Sentences with phrase «work out of the museum»

Allison Janae Hamilton, Tschabalala Self, and Sable Elyse Smith will work out of the museum's 127th Street offices starting in April.

Not exact matches

As was pointed out just above, pictures like «Adoration of the Magi» are already in museums, along with beautiful works like «Resurection» by El Greco, or Raphael's Crucifixion.

I have worked in museums for a number of years and this incident shows that the director and / or curator are clearly out of touch with the museum population they serve.

When I was working at the Yukon Transportation Museum I used to go out of my way a few days a week to get a coffee and muffin.

When an architectural study showed that the mansion could not handle a third expansion without costly structural work, the City Council, library board and Park District hammered out a land swap in which the Park District gave the city and library 27,000 square feet of land at Prospect Street near the Elmhurst Art Museum in exchange for 52,000 square feet of land on the north and south sides of the mansion.

If appreciating the natural world from the comfort of the indoors is more your thing, you'll want to check out the Museum of American Bird Art at Mass Audubon — home to works by John James Audubon, Charley Harper, Andy Warhol, Frank W. Benson, Alexander Wilson, and others.

She also encourages early - career scientists to volunteer in the local school system or science museum — another way of finding out if you like this kind of work.

Don't write a teaching statement that lays out an astronomical amount of work, e.g., «I will meet individually with all my students every week and do service learning projects in the community and design projects for local science museums.»

Crucially, with the help of Museum electron microscopist Tomasz Goral, they were also able to work out how the F. protensa brain and nerve tissue were preserved.

The rest of the weekend was filled with a little bit of work, chilling, checking out museums and finishing Marvel's Luke Cage series!

This weekend, I'm looking forward to some much needed down time for work catch up (still working on that editorial assistant job description), hanging out with a few good friends who are coming into town and hopping to a couple museums (namely the American Museum of Natural History and the Met) to wander around aimlessly.

PARIS, France — «We are going to miss Franca,» said Giambattista Valli, visibly moved, minutes before his show, held in the labyrithine, intensely wrought - out spaces of Paris» museum of the national archives, in the thick of the Marais.

Travel, surprises, music, dancing, sports, books, last minute plans, open mind, photography, museum, craziness, spontaneity, going out (but also staying in), sharing, simplicity, respect, flip flops (yes, the sandals), down to earth (however fantasy is also very important), people, casual, word, news, work, sense of humor about yourself, awareness.

You can pick specific works of art out online, and the museum will bring you and your date to the exclusive space to reflect on those works.

Since the humor of The Office is the kind of sly, nuanced wit that doesn t exactly work well in the context of a two - minute movie trailer, I was holding out hope that the studio simply decided to cram the more obvious Robin Williams schtick into the previews to lure in the people who made cash cows out of such dross as RV and Night at the Museum and that the actual film would be more in the vein of The Office.

Wisconsin's Chappie Fox, who made his life's work out of rescuing those wagons and preserving them at Baraboo's Circus World Museum, is the subject of A Circus Life.

Once the site of a large industrial complex, MACRO (Museum of Contemporary Art Rome) sticks out in a city where it's hard to find a museum containing works less than a millenniuMuseum of Contemporary Art Rome) sticks out in a city where it's hard to find a museum containing works less than a millenniumuseum containing works less than a millennium old.

Imagine visiting the ruins of Persepolis (a World Heritage Site), or checking out the Tehran Museum of Contemporary Art (TMCA), home to an impressive collection including works by Picasso, Kandinsky, Warhol, Duchamp and Pollock (and estimated to be worth $ 2.5 billion).

By donning their work, indigenous weavers bring art out of the gallery or museum and into everyday life.

Garance Reus - Deelder, managing director of the Anne Frank House, says: «It may sound quite off - hand, «of course we're staying open», but it's no simple matter to welcome visitors with the same level of public service in a museum where renewal work is being carried out, especially if that museum deals with such a sensitive theme as the Anne Frank House.

Time limit for chek out is 11 AM Is possible to change or to cancell your reservation if you send e. mail 72 hours before chek in It is just a few minutes walk from the most important museums and works of art the most famous shops and markets are all nearby.

Then the Metropolitan Museum's Rosalind McKever archly recounted the scholarly morass that is Futurist sculpture, where the works of heirless artists like Boccioni get cast and copied on a lark, and hyperactive estates like Giacomo Balla's churn out vast quantities of authorized, museum - ready Museum's Rosalind McKever archly recounted the scholarly morass that is Futurist sculpture, where the works of heirless artists like Boccioni get cast and copied on a lark, and hyperactive estates like Giacomo Balla's churn out vast quantities of authorized, museum - ready museum - ready merch.

But I am hoping for the day when museums move to pull out all the stops and strive to bring in huge crowds for single - work, or tightly focused, shows of pieces that have not recently sold for nine figures — even pieces that simply reside in their own collections, particularly when they seem urgently to require spotlighting.

BLOUIN ARTINFO by Zandie Brockett Los Angeles Confidential by Gabé Hirschowitz Los Angeles Times by Deborah Vankin Los Angeles Times by Los Angles Times Staff LA Weekly by Catherine Wagley The New York Times by Will Heinrich Hyperallergic by Matt Stromberg Los Angeles Times by Christopher Knight Los Angeles Times by Hunter Drohojowska - Philp Time Out Los Angeles by Rozette R Fluence by Alejandra Russi NPR, «Art Retrospective Recognizes «Schizophrenic» Genius» by Jon Kalish NPR, «New Postage Stamps Recognize the Genius of Martín Ramírez» by Jon Kalish NPR, «Ramírez Heirs Seek To Reclaim Artist's Lost Work» by Jon Kalish Martin Ramirez, Milwaukee Art Museum The Washington Post by Philip Kennicott Time Out New York by Anne Doran The New York Times gallery listings Art in America by Richard Kalina Folk Art by Brooke Davis Anderson Fluence by Elenore Weber The Boston Globe by Cate McQuaid The Week The New York Times by Karen Rosenberg The Economist NPR, All Things Considered by Jon Kalish New York Observer by Mario Naves The New York Times by Randy Kennedy Los Angeles Times by Brooke D. Anderson The New York Times by Roberta Smith New Yorker by Peter Schjeldahl The New York Times by Kathryn Shattuck

Collaboration is central to Thomas» artistic practice; works like In Search of the Truth (Truth Booth), which the Museum hosted last summer, and a new project by Thomas's artist - run political action committee For Freedoms will take the exhibition out of the Museum and into direct contact with Portlanders.

A collaboration with the Statens Museum for Kunst in Copenhagen and the Pompidou Center in Paris, the show draws on them heavily, filled out with acceptable work from American collections for a total of fewer than fifty works.

Cronin's works has also been featured in numerous group exhibitions, including Global Positioning Systems, Perez Art Museum Miami, FL (2014 - 15); 1993: Experimental, Jet Set, Trash and No Star, New Museum, New York, NY (2013); Come Together: Surviving Sandy, Industry City, Brooklyn, NY (2013); Watch Your Step, The FLAG Art Foundation, New York, NY (2012); Because We Are, Station Museum of Contemporary Art, Houston, TX (2010); and Sh (out): Contemporary Art and Human Rights, Gallery of Modern Art, Glasgow, Scotland (2009).

After relating this story, she teased her New York dealer David Maupin — of Lehmann Maupin, where her two - gallery show of new works opened last month, part of a protracted one - woman British invasion that includes her first museum show in the States, at MOCA North Miami this December, and her purchase of an apartment there — by pointing out his late arrival to everyone in the room (at this, the suited dealer gave a little wave and sat down).

«A lot of the work is just starting to happen now, getting deeper into those paintings and the rolls, doing inventories and learning and trying to understand, if we ever can, what Clyfford Still set out to do,» said museum director Dean Sobel.

It wasn't planned by the city, a museum conglomerate or even one of the local academies; it just worked out...

It's painful, though — people calling for paintings to be taken out of the museum and destroyed, having your work discussed in The Guardian and The New York Times.

LARA FAVARETTO Born 1973 (Treviso, Italy) Lives and works in Torino, Italy EDUCATION 1994 - 1999 Accademia di Belle Arti di Brera, Milano, Italy 1998 Advanced Course in Visual Arts, Visiting Professor Hacmilton Fulton, Fondazione Antonio Ratti, Como, Italy Scholarship at Kingston University, London, UK SOLO EXHIBITIONS 2019 Castello di Rivoli Museo d'Arte Contemporanea (forthcoming) Aspen Art Museum (forthcoming) 2018 «SUCKING MUD» Galleria Franco Noero, Piazza Carignano, Turin, Italy 2017 «Absolutely Nothing», Nottingham Contemporary, Nottingham, UK 2015 «Good Luck», MAXXI, Rome, Italy «Lara Favaretto: Collected Works», Rennie Collection, Vancouver, Canada «REDEFINE», Galleria Franco Noero, Turin, Italy 2013 «The 2013 Carnegie International», Carnegie Museum of Art, Pittsburgh, USA 2012 «Just Knocked Out», Sharjah Art Foundation, Sharjah, UAE and MOMA PS1, New York, USA 2009 «Absolutely no Donations» Tramway, Glasgow, UK SELECTED GROUP EXHIBITIONS 2018 «Reichtum: Schwarz ist Gold / Black is Gold», Lehmbruck Museum, Duisburg, Germany «Sexy and Cool», Kunsthalle Tübingen, Tübingen, Germany «Playtime», Peabody Essex Museum, Salem, USA «Stories of Almost Everyone», Hammer Museum, Los Angeles, USA 2017 «I am you, you are too», Walker Art Center, Minneapolis, USA «A Poet * hical Wager», MOCA Cleveland, USA Skulptur Projekte Münster, Münster and Marl, Germany 2016 Liverpool Biennial 2016, Liverpool, UK 2015 «The Event Sculpture», The Henry Moore Foundation, Leeds, UK 2014 «Manifesta 10», The State Hermitage Museum, Saint Petersburg, Russia «Infinte Jest», Schrin Kunsthalle, Frankfurt, Germany 2013 «The 2013 Carnegie International», Carnegie Museum of Art, Pittsburgh, USA 2012 «When Attitudes Became Form Become Attitudes», CCA Wattis Institute for Contemporary Arts, San Francisco, USA «dOCUMENTA (13)», Kassel, Germany and Kabul, Afghanistan 2011 12th International Istanbul Biennial,works in Torino, Italy EDUCATION 1994 - 1999 Accademia di Belle Arti di Brera, Milano, Italy 1998 Advanced Course in Visual Arts, Visiting Professor Hacmilton Fulton, Fondazione Antonio Ratti, Como, Italy Scholarship at Kingston University, London, UK SOLO EXHIBITIONS 2019 Castello di Rivoli Museo d'Arte Contemporanea (forthcoming) Aspen Art Museum (forthcoming) 2018 «SUCKING MUD» Galleria Franco Noero, Piazza Carignano, Turin, Italy 2017 «Absolutely Nothing», Nottingham Contemporary, Nottingham, UK 2015 «Good Luck», MAXXI, Rome, Italy «Lara Favaretto: Collected Works», Rennie Collection, Vancouver, Canada «REDEFINE», Galleria Franco Noero, Turin, Italy 2013 «The 2013 Carnegie International», Carnegie Museum of Art, Pittsburgh, USA 2012 «Just Knocked Out», Sharjah Art Foundation, Sharjah, UAE and MOMA PS1, New York, USA 2009 «Absolutely no Donations» Tramway, Glasgow, UK SELECTED GROUP EXHIBITIONS 2018 «Reichtum: Schwarz ist Gold / Black is Gold», Lehmbruck Museum, Duisburg, Germany «Sexy and Cool», Kunsthalle Tübingen, Tübingen, Germany «Playtime», Peabody Essex Museum, Salem, USA «Stories of Almost Everyone», Hammer Museum, Los Angeles, USA 2017 «I am you, you are too», Walker Art Center, Minneapolis, USA «A Poet * hical Wager», MOCA Cleveland, USA Skulptur Projekte Münster, Münster and Marl, Germany 2016 Liverpool Biennial 2016, Liverpool, UK 2015 «The Event Sculpture», The Henry Moore Foundation, Leeds, UK 2014 «Manifesta 10», The State Hermitage Museum, Saint Petersburg, Russia «Infinte Jest», Schrin Kunsthalle, Frankfurt, Germany 2013 «The 2013 Carnegie International», Carnegie Museum of Art, Pittsburgh, USA 2012 «When Attitudes Became Form Become Attitudes», CCA Wattis Institute for Contemporary Arts, San Francisco, USA «dOCUMENTA (13)», Kassel, Germany and Kabul, Afghanistan 2011 12th International Istanbul Biennial,Works», Rennie Collection, Vancouver, Canada «REDEFINE», Galleria Franco Noero, Turin, Italy 2013 «The 2013 Carnegie International», Carnegie Museum of Art, Pittsburgh, USA 2012 «Just Knocked Out», Sharjah Art Foundation, Sharjah, UAE and MOMA PS1, New York, USA 2009 «Absolutely no Donations» Tramway, Glasgow, UK SELECTED GROUP EXHIBITIONS 2018 «Reichtum: Schwarz ist Gold / Black is Gold», Lehmbruck Museum, Duisburg, Germany «Sexy and Cool», Kunsthalle Tübingen, Tübingen, Germany «Playtime», Peabody Essex Museum, Salem, USA «Stories of Almost Everyone», Hammer Museum, Los Angeles, USA 2017 «I am you, you are too», Walker Art Center, Minneapolis, USA «A Poet * hical Wager», MOCA Cleveland, USA Skulptur Projekte Münster, Münster and Marl, Germany 2016 Liverpool Biennial 2016, Liverpool, UK 2015 «The Event Sculpture», The Henry Moore Foundation, Leeds, UK 2014 «Manifesta 10», The State Hermitage Museum, Saint Petersburg, Russia «Infinte Jest», Schrin Kunsthalle, Frankfurt, Germany 2013 «The 2013 Carnegie International», Carnegie Museum of Art, Pittsburgh, USA 2012 «When Attitudes Became Form Become Attitudes», CCA Wattis Institute for Contemporary Arts, San Francisco, USA «dOCUMENTA (13)», Kassel, Germany and Kabul, Afghanistan 2011 12th International Istanbul Biennial, cur.

Sarah Crowner: Wall (Hot Blue Terra Cotta) Sarah Crowner's gorgeous 10 x 20 foot tile mural Wall (Hot Blue Terra Cotta)(2014 - 2016)-- fabricated for her recent MASS MoCA exhibition Beetle in the Leaves — now guides visitors in and out of the museum's new gallery spaces, along with a companion work, Tile Painting (Terra Cotta)(2016).

Cynically we might say that it's because the museums have turned artists into celebrities and profit from their marketing, but I still believe that it's the unique power of those paintings, the color, the vision of the artist worked out in the physical material of the painting that fills a spiritual hunger that's as real, and as important as the body's need for food.

The placement of the works purposefully reorients the visitors» awareness of areas outside the galleries, facilitating encounters with art often where one may least expect it: from the parking lot to work sheds, from the museum lobby to covered corridors between buildings, and out into the city streets of downtown North Adams.

Much of the work left out of the Whitney Museum's exhibition should be seen especially in the context of the sixties, even if for only equal time.

Select group exhibitions and biennials featuring her work include Virtual Views: Digital Art from the Thoma Foundation, Knoxville Museum of Art, Knoxville, TN (2017, forthcoming); Nature Morte: contemporary artists reinvigorate the still - life tradition, Bohusläns Museum, Uddevalla, Sweden (2016); Momentum: An Experiment in the Unexpected, San Jose Museum of Art, San Jose, CA (2014); Turning Inside Out: Video Art by Nam June Paik, Joan Jonas, and Jennifer Steinkamp, Sheldon Museum of Art, Lincoln, NE (2012); Blink!

She has had solo exhibitions at LACMA (2015), which grew out of an earlier series of performances exploring monumental works of sculpture in the museum's collection.

Both exhibitions sold out; museums bought my work; I got a National Endowment for the Arts Grant — the huge sum of $ 3,000, which, with an artist - girlfriend's help, enabled me to move to New York.

It turns out to have gone to Crystal Bridges Museum of American Art, which announced the acquisition, along an upcoming exhibition of O'Keeffe's work, earlier this week.

Almost twenty years ago, I tried to figure out how to get it into the Museum's uptown building, but wasn't able to — the scale of the work was too large for the Breuer building's small entryways and freight elevator.

This is embodied both in the biennial's sponsorship — represented most egregiously in its sponsorship by Sotheby's, which has locked out its unionized art handlers — and the museum's imminent move to the Meat Packing District, a neighborhood where artists once lived and worked which is now a gentrified tourist destination that serves the interests of the real estate industry.

2015 The Artist's Voice: Kia Labeija The Studio Museum in Harlem New York, NY December Sold - out solo artist talk at Studio Museum highlighting Kia Labeija's body of work

The museum said in a statement Monday that the works were being removed «out of concern for the safety of its staff, visitors and participating artists.»

As patrons of emerging artists, Michael and Susan Hort don't wait for museums to ratify the talents they support before buying a painting (or four)-- they put in the legwork of curators themselves, shuttling out to industrial neighborhoods to inspect the still - wet work of up - and - coming artists in their studios.

1999 Contemporary Japanese Art I, 1950s - 1970s from the Collection, The 10th Anniversary of Museum Opening, Introducing Newly Collected Works, Hiroshima City Museum of Contemporary Art, Hiroshima, Japan Eyes Watching the Space, Enjoying Painting and Space, Niigata City Art Museum, Niigata, Japan Japanese Prints 1945 - 1999, Expressions and Anti-Expressions of the Times, Machida City Museum of Graphic Arts, Tokyo, Japan Against Educational Course of Contemporary Art, The 20th Anniversary of Museum Opening, Itabashi Art Museum, Tokyo, Japan NICAF TOKYO» 99, The 6th International Contemporary Art Festival, Tokyo International Forum, Tokyo, Japan Listening to Kaoru Abe, Ota Fine Arts, Tokyo, Japan Out of Actions: Between Performance and the Object 1949 - 1979, The Museum of Contemporary Art at the Geffen Contemporary, Los Angeles, USA MAK - Austrian Museum of Applied Arts, Vienna, Austria Museu d'Art Contemporani, Barcelona, Spain Museum of Contemporary Art Tokyo, Japan

Develop and maintain existing relationships with galleries, collector and museums and seek out new partnership in relationship to presenting, preserving and promoting the work of THE ARTIST.

Clayton Brothers: Inside Out is the first major museum exhibition of the work of Rob and Christian Clayton.

Museum exhibitions that have focused on the artist's drawings include Richard Serra: Tekeningen / Drawings 1971 - 1977, Stedelijk Museum, Amsterdam, The Netherlands, 1977; Richard Serra: Zeichnungen 1971 - 1977, Kunsthalle Tübingen, Germany, 1978; Richard Serra: Drawings, Louisiana Museum, Humlebaek, Denmark, 1986; Richard Serra: Tekeningen / Drawings, Bonnefantemuseum, Maastricht, The Netherlands, 1990; Richard Serra: Drawings, Serpentine Gallery, London, 1992; Richard Serra: Drawings and Prints, The National Museum of Art, Osaka, Japan, 1994; Richard Serra: Rio Rounds, Centro de Arte Hélio Oiticica, Rio de Janeiro, 1997 - 1998; and Richard Serra: Drawings - Work Comes Out of Work, Kunsthaus Bregenz, Austria, 2008.

Kathy Halbreich, associate director of the Museum of Modern Art, once said of Mr. Chan's work, «He has figured out a way to make the perils of our time accessible.»