Sentences with phrase «works in the exhibition speak»

Her newest works in this exhibition speak directly to the changing face of culture, power and political authority.

The term phantom limb describes the illusion of feeling a body part when the actual limb is missing, and the works in this exhibition speak to the felt presence of the body released from a representation of the figure.

The horizon line has long been a symbol of infinite possibility, and all of the work in the exhibition speaks to this theme eloquently, with varying degrees of insight.

Not exact matches

The PYP Exhibition puts on display the cumulative work all PYP teachers and students have done in speaking, listening, reading, writing, researching, responsibility, and planning.

He spoke about some of Kusama's work that he owned, including an Infinity Net painting of the kind currently on view in an exhibition at the Judd Foundation in New York through December 2.

This would probably work best for an English - speaking artist in North America who is interested in public or commercial gallery exhibition.

Artist Sara Hornbacher speaks about her pioneering work in video and electronic art in anticipation of the pop - up exhibition «Interference» at Atlanta Contemporary.

Diebenkorn speaks of his family background and early life; his education and his service in the Marine Corps; his introduction to modernism; his early abstract work; the formation of the Bay Area figurative school and the relationship between art in New York and in the Bay Area; teaching; critical and public reaction to his work; important exhibitions of his work; vacillating between the figurative and the abstract in his painting; his working methods.

This exhibition is part of the museum's The Artist Speaks series that includes a large video installation of the artist explaining the work in her own words.

SELECTED GROUP EXHIBITIONS 2008 for what you are about to receive, Gagosian Gallery c / o Red October, Moscow Oranges and Sardines: Conversations on Abstract Painting with Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool, curated by Gary Garrels, Hammer Museum, Los Angeles, CA Painting Now and Forever: Part II, Matthew Marks Gallery and Greene Naftali Gallery, New York Not So Subtle Subtitle, curated by Matthew Brannon, Casey Kaplan Gallery, New York That social space between speaking and meaning, by Fia Backstorm, White Columns, New York God is Design, curated by Neville Wakefiled, Galerie Fortes Vilaca, San Paulo A New High in Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Berlin Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, BerlIn Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Berlin

At the Modern Art Museum of Fort Worth FOCUS: Glenn Kaino Glenn Kaino interview Episode 275 - March 31, 2016 This week, we visit the The Modern and our interviewer, K. Yoland, speaks with artist, Glenn Kaino, about his work in the exhibition, FOCUS: Glenn Kaino.

In this excerpt from Phaidon's Mary Kelly monograph, Kelly speaks to renown art historian and AIDS scholar Douglas Crimp (who curated the first Pictures exhibition that introduced appropriation artists like Sherrie Levine and spearheaded postmodern art theory) on how she sees her work in relation to feminism (s) and why the later conceptual or «theoretical» feminism's turn to the psychoanalytic subject is always politicaIn this excerpt from Phaidon's Mary Kelly monograph, Kelly speaks to renown art historian and AIDS scholar Douglas Crimp (who curated the first Pictures exhibition that introduced appropriation artists like Sherrie Levine and spearheaded postmodern art theory) on how she sees her work in relation to feminism (s) and why the later conceptual or «theoretical» feminism's turn to the psychoanalytic subject is always politicain relation to feminism (s) and why the later conceptual or «theoretical» feminism's turn to the psychoanalytic subject is always political.

To this end, lecturers will speak about the exhibition or themes emergent in Sala's works from the various positions they occupy — be they academic, personal, political, or otherwise.

Accompanying the exhibition, is a new publication, a supplemental book that presents scholarly texts by curator and art historian, Iris Müller - Westermann, Senior Curator of International Art at Moderna Museet, Stockholm and by New York based scholar, critic and curator, Alex Bacon; in addition it includes a visual essay that traces the specific historical inspirations and touchstones for this group of works, in hopes to speak to both the past and future.

Studio International spoke to Masoero in her studio during a recent exhibition of her work at Sandra Higgins Fine Art, London, Invisible Cities: A Mayan Journey.

In conjunction with Friday's all - gallery opening at UMOCA, visiting artist Barry Stone, whose work is featured in the main gallery exhibition «Desire Lines,» will speak at Under CurrenIn conjunction with Friday's all - gallery opening at UMOCA, visiting artist Barry Stone, whose work is featured in the main gallery exhibition «Desire Lines,» will speak at Under Currenin the main gallery exhibition «Desire Lines,» will speak at Under Current.

Although I facilitate four regular group exhibitions throughout the calendar year, Works on Paper is the only one for which a juror evaluates and selects works «in the flesh,» so to sWorks on Paper is the only one for which a juror evaluates and selects works «in the flesh,» so to sworks «in the flesh,» so to speak.

To this end, lecturers will speak about the exhibition or themes emergent in Charlesworth's works from the various positions they occupy — be they academic, personal, political, etc. — and will engage in rich investigations that illuminate and probe the Museum's current exhibition program.

2014 dis order — Pattern and Structure in the Collection, Museum Folkwang, Essen, Germany Post Pop: East Meets West, Saatchi Gallery, London Making Links: 25 Years, SCAI The Bathhouse, Tokyo Wall Works II, Hamburger Bahnhof Museum für Gegenwart, Berlin From Rauschenberg to Jeff Koons: The Ileana Sonnabend Collection, Ca'Pesaro International Gallery of Modern Art, Venice Checkmate: Depero / Halley, Galleria In Arco, Turin Urban Theater: New York Art in the 1980's, The Modern Art Museum of Fort Worth, Fort Worth, TX The Mysterious Device was Moving Forward, Longhouse Projects, New York Man in the Mirror, Vanhaerents Art Collection, Brussels 30 Years, Foundation Cartier pour l'art contemporain, Paris (collaboration with Alessandro Mendini) Speaking Through Paint: Hans Hoffmann's Legacy Today, Lori Bookstein Fine Art, New York 93: 20th Anniversary Exhibition, Centro Galego de Arte Contemporánea (CGAC), Santiago de Compostela, Spain the Collection, Museum Folkwang, Essen, Germany Post Pop: East Meets West, Saatchi Gallery, London Making Links: 25 Years, SCAI The Bathhouse, Tokyo Wall Works II, Hamburger Bahnhof Museum für Gegenwart, Berlin From Rauschenberg to Jeff Koons: The Ileana Sonnabend Collection, Ca'Pesaro International Gallery of Modern Art, Venice Checkmate: Depero / Halley, Galleria In Arco, Turin Urban Theater: New York Art in the 1980's, The Modern Art Museum of Fort Worth, Fort Worth, TX The Mysterious Device was Moving Forward, Longhouse Projects, New York Man in the Mirror, Vanhaerents Art Collection, Brussels 30 Years, Foundation Cartier pour l'art contemporain, Paris (collaboration with Alessandro Mendini) Speaking Through Paint: Hans Hoffmann's Legacy Today, Lori Bookstein Fine Art, New York 93: 20th Anniversary Exhibition, Centro Galego de Arte Contemporánea (CGAC), Santiago de Compostela, SpaIn Arco, Turin Urban Theater: New York Art in the 1980's, The Modern Art Museum of Fort Worth, Fort Worth, TX The Mysterious Device was Moving Forward, Longhouse Projects, New York Man in the Mirror, Vanhaerents Art Collection, Brussels 30 Years, Foundation Cartier pour l'art contemporain, Paris (collaboration with Alessandro Mendini) Speaking Through Paint: Hans Hoffmann's Legacy Today, Lori Bookstein Fine Art, New York 93: 20th Anniversary Exhibition, Centro Galego de Arte Contemporánea (CGAC), Santiago de Compostela, Spain the 1980's, The Modern Art Museum of Fort Worth, Fort Worth, TX The Mysterious Device was Moving Forward, Longhouse Projects, New York Man in the Mirror, Vanhaerents Art Collection, Brussels 30 Years, Foundation Cartier pour l'art contemporain, Paris (collaboration with Alessandro Mendini) Speaking Through Paint: Hans Hoffmann's Legacy Today, Lori Bookstein Fine Art, New York 93: 20th Anniversary Exhibition, Centro Galego de Arte Contemporánea (CGAC), Santiago de Compostela, Spain the Mirror, Vanhaerents Art Collection, Brussels 30 Years, Foundation Cartier pour l'art contemporain, Paris (collaboration with Alessandro Mendini) Speaking Through Paint: Hans Hoffmann's Legacy Today, Lori Bookstein Fine Art, New York 93: 20th Anniversary Exhibition, Centro Galego de Arte Contemporánea (CGAC), Santiago de Compostela, Spain

4) The Big Break: «When I started working on what became «Freestyle,» this exhibition of emerging artists [at the Studio Museum in Harlem],» says Thelma Golden, «I was going to L.A. and spoke to many people about artists I should see.

Portfolio 2018 juror Sam Barzilay will speak on the works he selected for the exhibition, and, more broadly, contemporary trends in photography.

The name of the show is a direct quote from the artist and speaks to the many - isms of this exhibition (the first major show of Picabia's work in the U.S.), which will be considered through well over a hundred works of art and a selection of printed archival materials.

The canvasses in the Pintelon's exhibition entitled Getting to the Heart, are not large (comparatively speaking) and neither is the presented work preoccupied with viewing distance, as was Rothko's obsession.

Inspired by the spoken, written, and performed introductions Conrad regularly used to help frame screenings and presentations of his works, many of which are incorporated into the exhibition itself, it shows Conrad to be an unparalleled innovator in the mediums of painting, sculpture, film, video, performance, and installation, tenaciously working to challenge the boundaries between artistic categories.

Spoke Art is kicking off their May exhibit, 12 x 12, a group dynamic exhibition featuring over 50 local and international artists working in a 12 x 12 format.

Honoree Sir David Adjaye OBE, Principal, Adjaye Associates, spoke about being inspired by J. Max Bond Jr., the architect of the Studio Museum's 1982 renovation, and said: «The Studio Museum in Harlem is very special to me: it was the very first US institution to host an exhibition of my work, ten years ago.

Focusing on themes such as the shift from Pictorialism into Modernism and the role of women in the history of photography as well as spotlighting the works of individual photographers, the remaining online auctions in January and April 2018 speak to the history and importance of MoMA's exhibition programme.

Far from it, in fact, as,,, asked of its artists to experiment, embrace uncertainty and trust the potential of their work in the context of a multi-dimensional group exhibition that could never speak fully to each artist's complex and rigorous practice.

To speak more about the selection process for this show, it is also interesting to note that as we narrowed our focus there were a number of directions this exhibition could have taken and while it became clear that we could have, for instance, created an entire exhibition strictly of triangular shapes in corners (with pieces by Benglis, Morris, Smithson, and Turrell, for example), we chose to mount an exhibition where each work engages the corner in its own unique and distinctive way.

Teller will speak about his practice and the works in his exhibition with Adrian Searle, Chief Art Critic of The Guardian.

We speak with Alexandrea Huddleston about many of the works in the exhibition, Words.

The front room of KADIST will become the State's headquarters, its parliament, functioning as the core of the exhibition, and hosting discursive events: a new collaborative work by Jonas Staal and Laure Prouvost, The Aube's cure Parle Ment, (Prouvost's proposition for a new phonetic pronunciation of «Obscure Parliament», typical of her play with words throughout her practice, wishes to highlight in French the words «speak» and «lie»).

Lawler, whose work will be on view at MoMA in Spring 2017 in an exhibition titled, Why Pictures Now, uses imagery to speak about the spectacle of the photograph and invites the viewer to adjust their expectations to what they are seeing, according to Marcoci.

To this end, lecturers will speak about the exhibition or themes emergent in Shaw's works from the various positions they occupy — be they academic, personal, political, etc. — and will engage in rich investigations that will illuminate and probe the Museum's current exhibition program.

On the heels of her forthcoming solo exhibition America the Beautiful, visual anchors that have appeared in previous bodies of work are coming together to form a visual reliquary that speaks to the dystopian paradise that -LSB-...]

A 2009 retrospective at the Tang Teaching Museum and Art Gallery at Skidmore College; inclusion in the 2006 Whitney Biennial; acquisition by prestigious institutions such as MoMA, Tate Modern, and the Smithsonian; as well as countless international museum and gallery exhibitions over the past 30 years speak to the longevity and consistent relevancy of the work.

It will also include an essay by Curator Nora Lawrence, which will speak to larger themes of works in the exhibition, and reflect on the importance of an exhibition of this nature at Storm King.

Devon Tsuno speaks about his relationship to the city of Los Angeles and his work in the exhibition SECOND WAVE: Aesthetics of the 80s in Today's Contemporary Art.

The 66 photographs in the Norton Simon Museum's collection, which speak to the depth and breadth of work by this modern Mexican master of photography, came from this exhibition.

As a way to emphasize the Museum's strong commitment to new art and new ideas, Outside the Box lecturers speak about the exhibitions or themes emergent in artists» works from the various positions they occupy, be they academic, personal, political, etc., and engage in rich investigations that illuminate and probe the Museum's current exhibition program.

2016 Passages in Modern Art: 1946 - 1996, Dallas Museum of Art, Dallas, TX Human Interest: Portraits from the Whitney's Collection, Whitney Museum of American Art, New York, NY 2017 Delirious: Art at the Limits of Reason, 1950 - 1980, The Metropolitan Museum of Art - Met Breuer, New York, NY The Time Is N ♀ w, Michael Rosenfeld Gallery LLC, New York, NY Body of Work, Honolulu Museum of Art, Honolulu, HI Beyond Boundaries: Feminine Forms, Pennsylvania Academy of the Fine Arts, Philadelphia, PA An Incomplete History of Protest: Selections from the Whitney's Collection, 1940 - 2017, Whitney Museum of American Art, New York, NY Pratt Survey Exhibition Part 1: Camerado, this is no book, Dekalb Art Gallery, Pratt Institute, Brooklyn, NY 1072 Society Exhibition, Jule Collins Smith Museum of Fine Art, Auburn University, Auburn, AL Figuratively Speaking, Michael Rosenfeld Gallery LLC, New York, NY

While some of the accompanying text may be more surreal than the work it is describing, there are several pieces in this exhibition that speak for themselves.

Chet Glaze speaks about his work in the exhibition SECOND WAVE: Aesthetics of the 80s in Today's Contemporary Art.

Valerie Green speaks about her work in relation to the exhibition SECOND WAVE: Aesthetics of the 80s in Today's Contemporary Art.

Entitled NOW, this will be the first large scale exhibition in the English - speaking world of Akerman's installation work and will coincide with the UK -LSB-...]

On the heels of her forthcoming solo exhibition America the Beautiful, visual anchors that have appeared in previous bodies of work are coming together to form a visual reliquary that speaks to the dystopian paradise that Adams explores each day.

Hit the jump for the full - length version of the video, an introduction to the exhibition in German language, the Jeff Koons lecture at Fondation Beyeler, Jeff Koons speaking at the media conference, and an introduction to the work Split - Rocker.

To this end, lecturers will speak about the exhibition or themes emergent in Pettibon's works from the various positions they occupy — be they academic, personal, political, or otherwise.

At the Dallas Museum of Art Jackson Pollock: Blind Spots Gavin Delahunty interview Episode 270 - February 18, 2016 This week, we visit the Dallas Museum of Art and our interviewer, Aimee Cardoso, speaks with curator, Gavin Delahunty, about the work in the exhibition, Jackson Pollock: Blind Spots.

In a 1971 interview with John Coplans, senior curator of the Pasadena Art Museum from 1967 - 1970, held on the occasion of the exhibition Don Judd (May 11 - July 4, 1971), Judd spoke directly to both developments in his painting and to the shift from painting to work in three - dimensionIn a 1971 interview with John Coplans, senior curator of the Pasadena Art Museum from 1967 - 1970, held on the occasion of the exhibition Don Judd (May 11 - July 4, 1971), Judd spoke directly to both developments in his painting and to the shift from painting to work in three - dimensionin his painting and to the shift from painting to work in three - dimensionin three - dimensions: