Sentences with phrase «work white flag»

In 1998, the Metropolitan Museum of Art New York allegedly spent $ 20 million acquiring his work White Flag; in 2006, his painting False Start was purchased by private collectors for a reported $ 80 million, making it one of the most expensive paintings by a living artist.

Not exact matches

'' [White working class people] would like the Labour leader and me to be cheering on the England rugby team... with a flag with a shirt and shorts drinking a beer like they're doing.

What appears to be unacceptable is to criticise working class people who may be nationalistic — or even post a tweet with a photo of a house decked out in large English flags, with a white van in the drive.

Miller said it is unclear if the flags were «commercial grade, commercially manufactured flag [s] that then w [ere] bleached or altered to be all white, or whether this was Betsy Ross» long - lost nephew doing extensive work to put something together this detailed.

If labour lose certain seats we've got because the White working class, self employed man, witha St George's flag outside ina council home votes UKIP are you going to say it doesn't matter as that sort of chav stereotype, is something that we as labour supporters shouldnt want anyway

By precisely combining heavy strength work with scorching high - rep bodyweight challenge sets, you can inflict maximum muscle fatigue without making your joints raise the white flag!

A white flagpole out front brandishes a wind - snapped flag, and just inside the heavy metal - and - glass entrance doors are six Depression - era frescoes portraying industrious Americans gainfully employed for the national good: building airplanes, working in engineering and industry, peering into microscopes.

As much as I despise the Republicans, I hope they take hold of the reigns again, just to stick it to the Kumbaya - singing, cannabis - worshiping, rainbow - flag - waving haters of white, straight, working, middle - class, Christian males.

General fixes • Significant improvements to the Squad Join interface • Removed FIND ME A SQUAD option • Allow players to join empty Squads alone, thus having 1/4 Squad members • Change order of options to LEAVE SQUAD, INV A FRIEND, SWITCH TEAM • Disable Privacy flag when 1 man Squad • Reset Privacy flag from Private to Public when Squad drops to 1 player • All occupied Squads will now show up colored blue on the Squad selection screen • Players who choose not to join Squads will also show up as Blue in the «Not in a Squad» line • Squads that are currently empty will display as white — if you wish to join an empty Squad, you can choose the first one marked with white text • Added round duration and ticket summary at end of round screen • Fixed sound for when climbing ladders • Fixed and issue with some weapons» sounds in first person view • Fixed a swim sound loop error • You should no longer be able to damage a friendly vehicle when sitting in an open position • Grenades now drop to ground if you get killed while attempting to throw it • Spawn protection now should work in Conquest so you no longer should spawn too close to enemies • You should no longer spawn too close to enemies in TDM and SQDM • Fix for missing input restriction during intro movie, causing players to potentially fall and die while watching movie if moving controller (or having a controller with a bad stick zone) • Combat areas on Kharg Island in Rush mode tweaked in order to disallow defenders to access the carrier ship after first base is taken and being able to enter the AA gun • Fixed a problem with revived players not being able to get suppressed • Fixed a problem with the camera when being revived in co-op • Spotting VO now plays when spotting from MAV / EOD bot • Fixed several issues regarding the kill card, including showing wrong weapons used for the kill • Fixed that sometimes you would be stuck on a black screen when kicked from server • Fixed so when a team captures two flags at the same time, the UI does not show wrong owner of the flag • Fixed a problem where the capture progress bar was shown as friendly when the enemy was capturing • Fixed a problem with the bipod deploy sound • Fixed a problem that you could be spawned in with no weapons after being killed while using the EOD bot • Fixed problems with health bars not displaying health properly when using EOD bots • Fixed a problem with flickering name tags • Fixed a problem where you could damage friendly helicopters • Fixed a problem where you could get stuck in the co-op menu when attempting to join the session twice • You should now be able to spot explosives • You should no longer spawn in home base if your selected spawn point is disabled while waiting to spawn (e.g. if your teammate dies right before you are about to spawn) • Damage from bullets will now continue to cause damage even after the firing user is dead • Fixed several client crashes • Fixed a problem where players could get stuck in the join queue • Fixed the repair icon on the minimal • Fixed a problem with changing camera on certain vehicles • Fixed a problem with the grenade indicator when in guided missile mode • Fixed a problem where the machine could hard lock when joining a public coop game • Fixed a problem where the headset attached icon would not show up in the UI • Fixed a problem with the falling antenna on Caspian Border.

In response to these works, and others that were not realised in her lifetime, Peter Liversidge (b. 1973), who was a friend of Finn - Kelcey, will create a giant flag for the gallery's entrance with the word «HELLO» stitched in black on a white background, ushering visitors into the show.

His work has recently been included in exhibitions at Sculpture Center, New York, White Flag Projects, St Louis, Badischer Kunstverein, Karlsruhe, and the Moscow Museum of Modern Art, Moscow.Sanya Kantarovsky Feral Neighbours 4 October — 5 November

His work has been included in exhibitions at ICA Philadelphia, SculptureCenter, New York; Contemporary Austin Jones Center, Texas; Abrons Arts Center, New York; Johannes Vogt Gallery, New York; Vox Populi, Philadelphia; Crane Arts, Philadelphia; Extra Extra, Philadelphia; Clifford Gallery, Colgate University, New York; and White Flag Projects, St. Louis, among others.

On the one hand his five paintings, including the famous Green Target and White Flag, are perhaps the strongest single body of work in the show, but on the other, one suspects Johns was the only artist not to be represented with a recent work because it is a fashionable position to assume only his early nark counts.

Image: Installation view of Ellsworth Kelly: Black & White Works at The FLAG Art Foundation, 2018.

His work has been included in exhibitions at Galerie Derouillon (Paris, FR), Galerie Tobias Naehring (Leipzig, DE), The Kitchen (New York, NY), White Flag Projects (St. Louis, MO), ICA Philadelphia (Philadelphia, PA), Colgate University (Hamilton, NY), and SculptureCenter (New York, NY) among others.

Her work has recently been featured in exhibitions at David Zwirner Gallery, New York (2014), White Flag Projects, St. Louis, MO (2014), 247365, Brooklyn, NY (2014), and Western Exhibitions, Chicago (2014).

His work has been included in exhibitions at Ma Galerie, Paris; Galerie Derouillon, Paris; Galerie Tobias Naehring, Leipzig; The Kitchen, New York; White Flag Projects, St. Louis; ICA Philadelphia; SculptureCenter, New York; Contemporary Austin Jones Center, Texas; Abrons Art Center, New York; Exo Exo, Paris, FR; Johannes Vogt Gallery, New York; Vox Populi, Philadelphia; Clifford Gallery, Colgate University, New York; and Porch Projects, Washington D.C., among others.

From 1993 to 2008, as a senior consultant at the Met, Rosenthal was instrumental in acquiring important works for the museum's permanent collection, including its first works by Jasper Johns (White Flag, 1955) and Robert Rauschenberg (Winter Pool, 1959).

In 2013, White Flag Projects, Saint Louis, MO presented a solo exhibition of her work.

Her work has also been exhibited at White Flag Projects, St. Louis, the 1995 Whitney Biennial, the Museum of Modern Art, the Tang Teaching Museum of Art, New York Film and Video Festival, the 1993 Venice Biennale, and the Biennale d'Art Contemporain de Lyon, France.

Her work has been included in group exhibitions at Kate Werble Gallery in New York; Frank Elbaz Gallery in Paris, Los Angeles County Museum of Art, White Flag Projects in St. Louis, Michael Thibault Gallery in Los Angeles, Night Gallery in Los Angeles and and the Los Angeles Nomadic Division.

In an open letter, founder and director Matthew Strauss wrote: «For the past ten years White Flag Projects has worked to provide context and opportunities to artists at pivotal junctures in their careers, and give St. Louisans a space to engage with these exhibitions in the most direct way possible.

Moyer has exhibited her work at The Drawing Center (New York, NY), The Bass Museum (Miami, FL), University of Albany Art Museum (Albany, NY), The Public Art Fund (New York, NY), White Flag Projects and The Contemporary Art Museum St. Louis (St. Louis, MO), LAND (Los Angeles, CA), Tensta konsthall (Stockholm, SW), Cleopatra's Greenpoint (Brooklyn, NY), and Société (Berlin, DE).

2009 Willy Loman: The Rise and Fall, Stephen Friedman Gallery, London, England Party Time: Re-Imagine America - A Centennial Commission by Yinka Shonibare MBE, Newark Museum, 1 July - 3 January 2010 A Centenary Commission, 26 February - August 2009 Dublin City Gallery The Hugh Lane, Ireland A Flying Machine for every Man, Woman and Child & other Astonishing Works, Santa Barbara Museum of Art, California, USA A Flying Machine for every Man, Woman and Child, Miami Art Museum, Miami, USA Yinka Shonibare, MBE, Museum of Contemporary Art (MCA), Sydney, Australia; touring to Brooklyn Museum, New York, USA and National Museum of African Art Smithsonian Institution, Washington D.C, USA 2008 Odile and Odette, Savannah College of Art and Design, ACA Gallery, Atlanta, USA Yinka Shonibare, MBE, Museum of Contemporary Art (MCA), Sydney, Australia; touring to Brooklyn Museum, New York, USA and the Smithsonian, Washington D.C., USA Prospero's Monsters, James Cohan Gallery, New York, USA 2007 Scratch the Surface, National Gallery, London, England Jardin d'Amour, Musée du Quai Branly, Paris, France White Flag at Half Mast, commission for the Jubilee Flagpole, Hayward Gallery, South Bank Centre, London, England Summer Show, New York Gallery, New York, USA

Her work has been exhibited at The Drawing Center (New York, NY), The Bass Museum (Miami, FL), University of Albany Art Museum (Albany, NY), The Public Art Fund (New York, NY), White Flag Projects and The Contemporary Art Museum St. Louis (St. Louis, MO), LAND (Los Angeles, CA), Tensta konsthall (Stockholm, SW), Cleopatra's Greenpoint (Brooklyn, NY), and Société (Berlin, DE).

Yeh has performed and presented work in a variety of venues and situations internationally, including the New Museum, New York; the Contemporary Arts Center, Cincinnati; Issue Project Room, Brooklyn; Roulette, Brooklyn; ICA, Philadelphia; ICA, London; White Flag Projects, St. Louis; Performa; Lampo; Sónar; Frieze Music; and All Tomorrow's Parties.

His work has been included in exhibitions at White Flag Projects, St. Louis, MO; ICA Philadelphia, PA; SculptureCenter, New York, NY; Contemporary Austin Jones Center, Austin, TX; Abrons Art Center, New York NY; Exo Exo, Paris, FR; Johannes Vogt Gallery, New York, NY; Vox Populi, Philadelphia, PA; Crane Arts, Philadelphia, PA; Extra Extra, Philadelphia, PA; Clifford Gallery, Colgate University, Hamilton, NY; and Porch Projects, Washington D.C., among others.

His work was also included in notable group exhibition such as: Unscene, WIELS Contemporary Art Museum, Brussels; ATOPOLIS (curated by Dirk Snauwaert) at Manège de Sury, Mons on the occasion of Mons 2015 - European Capital of Culture; Celluloid Brushes at Isabel Bortolozzi, Berlin and Ludlow 88, New York; Vibrant Matter, KIOSK, Ghent, Belgium; Richard Parker (curated by Marc LeBlanc), Michael Thibault Gallery, Los Angeles; Marfa Book Company, Marfa, USA; Mu.ZEE Ostende, Belgium; Middlemarch, Brussels; Karma, New York and White Flags, Saint - Louis, USA.

Among the works that did well were Lot 140, «Model for T.W.U.,» a maquette for a larger work that was installed on West Broadway in SoHo in 1981 - 2 by Richard Serra (b. 1939), which sold for $ 123,500, more than twice its high estimate; Lot 181, an untitled 1984 work by Keith Haring (1958 - 1990) that sold for $ 101,500 and had had a high estimate of $ 70,000; Lots 119 and 120, both by Christopher Wool (b. 1955), that sold for $ 96,000 and $ 79,500, and which had both carried high estimates of $ 35,000; Lot 131, «Negativert,» a large interesting 1983 work by Sigmar Polke (b. 1941) that sold for $ 96,000, a bit over its high estimate of $ 90,000; Lot 132, «Abstract Painting 816 - 3,» a 22 by 20 1/8 oil on canvas that resembles a melted multi-colored metal red, white and blue flag by Gerhard Richter (b. 1932), that fetched $ 79,500 and had had a high estimate of $ 0,000; and Lot 134, «Dein Ashenes Haar Sulamith,» a very fine 1981 work by Anselm Kiefer (b. 1945), shown at the top of the article, that sold for $ 79,500 and had a high estimate of $ 70,000.

Sam Moyer has exhibited her work at The Drawing Center (New York, NY), The Bass Museum (Miami, FL), University of Albany Art Museum (Albany, NY), The Public Art Fund (New York, NY), White Flag Projects and The Contemporary Art Museum St. Louis (St. Louis, MO), LAND (Los Angeles, CA), Tensta konsthall (Stockholm, SW), Cleopatra's Greenpoint (Brooklyn, NY), and Société (Berlin, DE).

2011Out of Focus Photography, Saatchi Gallery, London, UK (catalogue) Second Nature: Abstract Photography Then and Now, deCordova Sculpture Park and Museum, Lincoln, MA «Render: New Construction in Video Art», California Museum of Photography, University of California, Riverside, CA The Only Rule is Work, Galerie Waalkens, Finsterwolde, Holland Painters Painting, Atlanta Contemporary Art Center, GA Eslov Wide Shut Part II, Mallorca Landings, Mallorca, Spain Movable Facture, Vivo Media Arts Centre, Vancouver, B.C., Canada (catalogue) A Useful Looking Useless Object, Sierra Metro, Edinburgh, Scotland Sound + Vision: Crossroads, Plug - In, ICA, Winnipeg, Canada Effects & Affects: The Alphabet, Fumetto Festival, Lucerne, Switzerland You Killed the Underground Film or the Real Meaning of Kunst bleibt... bleibt... & The Sisters, (Group show with Bettina Koester, Wilhelm Hein and Jennifer West), Lost Property, Amsterdam Update no. 2, White Columns, New York (catalogue) Another Kind of Vapor, White Flag Project, St. Louis, MO Contour 2011, 5th Biennial of the Moving Image, Mechelen, Belgium Adult Contemporary, Kavi Gupta, Berlin How Soon Now, Rubell Family Collection, Miami, FL (catalogue) California Dreamin, Arte Portugal Biennial, Lisbon, Portugal Home Show Revisited, Contemporary Arts Forum, Santa Barbara, CA (catalogue) Abstract Moving Image, Taka Ishii Gallery, Tokyo, Japan One Person's Materialism is Another Person's Romanticism, Remap 3, Athens Greece

He has recently exhibited work at JTT, David Petersen, Andrea Rosen Gallery, Karma, Charlie Horse, the Michael Jon Gallery, White Flag Projects and Miami BFP Gallery.

The most striking of the Pope.L works on offer was Coffin (Flag Box), from 2008, on sale for $ 70,000: a wooden box structure with «If you think very hard before the rocket falls» written in red, white, and blue on the side, and a strange sound being emitted from the middle.

His tidy, well - organized space is punctuated by objects that offer clues to his mind at work: a bulletin board filled with a patchwork of pictures of the flags of Africa and a pair of plaster casts, one of a white classical Greek statue and the other of an ebony Egyptian mummy case, standing guard over his assistants» desks.

Solo exhibitions include Low Comedy and Id, Ed, Ad, Od, both at Ramiken Crucible, New York, A Farmer's Knowledge at Rodolphe Janssen, Brussels, Late Work at White Flag Projects, St. Louis, and Inside the White Cube at White Cube in London.

Sullivan's work has been featured in group exhibitions including New Skin, Aishti Foundation, Beirut, Lebanon (2016); Surface Tension, The FLAG Art Foundation, New York (2015); New York Painting, Kunstmuseum Bonn, Bonn, Germany (2015); Empire State, Palazzo Delle Esposizioni, Rome, Italy (2013); and Nothing Turned Itself Inside Out, White Flag Projects, St. Louis (MI)(20FLAG Art Foundation, New York (2015); New York Painting, Kunstmuseum Bonn, Bonn, Germany (2015); Empire State, Palazzo Delle Esposizioni, Rome, Italy (2013); and Nothing Turned Itself Inside Out, White Flag Projects, St. Louis (MI)(20Flag Projects, St. Louis (MI)(2013).

Recent exhibitions include «Tongue Mops and Bunny Pictures» at Ramiken Crucible (New York); «Late Work» at White Flag Projects (St. Louis, MO); «New Pictures of Common Objects» at MoMA PS1 (New York); «Second Nature: Abstract Photography Then and Now», at DeCordova Sculpture Park and Museum (Lincoln, MA); and «Towards a Warm Math», curated by Chris Wiley, at On Stellar Rays (New York).

In his famous Flag (1954), the American flag was the format for a richly worked surface of red, white and blue stars and striFlag (1954), the American flag was the format for a richly worked surface of red, white and blue stars and striflag was the format for a richly worked surface of red, white and blue stars and stripes.

From 2008 - 12, Baran served as the Assistant Director of White Flag Projects, and has independently curated exhibitions on the work of Thomas Lanigan - Schmidt, Robert Gober, and Kerry James Marshall at various regional institutions.

He visited the Jewish Museum to see Jasper John's White Flag and met an old classmate who was working as a museum guard.

Elizabeth Jaeger's work has been included in group and solo shows, including DESTE Foundation, Athens, White Flag Projects, St. Louis, Whitney Museum of American Art, New York, SculptureCenter, New York, MoMA PS1, New York, and BRIC, New York.

Flying atop a pole in front of the old school building that now houses white - walled gallery spaces, the flag anticipated an inaugural exhibition of works by Nick Cave.

One has to wonder if the symbolism and meaning of Hammons's «African - American Flag» is diminished when it's bid up to $ 2 million at an art auction where the monied one percent places value on a work intended to draw contrast between American justice, freedom, and opportunity and the reality experienced by many African Americans who, despite their contributions to the nation's progress, across generations, haven't always felt represented by red, white, and blue of the U.S. fFlag» is diminished when it's bid up to $ 2 million at an art auction where the monied one percent places value on a work intended to draw contrast between American justice, freedom, and opportunity and the reality experienced by many African Americans who, despite their contributions to the nation's progress, across generations, haven't always felt represented by red, white, and blue of the U.S. flagflag.

Recent exhibitions include new works shown at Hydra's Workshop, Hydra, Greece; Empire State, Palazzo delle Esposizioni, Rome, Italy; and Nothing Turned Itself Inside Out, White Flag Projects, St. Louis, MO..

His work has been exhibited internationally at venues such as Kunstmuseum Bonn, Germany; Palazzo delle Esposizioni, Rome; Hydra's Workshop, Hydra, Greece; White Flag Projects, St. Louis; and MoMA PS1, New York.

Reminiscent of Jasper John's 1955 White Flag painting, the artist duo said they wanted to carry the spirit of his work by drawing from aspects of everyday life.

In 1998, the Metropolitan Museum of Art in New York reportedly paid $ 20 million for his work «White Flag», while in 2006, his work «False Start» was bought by private collectors for a reputed $ 80 million, making it the most expensive painting by a living artist.

The effect, in his monochromatic works of this type, is reminiscent of that of Jasper Johns's encaustic White Flag, 1955, and the younger artist's paintings have been read as an inhabitation of modernist forms with monotonous task - based operations that bespeak Binion's personal history of manual labor.

Mooney's works were also shown in group shows including at KW Institute for Contemporary Art, Berlin (2017); at the White Flag Project Library, St. Louis; at the Futura Centre for Contemporary Art, Prague; at Altman Siegel, San Francisco (all 2016); and at Hester, New York (2015).

Her work has been the subject of numerous solo exhibitions, including shows at FLAG Art Foundation New York; Stems Gallery, Brussels; Lisa Cooley, New York; and White Columns, New York.