Sentences with phrase «work in exhibition mode»

It will not show up on your profile, but it does work in Exhibition mode.

Not exact matches

Whilst taking Neel's work as a point of reference, the exhibition aims to open up possibilities for reading figuration and portraiture in contemporary painting, to assert the continued relevance of these modes of practice, and to re-consider Neel's work in relation to artists working today.

Regardless of the mode of making or the content within the form, each work in the exhibition asks us to reevaluate the way we see and experience the spaces we are in, the objects we confront, and the relationship between vision and perception.

Timed to celebrate Black History Month, Grenning Gallery has assembled a group show of contemporary African - American artists working in the realist mode for an exhibition that is long on the traditional portraiture for which the gallery is renowned.

Featuring nearly one hundred works from the artist's most innovative years, the exhibition examines how drawing played a major role in Dubuffet's development as he explored on paper new subjects and techniques and experimented with non-traditional tools and modes of application.

This exhibition explores how his distinctive works went beyond a purely technical interest in flowers, moving into an Expressionist mode with echoes of Surrealism and Cubism.

The Museum's small - format, highly - detailed canvas, which evinces a strange perspective, was the springboard for Eliav to create a sprawling installation of twenty large - scale paintings that will completely fill the exhibition space, each work conveying parts of the scene from a different perspective and in a different painting mode.

For those unfamiliar with their work, the exhibition at Maureen Paley's is typical of their mode of presentation in being more of an environment or a set — vividly coloured wall paintings with strong formal and graphic elements unite and frame the various sculptural and pictorial components into an integrated whole.

Spanning 1962 - 2002, 25 exhibitions that have contributed to shifts in modes of perception, presentation and the practice of art have been selected for investigation, from Dylaby at the Stedelijk Museum in 1962, featuring work by Robert Rauschenberg, Niki de Saint Phalle and others, to Documenta 11 in 2002, curated by Okwui Enwezor and a team of co-curators.

In the works featured in the exhibition, most created in the last two decades, artists employ the imagery of science fiction to suggest diverse modes of existence and represent «alienating» ways of being in the worlIn the works featured in the exhibition, most created in the last two decades, artists employ the imagery of science fiction to suggest diverse modes of existence and represent «alienating» ways of being in the worlin the exhibition, most created in the last two decades, artists employ the imagery of science fiction to suggest diverse modes of existence and represent «alienating» ways of being in the worlin the last two decades, artists employ the imagery of science fiction to suggest diverse modes of existence and represent «alienating» ways of being in the worlin the world.

For this exhibition the work primarily begun in the latter mode of a specific event and then completed through the former exploratory path, allowing gesture, pattern and layering to animate and release inherently frozen moments into a complex less fixed and known, ultimately transformative.

Similar to the way Manet initiated a new freedom from traditional subjects and modes of representation, each work featured in the exhibition intentionally takes the landscape genre as a way to capture a contemporary state of being.

Works in the exhibition exemplify the laborious modes of production which Friedman often learns or employs in order to create a single work, subsequently abandoning once it has been mastered.

The exhibition explores how the artists, all of whom work in a geometric abstract vocabulary, create different modes of spatiality in their work.

From the studio as a site of labor, to one that blurs production, performance, and spectacle, to a concept that defines the artist's own identity, the exhibition features artists who, in response to changing socio - economic influences, represented new modes of working and living that would subsequently spread across society.

«For this exhibition, Nick Mauss (b. 1980, New York, NY) explores the history of American modernist ballet, continuing a hybrid mode of working he has pursued for a decade in which the roles of curator, artist, choreographer, scholar, and performer converge.

Beyond functioning as a species of ideology critique, the works in this exhibition also push the boundaries of mass media's mode of presentation, which is often formulaic, conventional, and riddled with banalities.

Noa Gur's works presented in the exhibition «Dawn till Dusk» intertwine two series of questions: one thread questioning contemporary modes of artistic production, the other thread questioning inequality based on class or ethnicity.

By 1936, Biederman was working in an increasingly abstract mode, and was given his first solo exhibition at the Pierre Matisse Gallery.

While the exhibition's rich display resonates with the variety of material and conceptual strategies at work in Pendleton's oeuvre, it is the artist's subversive modes of intervention into historical discourses of vanguard art and politics that lend weight to the complexities of his practice.

Curated by Simonetta Fraquelli, an independent curator and specialist in early twentieth - century European art, the exhibition explores Pablo Picasso's work between 1912 and 1924, prior to, during, and after the tumultuous years of the First World War, when the artist began exploring both cubist and classical modes in his art.

The modes of production of an artwork and the forces driving its placement in an exhibition, museum, or collection are often highly inter-connected; still, all the curators interviewed for this project have agreed that the presumably autonomous meaning of the work has to be detached from the economic and power dynamics behind its production and placement.

The two fall projects, Sarah Cain's outdoor work and Abigail DeVille's first LA solo exhibition were my two contributions to our opening season, after a year of not installing any exhibitions and being fully in research mode.

The three practices in the exhibition, two artistic and one curatorial, represent three modes of creative production as well as different generational ideas on working in the cultural sphere.

As objects that have been incrementally filled with content in a private and reflective working mode, but are now on view in an exhibition, they are parallel with Shafran's photographs: both function to make evident and long - lasting the private, interior and prosaic aspects of life as lived each day.

This exhibition brings together some younger figures as well as others who have been working in related modes for many decades.

The work seeks to locate the possible effects or afterimages of an exhibition across two categories of imprints: on one hand, a kind of retinal persistence, a blur of works and texts that vie for preeminence in recalling the experience of the exhibition, and, on the other hand, the mode of the archive that exhibitions of contemporary art in general gesture towards, the database where they would like to register.

«Common Time» can be viewed in relation to other recent exhibitions that have examined artists working in collaborative, cross-disciplinary modes.

Using cinema in an expanded form to reactivate lost or forgotten histories, they create new modes of collective engagement with contemporary thought through the creation of feature films, exhibitions, sound and video installations, performances, event - works, radio shows and books.

This exhibition looks at artists who have sought practices inverse to the individualised, satellite modes in which we are increasingly expected to work, using materials and situations contingent to the places they live, no matter how internationally connected they themselves may be.

Taking a monochromatic grey palette as its organizing principle and aesthetic theoretical vehicle, this exhibition reveals the emergence of that which subtracts or divides — a polemics of black and white or the search for a middle ground, a shade of grey — in the work of artists from around the globe: including Shiva Ahmadi, Yasima Alaoui, Ayad Alkadhi, Afruz Amighi, Reza Aramesh, Shoja Azari & Shahram Karimi, Bruce High Quality Foundation, Dilip Chobisa, Seth Cameron, Arthur Carter, Noor Ali Chagani, Nick Farhi, Nir Hod, Rachael Lee Hovanian, Joseph Kosuth, Liane Lang, Farideh Lashai, Shirin Neshat, Enoc Perez, and Dan Witz, Grisaille: originally derived from a 19th century term for monochrome painting, especially the portrayal of three dimensional objects in two dimensional form, of which the work of British based Liane Lang in this exhibition approaches the closest contemporary example of this art historical origin, the gris or grisaille is updated in this exhibition to reflect the embattled gesture of not simply the monochromatic, but also any opposition to color as such, in at once its aesthetic and political modes.

Court works with selection, formatting and narration as modes of expression in relation to exhibition as a genre of cultural production.

By the time the 1960s rolled around, these works had become central to the story of 20th - century art — to the extent that the exhibition's curator, William C. Seitz, could write in the catalog that «collage and related modes of construction manifest a predisposition that is characteristically modern» insofar as they «denote not only a specific technical procedure and form used in the literary and musical as well as the plastic arts, but also a complex of attitudes and ideas.»

Travelling shows such as «The Progress of Love» (2012), a transatlantic exhibition exchange between CCA, Lagos, Houston's Menil Collection and the Pulitzer Art Foundation in Missouri which explored «the changing modes and meanings of love in today's global society» through works by artists from Africa, Europe, and the USA.

For this exhibition, Nick Mauss (b. 1980, New York, NY) explores the history of American modernist ballet, continuing a hybrid mode of working he has pursued for a decade in which the roles of curator, artist, scholar, and performer converge.

While an exhibition can be a space for critical reception, the usual modes of presentation for video works tend to evoke cinema spaces and position audiences in the role of passive beholders of the image.

Rejecting established modes of representation, the works featured in the exhibition exemplify the artists» shared quest for a -LSB-...]

Delving into the lives of Caro's assistants, as well as his studio in Camden, his archives, and his body of work, this exhibition explores questions of originality, collaboration and education through one artist's mode of production.

More than a dozen artists working in painting, photography, sculpture, and installation are represented in this exhibition, and their modes of abstraction are similarly diverse.

At the same time, the works on view will highlight the artists» evolving modes of presentation, from their diptychs of the early 1970s, through ambitious multi-part typologies, and the large - format single images first introduced in 1990 in a renowned exhibition at the DIA Art Foundation in New York.

Rejecting established modes of representation, the works featured in the exhibition exemplify the artists» shared quest for a new beginning in art, as in life; one that could respond to a social reality filled with potential and new technological advances in the aftermath of World War II.

The exhibition begins with a selection of early works from the 1960s in which the artist inaugurates his mode of tracing hand - drawn geometric figures within the outline of a shaped support, and continues through the 1970s, featuring examples of Mangold's Circle paintings and A Triangle Within Two Rectangles paintings.

With a focus on artists working predominantly in film, video, photography and installations, Campagne Première organizes thematic exhibitions that question modes of representation and address the conditions of the artwork «s production.

More than a dozen artists working in painting, photography, sculpture, and installation are represented in this exhibition, and their modes of abstraction are likewise diverse.

Widely exhibited in solo and group exhibitions, Kelley's works have enjoyed their fair share of attention, but with them gathered together all at once it was stunning to see, in the diversity of media used, and the diverse modes of expression and themes reflected, the sheer breadth of his practice and the ideas that inform it.

The Assists meet the ASSISTED this week in a group show curated by Stockholder featuring work from artists who investigate alternative modes of exhibition.

Following the arc of his evolving practice, as presented by the exhibition, one sees Marshall working through an overtly political form of history painting to a more distilled mode of anonymous, intimate portraiture that often literally sparkles in its sequined detail.

* catalogue 1980 * Philip Guston, (retrospective exhibition 1930 - 1979) originating at the San Francisco Museum of Modern Art: traveled to Corcoran Gallery of Art, Washington, D.C.; Museum of Contemporary Art, Chicago; The Denver Art Museum, CO; Whitney Museum of American Art, New York Philip Guston, Akron Art Museum, OH 1981 * A New Spirit in Painting, Royal Academy of Arts, London Philip Guston, Montgomery Museum of Fine Arts, Montgomery, AL 1981 - 1982 * Philip Guston: The Last Works, organized by the Phillips Collection, Washington, D.C.: traveled to Cleveland Museum of Art, OH; Museum of Art, Carnegie Institute, Pittsburgh, PA; David McKee Gallery, New York * XVI Bienal Internacional de Sao Paulo, Brazil: traveled as Philip Guston: Sus Ultimos Anos to Museo de Arte Moderno, Mexico City; Centro de Arte Moderno, Guadalajara, Mexico; Museo de Arte Moderno, Bogota, Colombia 1982 * Philip Guston: Paintings 1969 - 1980, Whitechapel Art Gallery, London: traveled to Stedelijk Museum, Amsterdam; Kunsthalle, Basel 1983 * The First Show — Paintings and Sculpture from Eight Collections, Museum of Contemporary Art, Los Angeles, CA 1984 * Philip Guston: The Late Works, National Gallery of Victoria, Melbourne; Art Gallery of Western Australia, Perth; Art Gallery of New South Wales, Sydney * La Grande Parade: Highlights of Painting after 1940, Stedelijk Museum, Amsterdam Philip Guston: Last Works, Hayden Gallery, Massachusetts Institute of Technology, Cambridge, MA 1986 * Philip Guston, Greenville County Museum of Art, SC; North Carolina Museum of Art, Raleigh; The Atlanta College of Art, GA 1987 * l'epoque, la mode, la morale, la passion, Centre Georges Pompidou, Paris, France * Philip Guston: Early & Late Works, Skidmore College Museum of Art, Saratoga, NY 1988 * The Drawings of Philip Guston, The Museum of Modern Art, New York: traveled to Museum Overholland, Amsterdam; La Fundacion La Caixa, Barcelona; Museum of Modern Art, Oxford, England; Douglas Hyde Gallery, Dublin; Galeria Nazionale D'Arte Moderna e Contemporanea, Rome.

From the studio as a site of labor; to one that blurs production, performance, and spectacle; to a concept that defines the artist's own identity; the exhibition examines the work of artists who, in response to changing socioeconomic influences, represented new modes of working and living that would subsequently spread across society.

BEACON, N.Y. & NEW YORK CITY - To start the new year in a truly contemplative mode, one need only take advantage of two closely related Dia Art Foundation exhibitions of the painter Robert Ryman's work — one at Dia Chelsea and the other at Dia Beacon.