break from the Blondie Bubba narrative — much like the persistent interruptions of emergency test patterns while TV viewing.

While she was planning Views by Women Artists, a massive collaborative exhibition in 1982 during the annual College Art Association conference, Sabra Moore's own show, Pieced -LSB-...]

This exhibition includes two new groups of paintings: a selection of self - portraits and a series depicting the Million Man March on Washington, D.C. Displayed as counterpoints in two separate galleries, the self - portraits offer discrete views of the artist as a private individual with a public persona, while the Million Man March artworks — large, unstretched canvases screenprinted with mass - media images — portray arrays of anonymous individuals brought together at an epochal moment for the African American community.

While her legendary status and influence on artists of all generations means Schneemann (born in 1939) continues to be a central canonical figure, it is shocking that «Water Light / Water Needle» — a modest collection of photographs, drawings, and a single video work currently on view at Hales Gallery — is her first solo exhibition in London.

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.

Guests mingled while sipping prosecco, viewing the Octavio Zaya - curated exhibition of over 30 international artists.

While some may view the appointment as a curious one, since Mr. Syson is best known for his work in the field of Renaissance art, many of his exhibitions have included sculptures.

Also while here, she debut her exhibition, Mould, which was a selection from a larger body of work entitled, Select Your Pattern Pieces According to the View You Have Chosen, to be a part of the 1999 LA International Biennial Art Invitational.

Produced over a quarter of a century beginning in 1964, the maquettes offer a unique view into the sculptor's creative process: some illustrate the origins of compositions for monumental works, while others document ideas not realized ultimately in large scale or provide fascinating examples of early sculptural ideas that underwent significant transformation as they emerged as full - scale sculptures in the exhibition chronicle Arneson's evolution as an artist and the development of his freewheeling creativity and prodigious imagination.

Multimedia installations are on view on the Mönchsberg branch, while works for theater and opera are being shown for the first time in a dedicated exhibition in the Rupertinum building in the old town — across the street from the Haus für Mozart.

Unlike a traditional museum retrospective, the works are rotated three times over the course of the exhibition: Schnabel's rare wax paintings from the 1970s are currently on view through June 5; works made after 2000 from June 8 to July 10; while the final rotation, from July 13 to August 14, features paintings from the 1980s and «90s.

While, intentionally, the core exhibition doesn't present a single theme, Macel sorted the works on view into nine chapters, which she calls Trans - Pavilions, each featuring a trans - national selection of different artists based on similarities and consonances in approach, personality, influences, and creative vision, thus focusing more on art and artists than on a theoretical, superimposed curatorial subject.

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.»

Indeed, while we tend to think of conceptual art as belonging very much to now, this challenging exhibition views it as a tightly defined historical phenomenon, whose heyday was 40 years and more ago, a period during which, the show claims, British artists changed the very nature of art.

While you're visiting, you may want to view current exhibitions, take a tour of Bard's campus, or sit in on a class.

While many of these artists have been a constant presence in the gallery's exhibition history, Beyond the Spectrum marks the first time that work by Bowling, Clark, Loving, Pindell, Whitten, and Williams will be on view at Michael Rosenfeld Gallery.

Four floors will be devoted to exhibition space, private viewing areas and offices, while one floor, with plywood ceilings and walls, will be available as an experimental space for artists, and another houses a 60 - seat screening room.»

An exhibition of selected works that was recently on view at Marlborough Gallery in New York highlighted the simultaneous effect and affect with which Bravo infused his art by means of masterly technical precision but perhaps more importantly through a singular use of color inspired by quotidian life in his adopted home of Tangier, Morocco, and the depiction of the art that he collected and maintained while living there.

While the thread that weaves the myriad interdisciplinary artifacts on view in both iterations of Common Time is, of course, Cunningham's dance work, many of the objects within the exhibitions have the remarkable capacity to double as compelling, self - reliant artworks in their own right.