Sentences with phrase «works in the exhibition approach»

Other works in the exhibition approach the themes of time and scale in different ways.

Not exact matches

Gijs van der Schot, a Ph.D. student in the Department of Cell and Molecular Biology at Uppsala, will describe the researchers» new approach to imaging during the AVS 62nd International Symposium & Exhibition, held Oct. 18 - 23 in San Jose, Calif. «The X-ray laser we use for our work, the LCLS, is a fascinating machine — because of the physical principles behind it and the precise engineering of its parts — that produces very bright and ultra-short pulses,» he said.

The exhibition features works by Leland Bell, Paul Georges, Peter Heinemann, Albert Kresch, Stanley Lewis, Paul Resika, and Neil Welliver, all painters who pursue (d) an expansive painterly vision in an era defined by increasingly reductive approaches in art.

Shields worked comfortably in a range of material approaches and mediums, and his omnivorous eye and deliberate touch encompassed works and techniques that included unique paper pieces and canvases, editioned works, and jewelry (which Shields described as «wearable art»), all of which are featured in this exhibition.

Here, the group exhibition format is approached as a work in and of itself, with all of the included pieces echoing Stockholder's idiosyncratic method, and in many cases approximating her work.

Featuring works — over a third of which are newly created — by an international and intergenerational group of artists, the exhibition explores blackness as a highly evocative and animating force in various approaches to abstract art.

The works in this exhibition are from the permanent collection and span the 1700s to today, offering a variety of approaches, styles, and media for depicting the human body.

For the interview published in the May / June 2013 issue of Art New England (available online here) Miler depicts Lemieux in the studio preparing an exhibition of works that homage her artistic heroes — artists who share an approach that Lemieux describes as «the conceptual, the playful, the «why not»?»

Tracing the evolution of Green's work from monochromatic canvases of the early 1970s to recent explorations of black and white, the exhibition includes 18 paintings and 52 works on paper, including works borrowed from the Solomon R. Guggenheim Museum and the Corcoran Gallery of Art in Washington, D.C. Resonating emphasizes Green's complex understanding of painting that is based on a combination of Aboriginal and Modern Western approaches.

There are currently several small one - person and group exhibitions of women artists and installations of discrete works by women artists scattered around MoMA although perhaps secreted might more accurately reflect the stealth approach to the serious engagement with curation, presentation, and acquisition of works by women artists that the museum is currently engaged in.

In Art in America's review of Fendrich's 2010 retrospective exhibition at Scripps College, Leah Ollman wrote: «She generates energy and rhythm in her work, through a carnivalesque approach to color, exuberant but finely tuneIn Art in America's review of Fendrich's 2010 retrospective exhibition at Scripps College, Leah Ollman wrote: «She generates energy and rhythm in her work, through a carnivalesque approach to color, exuberant but finely tunein America's review of Fendrich's 2010 retrospective exhibition at Scripps College, Leah Ollman wrote: «She generates energy and rhythm in her work, through a carnivalesque approach to color, exuberant but finely tunein her work, through a carnivalesque approach to color, exuberant but finely tuned.

Here, the group exhibition format is approached as a work in and of itself, -LSB-...]

This exhibition brings together paintings and works on paper by Jane Freilicher and Jane Wilson — two notable figures in American art who emerged from the pursuit of rigorous abstraction to develop highly individual and beautifully compelling approaches to representation, fundamentally reinventing traditional definitions of landscape and still life painting.

After a period of producing a series of work on canvas and exhibiting in «white wall» style exhibitions, Herakut returns to an approach like their early years in presenting a fully immersive installation.

Also featured in this exhibition are videos of Suga's «activation» performances, revealing his spontaneous, intuitive approach to creating work in live settings.

In her 2005 Artforum essay «From the Critique of Institutions to an Institution of Critique,» Andrea Fraser scrutinized the distinctions between what is inside and outside of the gallery space, emphasizing the inquisitive approach artists working with the framework of institutional critique — Michael Asher and Daniel Buren to name a few — bring into exhibition spaces.

The exhibition will allow viewers to see parallels and divergences in the work of Tim Rollins, K.O.S and Glenn Ligon, approaching their practices in similar ways but arriving at different results.

Belying the precision and stakes of the obscure engineering principle for which it is titled, the artists» open - ended approaches and the loose associations in their works engage the viewers» individual experience of touch, making it a very personal — and subjective — exhibition.

The point of departure for the exhibition is a particular shade of violet that all three artists coincidentally found themselves using, with this coincidence inspiring an interest in seeing their work side by side, to draw a line between their practices and their innovative approaches to painting.

«After the fascinating experience of working with Damien Hirst for our exhibition Self, in October 2014, I approached Damien again to see if he would consider another collaboration to coincide with Frieze this year» says Pilar Ordovas.

Although all of the artists have donated works to help to support the magazine and the development of the art school, this exhibition has been carefully considered to reflect that which is current, significant and critical in contemporary painting, including abstract works by Thomas Nozkowski, Mali Morris and Phil Allen, and painters who have championed a figurative approach such as Chantal Joffe, Neal Tait and Dinos Chapman.

His approach to art making is similar to that of a composer, and the exhibition is conceived as a theatrical score that punctuates and demarcates space, creating interplay among pieces in different media and from diverse bodies of work.

Taking its name from Gloria (1956), an iconic work by Rauschenberg in the collection of the Cleveland Museum of Art, this exhibition explores the interests and actions of Rauschenberg in the 1950s through a younger set of eyes, those of internationally acclaimed artist Rachel Harrison (b. 1966), who has become known for her original approach to art - making that simultaneously addresses and analyzes the conventions of art and mass culture.

The exhibition brings together nine multi-generational women — Tauba Auerbach, Jo Baer, Marsha Cottrell, Tara Donovan, Eva Hesse, Kathleen Jacobs, Yayoi Kusama, Agnes Martin, and Mira Schendel — who assume divergent approaches to their work; however, key overlapping and shared concerns can be traced in their practices.

Uniting different perspectives of seeing and subverting spatial conditions of representational forms in the 20th century this exhibition does not only present rarely seen work but also narrates different layers of art historical approaches leading to the long lasting meaning of representational object and space in art.

Their extravagantly installed exhibitions, the artists» free - wheeling individual approaches, and their varied and compelling work have all had a wide - ranging and profound influence on several generations of their students and on many younger artists since then, including such well - known figures as Chris Ware (SAIC 1991 — 93), Sue Williams, Gary Panter, and Amy Sillman — as has been documented in the recent film Hairy Who & the Chicago Imagists.

Castellani's work was centrally featured in ZERO: Countdown to Tomorrow, 1950s - 60s, a 2014 - 15 exhibition at the Solomon R. Guggenheim Museum, New York, that focused on Group Zero, an international network of artists who pioneered new approaches to light, movement, and space in the aftermath of World War II.

The exhibition catalogue features several new works by the young Swiss artist, which illustrate the post-modern approaches of time - space compression in coexistence with the historicity and perception of our environment.

«It's not necessarily a faux pas to email a curator to ask for a studio visit without knowing them, but as an artist, I would make sure that my work and the ideas at play in my work resonate with the activities of the curator (exhibitions, writing, etc.) that I'm approaching.

Related through a common conceptual approach, the works encompassing this exhibition will demonstrate the enduring relevance of abstraction in American visual art.

About Erwin Wurm: Known for his uniquely humorous approach to formalism, Wurm's multi-disciplinary works have appeared in exhibitions throughout the world.

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.

In 1912 he visited the Sonderbund exhibition in Cologne, where works by Pablo Picasso and post-Impressionists such as Vincent van Gogh and Paul Gauguin profoundly influenced his approach to arIn 1912 he visited the Sonderbund exhibition in Cologne, where works by Pablo Picasso and post-Impressionists such as Vincent van Gogh and Paul Gauguin profoundly influenced his approach to arin Cologne, where works by Pablo Picasso and post-Impressionists such as Vincent van Gogh and Paul Gauguin profoundly influenced his approach to art.

This exhibition utilizes Kant's approach to reconsider how certain twentieth - century artists engaged the frontiers of human understanding in works that pit people's sight and insight against the limits of what they are able to comprehend, i.e. the things they believe themselves to be seeing as opposed to «things - in - themselves» (Kant's code word for humans» inability to move beyond their own constructed views).

The exhibition will offer a new perspective on these two artists, who, though strikingly different in their approach, each examine questions related to the context in which their works are shown, while addressing the art - historical debate on the politics of form.

This curated exhibition features four artists whose inclusive approaches combine ideas and materials in a swirling, exuberant, «more is more» manner to create works that unabashedly claim and own their space.

This exhibition will take a socio - historical approach, examining Peláez's work in the context of the changing material culture and urban landscape of Havana during the first half of the 20th century.

This two - volume catalogue will be the first substantial publication to offer an overview of Lucas» work from 1990 to today, and to focus on her approach to exhibition making, installation and her concern with the architectural environment in which her work is placed.

The artist best known for his flattened approach to the human figure takes his signature aesthetic into sculpture with «Cut Outs,» a solo exhibition of four works depicting Katz's wife Ada, the full set of his nine - piece «Black Dress» series, and one larger, multifigure work, all rendered in stainless and porcelain enamel coated steel.

Known for his innovative approach to catalogues and exhibitions, he has also been responsible for the consignment of the most expensive work of art ever sold at auction, Francis Bacon's Three Studies of Lucian Freud which achieved $ 142.4 million at Christies New York in November 2013.

Alex Katz «Cut Outs» Paul Kasmin 515 West 27th Street CLOSES: April 12 The artist best known for his flattened approach to the human figure takes his signature aesthetic into sculpture with «Cut Outs,» a solo exhibition of four works depicting Katz's wife Ada, the full set of his nine - piece «Black Dress» series, and one larger, multifigure work, all rendered in stainless and porcelain enamel coated steel.

After the last major Martin Kippenberger retrospective entitled The Problem Perspective at the Museum of Modern Art in New York in 2009, the exhibition Martin Kippenberger: Sehr Gut Very Good at Hamburger Bahnhof is another attempt to approach the life and work of Martin Kippenberger.

«Exhibited» investigated different approaches to making exhibitions, and the ways in which particular exhibition contexts seek to ascribe value, meaning and aura to works.

The exhibition explores the ways in which artists working in floral still life incorporated and responded to evolutions in approaches to both the arts and sciences, and provides a sense of discovery in the variety of artistic purposes and achievements in this genre.

His work can be seen in the files of Museo del Barrio, N.Y.; Drawing Center, N.Y.; the flat files at Pierogi 2000, Brooklyn N.Y.; and Heskin Contemporary, N.Y. Currently he co-manages «Rumpelstiltskin,» an exhibition art space for aesthetic research in south west Guadalajara, Mexico, where he has curated Paranormal Bureu, a multimedia show with three artists from Brooklyn N.Y. My unorthodox practice links me to a generation of artists with a very wide range of approaches to art, that question the interest of the establishment particularly in museums and commercial venues.

Exhibitions such as Paint Things (January 27 — April 21, 2013) at deCordova Sculpture Park and Museum and Phantom Limb: Approaches to Painting Today (May 5 — October 21, 2012) at Museum of Contemporary Art Chicago have brought together artists working through resuscitated painting traditions to rebrand process, materiality, and form in ways that are not easily labeled.

Crisscrossing generations, nationalities, processes, and approaches, the exhibition features approximately 50 works by 34 artists — including works by the aforementioned artists alongside Olga de Amaral, Eva Hesse, Ernesto Neto, Rosemarie Trockel, Anne Wilson, and Haegue Yang — that range from small - scale weavings to immersive environments, all made in fiber.

Noted artist and writer Richard Kalina writes an informative essay illuminating the history of this movement, and Parrish Director and exhibition curator Terrie Sultan illuminates the artists» approaches to the watercolors and works on paper included in the exhibition, most of which have never been exhibited in a public museum nor reproduced in print.

The works included in the exhibition span a period of 90 years, from 1923 to 2013, and vary in terms of printmaking technique and approach.

Paper Pushers: Taking a two - pronged approach toward the use of paper, this exhibition brings together works that are composed of re-purposed materials, applied in a rhythmic and serial manner.