Sentences with phrase «worked for an exhibition like»

Edgar Munhall, curator emeritus at the museum, has worked for an exhibition like this for a long time, and it shows.

Not exact matches

For the current crowd, Wine by the Bay is bringing out some of its best wines and works of art by renowned American artists like Andy Warhol, Robert Rauschenberg, Hunt Slonem and Donald Sultan for a special exhibition, running daily from noon until 9 p.m. through December 10For the current crowd, Wine by the Bay is bringing out some of its best wines and works of art by renowned American artists like Andy Warhol, Robert Rauschenberg, Hunt Slonem and Donald Sultan for a special exhibition, running daily from noon until 9 p.m. through December 10for a special exhibition, running daily from noon until 9 p.m. through December 10th.

I've not been regularly mailing my list as much as I'd like (or perhaps should have) but have made a resolution this year to send out an email once a week at the same time (1 pm every Thursday) with an update of some sort like works in progress blog post, or time - elapsed videos, or invitations to exhibitions, or when new works are for sale or if I'm running a promotion etc..

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.

2010 was an exciting year for contemporary painting, from a painting - heavy Whitney Biennial, to stand - out works in MoMA PS1 «s Greater New York, to huge showings at art fairs like NADA and Art Basel Miami Beach, and with each exhibition a new way of thinking about the medium itself.

For this pivotal first exhibition, Firestone chose to display works by an artist who, like the block's artistic past, was fading into the annals of history.

Five years ago I drafted an article for abstractcritical focussing on the works by Anthony Caro and Katherine Gili in the 2013 RA Summer Exhibition, neither of which I liked.

Jeffrey Gibson: Like a Hammer is the first exhibition to focus on the art that one of the brightest stars working in the contemporary art world today has made since 2011, a creative turning point for him.

For her eighth exhibition at Lisson Gallery, Shirazeh Houshiary presents a series of large - scale works in pale ocean hues — pencilled with words, sprawling like branches or undulating ripples.

The announcement for Stubbing's exhibition shows him with two paintings; these atmospheric, often large scale works were lyrical and rhythmic arrangements of palm prints made with Stubbing's hands «saturated like a living palette».

Maybe the exhibition title suggests that the works are only just at the point of gesture, like the Andrea Madjesi - Jones painting, where gesture seems to be included in a wider pictorial strategy, or perhaps that they have arrived at the point of gesture having set out from some other place, Clem Crosby's work, for example, coming out of the monochrome tradition to a reconsideration of the role of drawing.

Join us for a family workshop offered in conjunction with the exhibition «Leonor Antunes: I Stand Like A Mirror Before You,» which marks the Portuguese artist's first solo exhibition in New York and features site - specific works in the New Museum's Lobby Gallery.

Mark Mothersbaugh — currently featured in the critically acclaimed MCA Denver exhibition Mark Mothersbaugh: Myopia — is a composer of scores for movies and television, frontman for the influential musical group DEVO, and an artist who, much like Clyfford Still, has created and shown works on the periphery of the art world throughout his lifetime.

The exhibition will feature images Penn took while working «on assignment» for advertising campaigns like Clinique and publications like The New Yorker, Vogue, Look, and House and Garden, for which Penn made some of the most compelling fashion images, portraits and still lifes of our time.

Brilliantly combining world - serious and Miami playful, the Rubell Family Collection offered a mini-retrospective selected from its more than 6,300 works and 800 artists, as well as work commissioned for the exhibition from the likes of Mark Flood, Aaron Curry, Kaari Upson, Will Boone and, from newcomer Lucy Dodd, a room - long abstract painting inspired by Picasso's Guernica (watch her prices jump — the Rubells are opinion - makers, as we've seen with Hernan Bas among others).

This selection of works on paper is a foundation for the large - scale paintings of the mid-80s - paintings with southwest - tinged titles like Mariposa, Hot Morning, Sun Belt and Red Disc, several of which will be included in the exhibition.

This is the perfect starting point for an appreciation of the works on view in the current exhibition, which rely on white in so many ways, from background to foreground, canceling the blacks and greys underneath and providing the Mark Tobey - like highlights of the large - scale paintings.

The project helped make it possible for the legacy of Elemore's work to continue through publications, sales, events, and shows like the CUE CALL Exhibition.

When Artspace visited Morris's immaculate Long Island City studio earlier this month, the artist — looking stylishly severe in a uniform - like black ensemble with a red belt that matched her lipstick — was getting ready for Basel while also working on paintings, researching her next film, and preparing for a solo exhibition that opens in October at the Museum Leuven in Belgium.

In addition, Bradford has created two new works related to Mithra, his monumental, ark - like public art project installed in the Lower Ninth Ward of New Orleans for the Prospect.1 exhibition in 2008: a major new sculpture (titled Detail), which incorporates elements from Mithra, and a film titled Across Canal, which examines the conception, production, and reception of that work.

The Danish conceptual artist Tue Greenfort has enjoyed rising success abroad, with shows at places like SculptureCenter and London's Royal Academy, but for whatever reason he remains underappreciated in his native country, so König Galerie decided to bring a mini exhibition of his work to Code.

Dia director Philippe Vergne said, «We should have done this show,» and I told him, «You couldn't have let a curator work for five years on an exhibition like this and it couldn't have been done in a shorter time.»

Additionally, two new works related to Mithra, his monumental, ark - like public art project installed in the Lower Ninth Ward of New Orleans for the Prospect.1 exhibition in 2008, will be featured: a major new sculpture titled Detail, which incorporates elements from Mithra, and a film titled Across Canal, which examines the conception, production, and reception of that work.

«It is wonderful for us to be able to show these works together in a single room for the first time, almost like an exhibition within an exhibition.

For her first exhibition with PLHK, Varady has prefixed her project with «I don't like passion,» a statement made by Louise Bourgeois as a way into a specific dialog with the artist and her work.

Like its name implies, the shows will last for just one evening, displaying a limited number of works by a specific artist, upending the traditional six - week exhibition schedule to which most galleries subscribe.

He has shown dark paintings in darkened rooms, created theatrical environments — like the Tate's The Upper Room or his British Pavilion at the Venice Biennale, and his more recent exhibition at New York's New Museum), and created work for the Royal Opera House, to extend the way we might approach and look at his work.

There's a persistent interest, I think, in giving a context for this material, as when Lynne did this exhibition with Rosemarie Trockel that came to the New Museum here, where it was juxtaposed with the work of someone like Judith Scott, who I presented here at White Columns before I co-curated her retrospective at the Brooklyn Museum.

«Höch - watchers,» including the catalogue essayists, may use terms like «genius» and «dazzling» in describing the work, but these words are too strong for what is, in the end, a pretty good artist in a pretty good exhibition.

Not only are its 11 works superb for the most part (each is drawn from the gallery's permanent collection), the exhibition evokes an era when painting was still top dog, bestriding the then - narrow art world like a Colossus.

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquExhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquexhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts&raquExhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

For his 2012 solo exhibition Hodgepodge at Honor Fraser Gallery in Los Angeles, the gallery explained, «Like Warhol before him, Scharf became interested in merging the highbrow with the lowbrow, and began working towards ways of incorporating pop - culture into his paintings.

Like Harrison's work itself, this multifaceted project suggests there is no one, true methodology for looking at art or one uniform principle to curating an exhibition.

Dumas, a rare visual artist who also writes — «a dual talent, like Van Gogh,» her partner of nearly 30 years, the painter Jan Andriesse, said — likes to participate in the dialogue about her own work, and wanted to revisit as many critical texts as possible, both her own and others» writing, for the exhibition catalog, which is being produced in three languages.

Guisset opened her own studio in 2009 and the objects on view in the recent exhibition showcased her poetic, yet sophisticated work for a range of producers, from small French companies like Petite Friture, which produced her award - winning light fixture, Vertigo, and Moustache to major firms such as Molteni and Louis Vuitton.

Then, on October 18, she will once more display her work alongside the likes of Kara Walker, Nick Cave, Robert Colescott, Kehinde Wiley, and Jean - Michel Basquiat — to whom the artist is frequently compared — for the traveling exhibition's ninth incarnation, at the Detroit Institute of Arts.

It is common practice for art museums to borrow works of art from other institutions and private collections when mounting major exhibitions like Heat Waves in the Swamp.

While most museum collections are kept in storage when not on display for specific exhibitions, for this project, visitors are invited to select which works they would like to see, and those works will be on display in the museum space ten days after the request is made.

Strictly composed of works from three private collections, this exhibition feels like raw material for later, better shows.

For Total Art — NMWA's first fully video - based survey exhibition — the museum's second - floor galleries will be transformed into new, intimate viewing spaces that accentuate the meditative, surreal, and dream - like imagery often featured in the exhibition's works.

The recipient of The John McCaughey Memorial Prize for her commission for the National Gallery of Victoria in Melbourne, Johnson's works has been the subjects of recent solo exhibitions at Talbot Rice Gallery at The University of Edinburgh, at the National Gallery of Victoria in Melbourne, at Ivan Anthony Gallery in New Zealand, at Darren Knight Gallery in Sydney, and at the TSB Bank Wallace Arts Centre in New Zealand; as well as part of group shows like «Future Nature» at Jack Hanley, «Hiding in Plain Sight: A Selection of Works from the Buxton Collection» at the Bendigo Art Gallery in Australia, «Believe Not Every Spirit, But Try The Spirits» at the Monash University Museum of Art in Melbourne, and «Don't Hide The Hate» at the Slopes Gallery in Melboworks has been the subjects of recent solo exhibitions at Talbot Rice Gallery at The University of Edinburgh, at the National Gallery of Victoria in Melbourne, at Ivan Anthony Gallery in New Zealand, at Darren Knight Gallery in Sydney, and at the TSB Bank Wallace Arts Centre in New Zealand; as well as part of group shows like «Future Nature» at Jack Hanley, «Hiding in Plain Sight: A Selection of Works from the Buxton Collection» at the Bendigo Art Gallery in Australia, «Believe Not Every Spirit, But Try The Spirits» at the Monash University Museum of Art in Melbourne, and «Don't Hide The Hate» at the Slopes Gallery in MelboWorks from the Buxton Collection» at the Bendigo Art Gallery in Australia, «Believe Not Every Spirit, But Try The Spirits» at the Monash University Museum of Art in Melbourne, and «Don't Hide The Hate» at the Slopes Gallery in Melbourne.

This «rage» is powerfully present, and punctures the exhibition like a blast in the side — most specifically Pindell's powerful video work from 1980, Free, White, and 21, in which the artist recounts for the camera racism she has experienced throughout her life (from childhood to working professional), and then switches into the guise of a blonde white woman who reprimands Pindell for her paranoia and ungratefulness.

Perhaps we have developed a niche for this at Pallant House Gallery — following on from exhibitions of artists such as Edward Burra, Robin Ironside, John Tunnard, and the recent «British Artists and the Spanish Civil War» which presented the work of numerous little - known artists alongside the likes of Picasso and Moore.

Selected solo exhibitions include: The Curtain Breathed Deeply, Artspace, Sydney, 2014; Handbag Hammer Meditation, La Centrale Galerie Powerhouse, Montréal, 2013; Static Ballet, Sarah Cottier Gallery, Sydney, 2013; She came over signing like a drainpipe shaking spoon infused mixers, a public work for Christchurch Art Gallery, 2013; Turnstile Heaped on Pour Down, St Paul St Gallery, AUT Auckland University, 2012; and BIGHEAD GARBAGEFACE GUARDS GHOST DERR SONATA, Contemporary Project Space, Art Gallery of New South Wales, Sydney, 2009.

Like many artists in the exhibition, Deana Lawson (American, born 1979) draws upon the tradition of the family portrait and snapshot for much of her work, whether her photographs depict her own family members or that of others.

Although some of her most iconic large - scale works aren't in this exhibition, such as her commission for the fourth plinth in Trafalgar Square «Monument» (2001), and her haunting «Holocaust Memorial» (2000) which has a permanent location in Vienna, some smaller and equally iconic works are featured at the Tate Britain including «Untitled» (One Hundred Spaces)(1995), a composed of 100 casts of the negative space beneath a chair, arranged like sentinels guarding the imposing sweep of the Duveen Galleries, beyond the classical columns of the entrance.

For «OUVERTURE», her first exhibition with Galerie Buchholz, Anne Imhof has presented a number of paintings and sculptural works and staged a eponymously titled performance: a group of actors marched through the gallery as if it were a catwalk; a girl hung out on a window bench shaving her belly, others sat along the walls drinking soft drinks, lounging on mattresses in the backroom, or spat out what looked like pips on the floor.

Bowling, like Morris, has spent much of his career receiving little attention for his work, but in March 2013, an exhibition at Tate Britain of a collection of his works from the 70s — the «poured paintings» — went some way to remedying that.

Simultaneously, we will present the first official solo exhibition for Renaud Jerez anywhere in the U.S. Exhibitions highlighting mid-career artists like John Miller and Laura Lima will demonstrate their significance in the international field through new and never - before - seen works, while a show for self - taught New Zealander Susan Te Kahurangi King will demonstrate the genius and prescience of her work.»

With this exhibition, Astrup Fearnley Museet presents for the first time important works by significant artists such as Larry Bell, Ed Ruscha, Robert Irwin and John Baldessari, along with mid-generation artists like Charles Ray, Stanya Kahn and John Divola, and today's young aspiring artists, such as Jonas Wood, Brian Calvin and Nancy Lupo.