Sentences with phrase «whose only exhibition»

Such were the concerns at the heart of the Spiral Group, whose only exhibition, the 1965 First Group Showing: Works in Black and White, is represented by works by Emma Amos, Reginald Gammon, Norman Lewis, Hale Woodruff, and others — along with additional works by these artists, including Woodruff's large abstract painting Blue Intrusion (1958).

Not exact matches

The EC has revealed that only 14,801 persons of the 56,000, whose names were deleted from the voters» register, have re-registered in the ongoing voters» register exhibition exercise.

An exhibition in a major museum of work by two centuries of American painters, clock - makers, photographers, quilters, silversmiths, sculptors, printmakers, and potters, whose only commonality is race, is a bit startling in 2015.

In the spring of 1985, seven women launched the Guerrilla Girls in response to the Museum of Modern Art's exhibition «An International Survey of Recent Painting and Sculpture» [1984), whose roster of 165 artists included only 13 women.

Without forecasting artistic trends or predicting future creation, 89plus manifests itself through panels, books, periodicals and exhibitions, bringing together individuals from a generation whose voices are only starting to be heard, yet which makes up nearly half of the world's population.

The exhibition explores a pivotal yet under - recognized figure in the development of postwar American Art whose effect is only beginning to be fully understood.

Another notable highpoint of the exhibition, Lewison points out, is Neel's self - portrait, painted at the age of 80: «Curiously, for an artist whose career focused on painting people, this is the only self - portrait she painted; and, she depicts herself naked.

Andrea Rosen Gallery is thrilled to announce an exhibition of Stan VanDerBeek (d. 1984), whose visionary approach to art making was not only radical in his time, but is also increasingly reflective of a contemporary discourse around the integration of media, technology, and everyday life.

The selection is impressive not only for its breadth of well - known names, like Tyeb Mehta, M. F. Husain, S. H. Raza, Akbar Padamsee, but also for its clever inclusion of the prominent contemporary South Asian artists like Subodh Gupta & A. Balasubramamium, among others, whose resumes include exhibitions at international bienniales, and art fairs.

Despite being on exhibition in renowned institutions such as Centre Pompidou in Paris, Tate Modern in London, Brooklyn Museum in New York and Kunsthalle Wien, Axell's work is representative of an era whose potential is only recently being acknowledged.

The exhibition title refers to the science fiction writer H.P. Lovecraft's alternate fictional dimension, whose terrain of cities, forests, mountains, and an underworld can be visited only through dreams.

Previous artists were the Scottish painter Peter Doig, who created «Siegfried + Poster Project»; the New York artist Julie Mehretu, whose exhibition was called «Notations After the Ring»; and Elizabeth Peyton, whose series of paintings, drawings and prints based on many of Wagner's mythical characters not only filled the gallery but also various spots throughout the opera house.

The title of the exhibition is borrowed from the lyrics by singer - songwriter Connie Converse, whose music only received attention decades after her active recordings in the 1950s in New York.

Sam Francis, having featured in both exhibitions, is unique in being the only painter whose reputation was made without benefit of New York, having moved directly to Paris from San Francisco.

This major exhibition not only explores Philip Guston's paintings through the language and ideas of the poets that he loved — Eliot, Yates, Wallace Stevens — as well as others whose words chime with his work, but it also reveals the surprisingly profound importance of Italian painting on an artist usually regarded as quintessentially American.

But the current agreement allows only for temporary exhibitions or the acquisition of artists whose work falls mainly in the appropriate century for each institution's remit.

The exhibition's title refers to the science fiction writer H.P. Lovecraft's alternate fictional dimension, whose terrain of cities, forests, mountains, and an underworld can be visited only through dreams.

89plus manifests itself through panels, books, periodicals, exhibitions and residencies, bringing together individuals from a generation whose voices are only starting to be heard, yet account for almost half of the world's population.

Hiroshi Sugimoto, a contemporary Japanese photographer whose work is the subject of the Modern's current special exhibition Hiroshi Sugimoto: End of Time, considered this question and realized that the seascape probably constitutes the only sight on Earth that has remained constant through the centuries.

The president is hardly the only admirer of Ligon, whose exhibition Encounters and Collisions opens at Nottingham Contemporary this week, before touring to Tate Liverpool in July.

An exhibition whose works share only a lack of color, «Cromofobia» asks the viewer to look closely at each object's texture, material, and scale.

'' Imago Mundi: Map of the New Art» is an exhibition of 6,930 works of the collection of Luciano Benetton, is the largest of the exhibitions of the collection to date, presenting works by emerging and established artists from 40 countries, whose only limitation is the 10 × 12 cm format.

It is an aesthetic that links many of the women artists who feature in this issue, including Barbara Hepworth (1903 — 1975), whose forthcoming Tate Britain exhibition celebrates not only her long life of radical experimentation (both in the creation of her artworks and also the way they were to be experienced by the viewer), but also how important an international figure she became, with exhibitions across the globe from a relatively young age.

More recently, the Paris Mint devoted a solo exhibition to Jannis Kounellis, whose only work from a gallery was loaned by Galerie Karsten Greve.

The slug who not only provides the title of the exhibition and this particular series of works but whose quite literal image is presented as a real photographic likeness inching across the monitor and as a hand - drawn image in print.

The exhibition features artists — three of them, to be exact, in a touch that only befits the Coward source material — whose work builds on the play's themes and alludes to the Bauhaus idea that every aspect of one's life can be designed.

Her own menagerie is made of a series of sculptures whose shapes and colours seem to be taken from a decadent fun - fair: broken horses, looming arches and double - headed dolphins to name only a few of the creatures populating the exhibition.

The academy is about to launch the first major exhibition in the UK of the painter whose best known work shows a tailor in action, gathering together rare loans including his late religious paintings and altarpieces that have never left Italy before, and one portrait only identified as his work last year by the curators of this show.

With 27,000 square feet of exhibition space, the Blanton will be able to exhibit more works than the Contemporary Austin, whose Jones Center downtown is only 8,000 square feet.

MORGAN LIBRARY & MUSEUM: «DUBUFFET DRAWINGS, 1935 - 1962» (through Jan. 2) A recent craze for Jean Dubuffet — whose rough, war - scarred art was inspired by the outsider work he championed and collected — continues with this hefty, spirited exhibition, featuring not only his drawings but also paintings on paper, assemblages of sliced - up prints, and collages of butterfly wings.

Together with a female dancer whose build and height mirrored his own, both covered (draped) only in white, oversized T - shirts, he moved gracefully through the exhibition space, embracing the works in a stylized tour.

The inaugural show, on view through June 29, marks not only Pace's downtown debut but also the return to SoHo of Mr. Schnabel, whose last SoHo exhibition was held in this same gallery in 1983, when the tenant was Leo Castelli.

Stan Douglas, the Vancouver photo, film and video artist, whose work was in the second exhibition Zwirner held on Greene Street, said: «In the beginning we only had a verbal agreement and a handshake, and that's still what we have now.»

Personal Effects, A chronologically scrambled exhibition of Barbara Bloom's work evokes an estate auction — and an identity whose elusiveness only increases with exposure