With an element of caricature and abstraction,
the works in the exhibition convey the allure of the figure, notions of the absurd, and at times, the vulnerability of the human body.
In this context,
the works in the exhibition convey an acceptance of the multitude of subjectivities in America, as well as a personal responsibility to participate in the socio - cultural realm.
The artistic
works in the exhibition convey the aesthetic potential of Virtual Reality and examine its role as a critical medium for reflection on states of being in the world today.
Many of
the works in the exhibition convey a destabilization of traditional hierarchies and methods of presentation.
Not exact matches
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.
Reflecting on various reoccurring issues pertaining to race, class, and sociopolitical experiences, some of the
work in this
exhibition provokes critical thought from viewers while other
work conveys humor and nostalgia to evoke interest.
The
works in this show, many of which were made expressly for this
exhibition, are meant to be read as symbolic objects,
conveying through association and interaction a sense of a troubled but not hopeless world.
Not only do the
works in this
exhibition expound on Thiebaud's signature motifs — objects and figures limned
in color against ambiguous backgrounds, and inventive city and landscape scenes — they also
convey the range of process, ingenuity and specificity that distinguishes each of Thiebaud's
works.
The suitcases
convey Hammons's often - itinerant
working practice, where the city street has acted as his
exhibition space — the empty lots
in Harlem where he created «bottle tree sculptures» or Lower Manhattan, where
in Pissed Off (1981) he documented his arrest for urinating on a colossal Richard Serra sculpture.
Original artworks and commentary by Mark Tansey (b. 1949), whose large scale monochromatic allegories reference the art of photography, a pivotal technology
in the reproduction and dissemination of popular images; John Currin (b. 1962), who has referenced the art of Norman Rockwell, and whose provocative figural paintings reflect upon domestic and social themes that were prevalent, though differently portrayed,
in the mid-twentieth century; Vincent Desiderio (b. 1955), whose dark intellectual melodramas re-imagine scenes of crime and adventure from pulp fiction; Lucien Freud (1922 - 2011), the painter of deeply psychological
works that examine the relationship of artist and model; and Jamie Wyeth (b. 1946), son of noted painter Andrew Wyeth and grandson of illustrator N.C. Wyeth, whose images
convey stories real and imagined, among other artists, will be featured
in the
exhibition and its accompanying catalogue.
The
exhibition serves as a valuable opportunity to witness
works that
convey «the origins of his expression» for the very first time
in Japan, and is
in itself a testament that McGinley's distinct perspective of the world had been established from the very onset of his practice.
Both poem and
works in the
exhibition depict nuances
in the progression of time from day to night and explore the mood, transitional energy, and light
conveyed in these twilight hours.
And yet at first glance, the sixteen new
works shown
in Milan — both large and small sculptures — didn't
convey this theme; one might have thought this was simply an
exhibition of biomorphic abstract sculpture.
The
exhibition has come to define The Pictures Generation — an influential group of artists whose
work examines the ways
in which images
convey meaning.
The ground floor has been intricately reconfigured with arched passageways and small room
in order to show the temporary
exhibition — Africa is No island — bringing together 40 young photographers whose
work conveys aspects of contemporary African lives and more than challenge the dark continent stereotypes.
This
exhibition, which started with the idea of traveling around the three Valencian provinces, seeks to
convey both the thinking of artists as well as an epoch
in the history of Spain through their
works.
One would not expect three - dimensional
work that is also time - based to be well -
conveyed in print, but this catalog to an
exhibition at the Rose Art Museum does a remarkable job.
The six regional artists
in this
exhibition, Fabiola Alvarez Yurcisin, Ani Bradberry, Melissa Burley, Tatiana Gulenkina, Robin Schaefer and Jo Ellen Walker
convey these themes through
work that was created to be self - illuminated.
Focusing on humankind's obsessive relationship to computers and other virtual platforms, the
works in this
exhibition are microcosmic scenes that
convey the varied nature of these relationships, such as obsession, escapism, isolation and sexual fetish.
Brought together (many for the first time since Boetti's seminal
exhibition at Galleria Christian Stein
in Turin
in 1967) and installed
in a dense configuration inspired by the original clustered presentation, these early
works convey the material experiments of the period as well as notions of measurement and chance that Boetti would play with and revise throughout his career.
The
works in this
exhibition highlight Thiebaud's signature motifs and
convey the range of process, ingenuity and specificity that distinguishes each of Thiebaud's
works.
The
exhibition is organized by Jae Joseph, an emerging curator
in the contemporary arts, with a mission to produce innovative, provocative
works which
convey the diverse narratives of our time through
exhibitions.
Together, many of the
works in these
exhibitions seemed to beg the questions: Despite abstract painting's inherent ambiguity, can its most capable practitioners manipulate its techniques or language consciously enough to at least control its emotional temperature or, at most, to
convey certain subject - specific messages?