Sentences with phrase «whose early exhibitions»

The Kunstmuseum Basel also acquired considerable holdings of Johns's œuvre, notably prints, thanks largely to Christian Geelhaar, one of whose early exhibitions as curator in 1979 was devoted to the artist's working proofs.

Not exact matches

It gets a crucial financial boost from philanthropist George Washington Vanderbilt II, whose eponymous gallery in the building will host major exhibitions in the late 19th and early 20th century.

The Hodgkin show was announced on Thursday along with an exhibition pairing the works of the contemporary artist Gillian Wearing with the early 20th century surrealist photographer Claude Cahun — two artists whose work shares similar themes around gender, identity, masquerade and performance.

From a group of early, never - before seen notebook drawings by Carl Andre, dated 1959 - 1960, to Lawrence Weiner's All About Eve, 1992, this exhibition reflects the richness of thought and experimentation undertaken by more than thirty artists whose work reflects the fundamental tenets of Minimalism.

It is our hope that a century hence, in survey exhibitions of art of the late 20th and early 21st centuries, the artworks of Thornton Dial, Lonnie Holley, Ronald Lockett, the quilters of Gee's Bend, and dozens of others will be shown alongside works by artists who are today household names — together with other artists whose names have yet to surface.

This seems to be the case for Adam Cruces, whose recent exhibition «Pastel» was spawned from one of the artist's earliest works.

The space is divided into two conjoined galleries, one of which hosts the third solo exhibition of Ryan Travis Christian — whose drawings and paintings are clearly influenced by early Disney animation, George Condo, and the Chicago Imagists — while the smaller gallery hosts text - heavy prints by Steve Reinke.

Tonight's exhibition brings back several artists who participated in 2014, including Ted Brusubardis — whose piece Pacel Galvu became one of the best short videos I've experienced in many moons when it was shown in an appropriately darkened room at Portrait Society Gallery earlier this year — Adam Carr, Sara Condo, Cathy Cook, Paul Druecke, Kim Miller, Andrew Swant, Wes Tank, Xav Leplae, and co-organizer Marla Sanvick.

The first of a three - part series devoted to cross-cultural identity, «Global Vision: New Art from the 90's» inaugurated Athens's new Centre for Contemporary Art, the pet project of Greek Cypriot collector Dakis Joannou, whose Deste Foundation was behind a number of high - profile exhibitions in the late»80s and early»90s.

«Marisa Merz: The Sky Is a Great Space» explores a 50 - year career, belatedly lifting Ms. Merz from the edges of this all - male trend — whose advocates did not always include her in its first, reputation - building exhibitions in the late 1960s and early»70s — to its throne.

The exhibition title is a quotation from the artist Walter Sickert, whose beautiful study of a woman from 1906, her forehead patterned like a diamond, is the earliest work on view.

In addition to exploring cross-connections among LeWitt's peers, the exhibition presents contributions by older artists whose methods inspired LeWitt, as well as younger artists whose approaches are in dialogue with earlier generations while extending the medium in new directions.

Highlights of Broad MSU exhibitions in 2015 include: Trevor Paglen: The Genres, the final installment of the exhibition series The Genres: Portraiture, Still, Life, Landscape, featuring works by social scientist, researcher, and writer Trevor Paglen; The Broad Gift, an exhibition of 18 works generously given to the Broad MSU by founding patrons Eli and Edythe Broad; Moving Time: Video Art at 50, 1965 — 2015, one of the final exhibitions conceived by Founding Director Michael Rush exploring the development of video art from its earliest presentation to the present day; and Material Effects, bringing together six leading artists from West Africa and the diaspora whose work examines the circulation and currency of objects and materials.

Artists like Robert Smithson and Sol LeWitt, both now offhandedly described as Minimalist but whose practices are decidedly more complex and less minimal than the moniker lets on, both showed at invitational exhibitions at the Park Place Gallery early in their careers.

The exhibition is the first retrospective dedicated to John Giorno, American poet, performance artist, and iconic figure of the underground scene of the Sixties, whose work was influenced by the encounter with artists like Andy Warhol (he played in many of Warhol's early films), Jasper Johns, Robert Rauschenberg, John Cage, Trisha Brown, and Carolee Schneeman.

From the play of horizontal and vertical brushstrokes in Tonka or Rala (both 2017), the simplicity of whose structure underlies a complex weave of anteriority and posteriority, to the herringbone weave of Session, the earliest work in the show (1999), or the branch - like structure of Decalque (2002); whether as armature, as motif or as incidental reference, a grid underlies each of the works in this exhibition.

The Corcoran installation was arranged by artist, whereas in the two main galleries, the Intuit exhibition presents works by artists from the original 1982 show that are intermingled with objects by contemporary African American artists whose aesthetics or biography resonate with those of the earlier generation.

We start with Chicago - based artist Lesley Jackson, whose exhibition Walking with Rilke opened in early April of 2017 at Fourth Ward Project Space on the south side of the city in Hyde Park.

Caro was a man of great humility and humanity whose abundant creativity, even as he approached the age of 90, was still evident in the most recent work shown in exhibitions in Venice and London earlier this year.»

The Miriam and Ira D. Wallach Art Gallery opens its exhibition season with Nancy Holt: Sightlines, a thematic exhibition offering an in - depth look at the early projects of this important American artist whose pioneering work falls at the intersection of art, architecture and time - based media.

Last spring Phillips curated the exhibition «California Video: Artists and Histories» at the Getty; the show included a video by Dodge and Kahn, and early works by the Kipper Kids and performance artist Eleanor Antin, whose characters have included a nurse, a king, and a ballerina.

In addition, by lecturing at Yale and other universities and creative forums, and by staging Surrealist exhibitions with their ideas of automatism and intuitive creativity, Breton influenced several members of the New York School of Abstract Expressionism - notably the gesturalist Jackson Pollock whose early works and styles (like action - painting) contained several important Surrealist features.

Highlights of recent Broad MSU exhibitions include: Trevor Paglen: The Genres; the final installment of the exhibition series The Genres: Portraiture, Still, Life, Landscape, featuring works by social scientist, researcher, and writer Trevor Paglen; Moving Time: Video Art at 50, 1965 - 2015, one of the final exhibitions conceived by Founding Director Michael Rush exploring the development of video art from its earliest presentation, currently on view at the China Central Academy of Fine Arts, Beijing; Material Effects, which brought together six leading artists from West Africa and the diaspora whose work examines the circulation and currency of objects and materials; and The Artist as Activist: Tayeba Begum Lipi and Mahbubur Rahman, the first major museum exhibition to bring together a comprehensive body of work by two of Bangladeshi's foremost contemporary artists.

Also new to the list was Park Sung Tae, whose first New York solo exhibition in early 2011 made for a striking picture feast.

The program was initially expanded to include both noted artists in their early career such as Thomas Demand and Ugo Rondinone, and artists closely related with Berlin, such as Matti Braun, Christoph Keller and Christopher Roth, whose activities went beyond exhibitions to include lectures, talks, performances and musical events, decisively shaping the gallery's reputation as an engaged, discursive environment.

From her first exhibitions in the early 1990s, Belmore's work set the stage for a new generation of artists whose work reflects their aboriginal identities while challenging and transcending cultural stereotypes.

The exhibition will feature 20 works made between 1957 and 1967 covering his development as an artist from the late 1950s through his transition from Pop in the early 1960's to a politically engaged, topical artist whose works tackled the most pressing issues of the day in the later half of the decade.

Prix Marcel Duchamp laureate Neïl Beloufa, whose work is on view at the Balice Hertling booth, also organised a group exhibition earlier in the week in the Paris suburb of Villejuif.

The exhibition covers a period from the early 20th Century, when artists developed a dialogue with the new theories on evolution, over a number of modernists, to today's artists whose works are created in a technologically manipulated reality.

This exhibition highlights in particular a new generation of collectors of color whose mission, in part, is to support artists already at the early stages of their career, often ahead of the mainstream.

Counted among Artnet's list of «Electrifying Museum Shows to See Across the United States» in early 2018, the major exhibition Like Life: Sculpture, Color, and the Body (1300 — Now) at The Met Breuer in New York features work by Jeff Koons and Yayoi Kusama as well as Isa Genzken, whose fourth solo exhibition with the gallery runs concurrently through April 7.

This landmark exhibition is a retrospective of artist Paul Moro (1886 - 1953), whose oil paintings showcase a masterful vision of Cape Cod in the early twentieth century.

«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.

As Catherine Wagley discussed in this month's earlier Looking at Los Angeles post, summertime tends to be dominated by endless group exhibitions whose curators often force connections between works through an overdetermined idea or curatorial thesis, or else leave the viewer adrift in a sea of contemporary plurality.

Earlier this week the Whitney released their highly anticipated artist list for the 2014 Biennial, announcing the lucky 103 artists whose work would be featured in the museum's epic exhibition.

Spanning the years 1953 — 1968, Voulkos: The Breakthrough Years is the first exhibition to focus on the early career of Peter Voulkos, whose radical methods and ideas during this period opened up the possibilities for clay in ways that are still being felt today.

One of the most respected Irish landscape artists of the early 19th century, James O'Connor exemplified the fate of a number of hardworking painters whose artistic skills and successful exhibitions nevertheless failed to secure them a comfortable existence.

In fact, over the centuries, it has premièred many modern masters and nowadays it still support and present first class emerging or established artists.Last year the exhibition program was closed with a survey of the «tomboy» Sarah Lucas, whose ironic and iconic pieces — from the early the very last production — have been exposed together for the first time in United Kingdom.

At Life on Mars, David continues to play backup for such female leads, as several expressionistic women have been part of recent group and solo shows, including Katherine Bradford, Joyce Pensato, Amy Sillman, Brenda Goodman, and Fran O'Neill, whose exhibition I wrote about earlier this year.

In the early 1960s the New Realists took part in a number of exhibitions with American artists including Robert Rauschenberg and Jasper Johns, whose ideas often overlapped with their own.

The final section of the exhibition presents work from the late 1940s to early 1950s, including quintessential paintings by Irene Rice Pereira, whose compositions challenge the edge of the frame and make evident the push to be what will later be the «all - over» in the development of Abstract Expressionism.

This year, we were lucky enough to see one in a series of many of this ongoing practice by R.H. Quaytman, whose exhibition Passing Through the Opposite of What It Approaches, Chapter 25, at The Renaissance Society opened in early January.

Finally, Tony Robbin, whose work has been shown extensively since his 1974 solo exhibition at the Whitney Museum, is a founding member of the Pattern and Decoration movement and one of the earliest artists to incorporate computers in his artistic practice.

But Galleries West consulting editor Jeffrey Spalding takes umbrage at the «relentless vitriol» of British art critic Jonathan Jones in this spirited defence of Canadian artist David Milne, whose exhibition at London's Dulwich Picture Gallery opened earlier this month.

The exhibition presents Stettheimer's work in the context of the social and intellectual environment of early twentieth - century New York, exploring the artist's fascinating position as an American modernist whose work exuberantly reflects on the mass culture of her times.

We maintain a commitment to presenting artist's first solo exhibitions as well as rediscovering artists of earlier generations whose work is particularly relevant to current trends and ideas.

The exhibition brings together the work of four crucial figures whose early practices are affiliated with the post-war Japanese artistic phenomenon Mono - ha (School of Things).

On view in this exhibition will be a selection of artworks by contemporary artists including Elizabeth Peyton and Dana Schutz, artists of Katz's generation such as Ronald Bladen and Al Held, whose reputations continue to grow, and foundational early twentieth - century modernists such as Charles Burchfield and Marsden Hartley.

«Known for exhibiting some of Bruce Nauman's earliest shows, the gallery continues to host revered pioneers, like Katherine Bradford, whose recent exhibition of six - large scale paintings explore the vast expanse of space and the beauty to be found inside dark corners of the universe.»

The exhibition will also include some of the artists earlier «Circle Paintings» and more recent works on paper, whose energetic play with colour and application, counteract the metered and controlled pace of the poured lines.