Sentences with phrase «works in the exhibition coming»

All works in this exhibition come from the Portland, Oregon - based collections of Jordan D. Schnitzer and the Jordan Schnitzer Family Foundation.

Where are the additional four hundred historical works in the exhibition coming from?

The works in the exhibition come very largely from the collection recently formed at the British Museum, through the generosity of a single anonymous donor.

Another feature worth noticing is that all the works in this exhibition come from indigenous Chinese artists» art practice.

There are never any absolutes when talking about Bradley's practice, but most of the work in this exhibition came out of his interest in the vast array of sentimental ephemera produced by, and around, the band Joy Division.

Not exact matches

More to come on an event I recently attended for the cause and the exhibition in the works.

Some of these trials came in the form of actual exhibitions of student work in Longfellow Hall this past year.

The research project will come to an end in 2020 with the publication of an illustrated and critical work, and an exhibition dedicated to the best non-fiction titles published worldwide.

Piri Halasz reviews ten current and recent painting exhibitions in New York including: Jim Dine and Thomas Nozkowski at Pace, Going Into the Dark at The Painting Center, Walt Kuhn: American Modern at DC Moore, Marina Adams: Coming Through Strange at Hionas Gallery, Walter Robinson: Indulgences, Recent Paintings & Works on Paper at Dorian Gray (through March 31), Franz Kline: Coal and Steel at Mishkin Gallery, Baruch College, Christine Hughes and Francine Kornfeld at Art 101, Jean - Michel Basquiat at Gagosian (through April 6), and Thornton Willis: Steps at Elizabeth Harris (through April 13).

Opening: «The Chicago Show» at the Chicago Show House Curated by Madeleine Mermall, this group exhibition pairs up - and - coming artists based in the Windy City with works by the Chicago Imagists, a group active during the late 1960s that was inspired by both Surrealist art and pop culture.

Work of Art, which debuted in 2010 and ran for two seasons on Bravo, had up - and - coming artists compete for a solo exhibition at... Read More

RADICALS II At the Brooklyn Museum in April, a smaller exhibition, «We Wanted a Revolution: Black Radical Women, 1965 - 85,» organized by the museum's Elizabeth A. Sackler Center for Feminist Art, came with work by more than 40 artist - activists and a dynamite sourcebook - style catalog.

Leading up to his two exhibitions later this autumn at David Zwirner's gallery spaces in London (October 5 — November 17) and New York (November 1 — December 19), I discussed with Tuymans a number of subjects that come out of his two new bodies of work, including the questions they raise around the romanticized life of artists, the recurring issue of otherness in his work, and how a talking parrot in a charmingly ramshackle tapas bar close to his studio inspired the title for a series of new paintings.

It was while I was looking at Nozkowski's «Untitled (9 - 21)» at his exhibition at Russell Bowman Art Advisory (April 12 — June 15, 2013) in Chicago that a specific Guston work came to mind.

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).

Top image: Philip Guston, Untitled 1971, oil on paper, mounted on canvas, 29 x 40 inches (Private Collection) Bottom Image: Ron Milewicz, Covered Bricks, 2013, oil on linen, 36 x 48 inches Presence of Form Exhibition dates: October 8 — November 10, 2015 In honor of the New York Studio School's 50th anniversary, comes Part II of work by artists who are -LSB-...]

In 1991, I was 35 years old and coming off of a successful show at PPOW Gallery when on the next to last day of the exhibition art critic Roberta Smith wrote a negative review of the work in The New York TimeIn 1991, I was 35 years old and coming off of a successful show at PPOW Gallery when on the next to last day of the exhibition art critic Roberta Smith wrote a negative review of the work in The New York Timein The New York Times.

Born in Alabama, Roger Brown first came to prominence as an artist when his work was included in the 1969 exhibition, «Don Baum Says: Chicago Needs Famous Artists,» at Chicago's Museum of Contemporary Art.

Select Group Exhibitions 2017 Monarchs: Brown and Native Contemporary Artists in the Path of the Butterfly, Bemis Center for Contemporary Art, Omaha, NE 2017 Buffalo in the American Living Room, Plains Art Museum, Fargo, ND 2017 All That Glitters, work on display in contemporary galleries at St. Louis Art Museum 2017 Now is the Time: Investigating Native Histories and Visions of the Future, IAIA Museum of Contemporary Native Arts, Santa Fe, NM 2016 Culture Shift, Art Mür, Montreal, Canada 2016 From the Belly of Our Being: art by and about Native creation, Oklahoma State University Museum of Art, Stillwater, OK 2016 Back Where They Came From, Sherry Leedy Contemporary, Kansas City, MO 2016 - 15 Woven Together, Regional Studies Museum Yekaterinburg, Orenburg Museum, Surgut Museum, Chelyabinsk State Regional Studies Museum, Izhevsk Municipal Exhibition Center Gallery, Glazov, Udmurt Republic, Yamal - Nenets Museum and Exhibition Center Salekhard, Orenburg Oblast, Russia 2015 Arriving at Fresh Water, Minneapolis Institute of Arts, Minneapolis, MN, Plains Art Museum, Fargo, ND 2015 superusted: the 4th Midwest Biennial, Soap Factory, Minnneapolis, MN, Urban Institute for Contemporary Art, Grand Rapids, MI 2014 Minnesota Biennial, Minnesota Museum of American Art, Minneapolis, MN 2014 McKnight Visual Artists Fellowship Exhibition, Minneapolis College of Art and Design, Minneapolis, MN 2013 Air, Land, Seed, 516 Arts, Albuquerque, NM and University of Venice, Ca» Foscari, Italy 2013 Dyani White Hawk and Philip Vigil, Shiprock Santa Fe Gallery, Santa Fe, NM 2012 Encoded, Tweed Museum of Art, Duluth, MN 2011 Soul Sister: Reimagining Kateri Tekakwitha, Museum of Contemporary Native Arts, Santa Fe, NM 2008 Playing, Remembering, Making: Art in Native Women's Lives, Museum of Indian Arts and Culture with School for Advanced Research Santa Fe, NM 2007 War Paint, Institute of American Indian Arts Museum, Santa Fe, NM

In a modest sized rectangular white walled exhibition space, objects of daily use, artifacts ancient and new, paintings and pots, quilts, and kimonos were arrayed on two tiers, hung from the ceiling, against works hung on wall that were subtly dematerialized by natural light coming from unseen skylights along the edges of the dropped ceiling.

After being shown at prestigious museums such as Moderna Museet in Stockholm, and the Hamburger Bahnhof in Berlin, the exhibition comes to Museo Picasso Málaga, presenting for the first time in Spain the work of this unusual artist, with more than 200 works that summarize her complex, consistent and radical career.

The title of the exhibition comes from the Gikuyu words for mud and trees, the materials used to make the objects in Mutu's new body of work.

2008 Sobey Art Award Exhibition, Royal Ontario Museum, Toronto, Canada The Temptation to Exist, Yvon Lambert, London, UK Gravity: Selected Works from the Ernesto Esposito Collection, Museo Artium, Viatorai, Spain Fragile, Julia Stoschek Collection, Dusseldorf, Germany Political Minimalism (curated by Klaus Beisenbach), Kunst Werk, Berlin, Germany Materialized: New Video in the Third Dimension, Bergen Kunsthalle, Bergen, Norway Meet Me Around the Corner, Astrup Fearnley Museum of Mordern Art, Oslo, Norway Expenditure: Busan Biennale 2008, Busan Museum of Modern Art, Busan, Korea The Boys of Summer, The Fireplace Project, East Hampton, New York Shape of Things to Come, Saatchi Gallery, London, UK Yokohama Triennial, Various Locations, Yokohama, Japan Eurasia.

So this exhibition of around a hundred of his works, with a focus on Davis's mature period (1921 — 64), is something of a homecoming for the artist, who had a habit of going back to where he came from: The show emphasizes how motifs from earlier works tended to resurface in later pictures.

The first breakthrough of Houseago's work came in 1996 with his exhibition in the Bureau Amsterdam at the Stedelijk Museum where he showed a group of highly expressive and colourful figures.

The exhibition is able to unfold, through so much original material, just how crucial the frequent critical dialogue and encouragement coming from Freilicher was in forming and supporting the daily lives and work of these poets.

The seven paintings in the exhibition, which feature imagery culled solely from the painter's personal environment, represent somewhat of a new direction in the artist's work — one where looking and self - reflection come to the fore.

As critical responses to the exhibition emphasized, New York has long been an important source of inspiration and material for the artist, who first came to the city in 1960; the exhibition included the work I Love New York, Crazy City (1995 — 1996), a three - volume scrapbook of architectural photographs, maps, hotel bills, receipts, flyers, and other souvenirs that Genzken began composing during a stay of several months.

The Cuban artist's work can be seen at the Tate in London, MoMA in New York, and she has an exhibition coming to the Whitney Whitney Museum of American Art in September.

Rondinone's versatility, bordering on restlessness, can come as a relief in an art world that privileges Identikit production, and this exhibition promises not only video works and mirrored installations, but a gallery of life - size clowns.

In the coming months, 16 exhibitions will feature highly regarded and innovative black artists working across a range of mediums.

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.

I just had this exhibition recently, this year, of a lot of my early work, and in the book there are a few thousand Polaroids of people who would come over.

The origin of this exhibition comes from two installation photographs of the nineteen works in the Constantin Brancusi exhibition at the Arts Club of Chicago overseen by Duchamp in 1927.

When it comes to his most recent exhibitions, a major solo show was held at the Albertina in Vienna in 2011 and a large museum retrospective of his work opened at the Crocker Art Museum in Sacramento, in 2012.

Excerpt — Queens Museum of Art The contemporary Middle Eastern and Central Asian works in the «Tarjama / Translation» exhibition mince no words when it comes to hot - button political issues (many of the featured artists hail from Iraq, Iran, Palestine, Afghanistan and Lebanon).

If you were to walk into an exhibition today and come across a work that required you to participate in a social act in order to «see» it, you might not find it unusual.

Although the RA is based in London, the Royal Academicians have come from far and wide; their homes, studios, works of art, and exhibition spaces found across the British Isles and beyond.

The exhibition considers works by famed Nouveau Réalisme artists such as Arman and Raymond Hains alongside the likes of American counterparts Robert Rauschenberg and Richard Artschwager, as well as a younger generation of contemporary artists who came of age in the wake of Pop Art.

The curators hope that the second installation will include a number of contributions from the public that have come to their attention through responses to the exhibition and its blog, where many of the works will be discussed in depth.

These exhibitions come in the midst of much renewed attention to and discovery of her work, particularly the issues of materiality and craft that have been at the heart of her practice for four decades.

The concept behind the exhibition comes from Yass» desire to reveal work in process and to consider that the experience of viewing preparations and sketches for art works holds complexities and interest in its own right.

The artist presented the multi-disciplinary performance work red, yellow, lime, pink, lavender, green, scarlet, lavender, scarlet, green, lavender as part of The Magazine Sessions 2016 at the Serpentine Galleries, London, and has participated in group exhibitions including Chromaphilia & Chromaphobia, Kansas City Art Institute (2016); Terra Provocata, Fondazione del Monte and Museo Civico Medievale, Bologna (2016); From The Ruins..., 601Artspace, New York (2015); Hangzhou Triennial of Fiber Art, Hangzhou, China (2013); Paper, Saatchi Gallery, London (2013); Aquatopia, Nottingham Contemporary, Nottingham, touring to Tate St Ives (2013); Graphite, Indianapolis Museum of Art (2013); The Air We Breathe, San Francisco Museum of Modern Art (2011); Coming After, The Power Plant, Toronto (2011); Compilation IV, Kunsthalle, Dusseldorf (2009) and Compass in Hand: Selections from the Judith Rothschild Collection, Museum of Modern Art, New York (2009).

These two projects are presented here as work - in - progress and will both be realised as full exhibitions and publications in the coming years.

Coming of age alongside Andreas Gursky, Candida Hoffer and Thomas Struth in what was to become known as the Düsseldorf School, Ruff's work explores the technologies of the camera and image production — from satellite cameras to digital lenses, from the analogue negative to the JPEG — to reflect on the picturing of our built environment, current affairs, pornography, disaster, the cosmos, exhibition making — and unlock what images tell us about modernity.

Many of the works in this exhibition were made as side pieces while working on other main bodies of work, thus the literal and conceptual idea of marginalia comes into play.

«Creating art that is honed from a conceptualism that pays homage to minimalist practices of the 1970s and reinvents identity - based explorations of the 1980s, Simmons came of age aesthetically in the 1990s and his work represents the fluid hybridity of that time,» wrote Thelma Golden in the exhibition catalogue Gary Simmons (2002).

The title, Picture Fiction, which comes from a work in the exhibition by Robert Cumming, distills Josephson's skill at bending the truth in order to expose the inner workings of photographic images.

Artist Julie Mehretu's Untitled (2012), featured in the Variations exhibition, represents the first work by the artist to come in to LACMA's collection.

But this ingenious exhibition hints at the nature and broad scope of these assets, while reminding visitors that any collection is skewed by personal taste — and luck: Lange's work came to the museum from her stepdaughter, who lives in Chicago.