Sentences with phrase «year survey organized»

BOOKSHELF «Glenn Ligon: AMERICA» documents the artist's 25 - year survey organized by the Whitney Museum of American Art.

Key volumes include «Wangechi Mutu: a Fantastic Journey,» which illustrates a comprehensive survey of her work presented at the Nasher Museum of Art at Duke University and the Brooklyn Museum; «Glenn Ligon: America,» a documentation of the artist's 25 - year survey organized by the Whitney Museum of American Art; «Frank Bowling» the first comprehensive monograph of the artist by Mel Gooding and «Mappa Mundi,» which accompanied a major 2017 exhibition featuring works spanning Bowling's 60 - year career; «Jack Whitten: Five Decades of Painting,» which coincided with the artist's recent career - spanning exhibition; and «Alma Thomas,» published on the occasion of her recent survey at the Tang Teaching Museum and Studio Museum in Harlem.

BOOKSHELF «Glenn Ligon: America» documents the artist's 25 - year survey organized by Whitney Museum of American Art.

BOOKSHELF «Kehinde Wiley: A New Republic» documents the artist's 10 - year survey organized by the Brooklyn Museum.

Not exact matches

Some established businesses, like the Zagat Survey restaurant guides, already roughly fit the category — Zagat gets consumers to fill out restaurant surveys and organizes them into guides that grow stale and need replacing, like last year's fashions.

Hillary, a volunteer at Long Pasture in Barnstable, has for the past four years organized a scientific survey through the wildlife sanctuary to document declines in horseshoe crab populations.

During the winter and spring of the 2008/2009 academic year, participants wore an accelerometer and completed an online survey that included a self - report of time spent outdoors after school, including organized activities and free play.

Gray Matters is the first exhibition organized by Michael Goodson since he assumed the role of Senior Curator of Exhibitions at the Wex, and the survey enriches a calendar year of programming in which every artist featured in our galleries is a woman.

As a survey about itinerancy and the possibilities of museums today, first - year graduate students at the Center for Curatorial Studies have organized this project, which takes the form of a publication - as - exhibition and a series of informal roundtable discussions.

In 2013, The Museum of Modern Art, New York organized Genzken's first American museum survey, Retrospective, making it the most comprehensive presentation of her work to date, encompassing all media from the past forty years.

Since the 1980s, Feher has exhibited poetic sculptures and installations made from everyday, recognizable materials: his 25 year survey show organized by the Blaffer Art Museum at the University of Houston just concluded its five city tour.

This exhibition is the first comprehensive survey in America of Sturtevant's 50 - year career, and the only institutional presentation of her work organized in the United States since her solo show at the Everson Museum of Art in 1973.

«Counterculture,» a survey of the last thirty years of «Alternative Information from the Underground Press to the Internet,» displayed some 1,000 - plus items organized around such general themes as «Students, Youth, and the Rise of the Underground Press,» «Black Panthers and Third World Struggles,» «Feminism and Gay Liberation,» and «Punk Subculture and Zines.»

Originally organized by the DeCordova Sculpture Park and Museum, Massachusetts, this 10 - year traveling survey of the artist's diverse practice features drawing, sculpture, collage, installation, video, photography, and performance.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

These archival works are released in honor of the monograph Tony Feher published by Gregory Miller & Co. and the touring 20 year survey exhibition of the same name organized by Claudia Schmuckli, Director and Chief Curator of the Blaffer Museum, University of Houston.

The exhibition, organized by the National Gallery of Art, Washington, DC, is the first major museum survey of American prints in more than 30 years.

The Vancouver Art Gallery organizes Vancouver: Art and Artists, 1931 - 1983, a comprehensive survey exhibition and accompanying catalogue documenting almost 50 years of art production in Vancouver.

At the Museum of Modern Art, where he became associate curator in 1968, he initiated the innovative Projects series and has organized some of the museum's most important exhibitions, including the early survey of conceptual art, Information (1970); exhibitions of Marcel Duchamp (1973), Joseph Cornell (1980), and Andy Warhol (1989); The Museum as Muse: Artists Reflect (1999); Edvard Munch: The Modern Life of the Soul (2006); Richard Serra Sculpture: Forty Years (2007).

By contrast, Bradford's first survey was mounted a few years prior, in 2010, relatively early in his career, appearing at five venues, including the Wexner, the organizing institution.

The artist has been the subject of hundreds of solo exhibitions since 1965, including numerous museum surveys, ranging from his first, at the Whitney Museum of American Art in 1975, to more recently, a two - year travelling retrospective organized by the San Francisco Museum of Modern Art (2005 - 2007).

Sue Williams was the subject of a great survey last year at 303 Gallery organized by Nate Lowman.

Tuttle has been the subject of hundreds of solo exhibitions since 1965, including numerous museum surveys, ranging from his first, at the Whitney Museum of American Art in 1975, to more recently, a two - year travelling retrospective organized by the San Francisco Museum of Modern Art (2005 - 2007).

In tandem with an independently organized retrospective at the Neuberger Museum of Art, Purchase College, State University of New York, this hometown survey of Fishman's fifty - year - long career features the painter's esteemed large - scale gestural abstractions alongside a selection of intimate studio investigations — an assortment of miniature paintings, sketchbooks, and small sculptures — that share the same physicality and unapologetic emotional punch as her bigger, iconic works.

His hyperstylized robotic woman — as — idol remains a constant iconographic feature of his work, as this fifty - year survey, organized by Sir Norman Rosenthal, former longtime exhibitions secretary at the Royal Academy of Arts in London, amply documents.

A year prior to his death, New York's Metropolitan Museum of Art organized the largest survey of Still's art to date and the largest presentation afforded by this institution to the work of a living author.

The Whitney once boasted one, Thelma Golden, who in 1994 — 20 years ago — organized a provocative survey of «The Black Male: Masculinity in Contemporary Art.»

Opening: «Picasso Sculpture» at the Museum of Modern Art In 1967, MoMA became the second institution in the world — and the first in North America — to organize a thorough survey of Picasso's sculptures, only a year after they had first become known to the public via a Parisian retrospective.

Last year Kass organized a sweeping survey of contemporary self - portraiture in a group exhibition at Momenta Art, a nonprofit gallery in Brooklyn.

This show, the first of two major surveys about the Italian art movement planned for this season (another unrelated show will follow at Lévy Gorvy later in the fall), is organized by collector Ingvild Goetz, who has over the years assembled an entire library of materials related to Arte Povera.

His 2014 survey exhibition «Skin & Bones: 20 Year of Drawing,» organized by the Contemporary Arts Museum Houston, travelled nationally.

She also has organized several major retrospectives and single - artist exhibitions: Born in the State of FLUX / us (2010), which was devoted to the work of Benjamin Patterson, a contrabass musician, long - time arts administrator and founding member of Fluxus; the survey Donald Moffett: The Extravagant Vein (2011); Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing (2014); Compilation (2015), a retrospective of work by sonic and visual artist Jennie C. Jones.; and most recently, Everything and Nothing (2016), a 10 - year survey of work by painter and sculptor Angel Otero.

A mid-career survey, «3 Five - Year Plans: Lawrence Gipe, 1990 - 2005,» was organized in 2006 by Marilyn Zeitlin at the Arizona State University Art Museum, Tempe, Arizona.

Hopps was in Southern California for a 45 - year survey of assemblage art by sculptor George Herms, which he organized for the Santa Monica Museum of Art.

In 2003 the Kunstverein Hamburger organized a twenty - year survey of her work.

Since 1968 Ristvedt has had more than fifty solo exhibitions, including a travelling ten - year survey exhibition in 1978 organized by the Agnes Etherington Art Centre, and her work has been included in national and international exhibitions.

«It has been an honor to work with Barkley on several projects over the past eight years, but to organize with him the first historical survey of his portraits and landscapes from 1964 to 2007 has truly been an incredible experience.»

In 1997 the Whitney Museum organized Bill Viola: A 25 - Year Survey that traveled to six museums in the US and Europe.

Peter Saul has been enjoying (or mired in) a protracted state of critical rediscovery for nearly twenty years — a process that may finally reach its conclusion with the artist's first American survey, organized by guest curator Dan Cameron.

No surprise, an overtly Goberesque sense of spareness and quiet prevailed, in keeping with this sculptor's installation pieces as well as the Charles Burchfield survey that he organized at the Whitney a couple of years back.

In the past 40 years, MCASD has organized six survey exhibitions of San Diego artists — notable among them are A San Diego Exhibition: Forty - Two Emerging Artists (1985), which surveyed visual arts, as well as theater, performance art, and fashion design, and Off Broadway: New Art from Downtown San Diego (2000); for a selected exhibition history, see below.

BOOK Feb. 24: «Trenton Doyle Hancock: Skin and Bones: 20 Years of Drawing» is published, coinciding with the 30 - year survey of the Houston - based Trenton Doyle Hancock «s character - driven work organized by the Contemporary Art Museum Houston, the first in - depth consideration of his drawings, collages, and works on paper.

Johnson's work was the subject of a ten - year survey exhibition entitled «Message to Our Folks», organized in 2012 by the MCA Chicago, which travelled to the Miami Art Museum; the High Museum, Atlanta and the Kemper Art Museum, St. Louis.

And I realized I had to do something 1983 Rammelzee vs K Rob «Beat Bop» 1984 First shows at Clarissa Dalrymple and Nicole Klagsbrun's Cable Gallery (artists of Wool's generation who begin showing same period include Philip Taaffe Jeff Koons Mike Kelley Cady Noland and James Nares 1984 produces first book photocopied edition of four: 93 Drawings of Beer on the Wall 1984 Warhol Rorschach paintings 1986 First pattern paintings 1987 Joins Luhring Augustine Gallery 1987 First word paintings 1988 Collaborative installation with Robert Gober one painting by Wool (Apocalypse Now) one sculpture by Gober (Three Urinals) one collaborative photograph (Untitled) and a mirror Gary Indiana contributes a short piece of fiction to the accompanying publication 1988 In Cologne sees show of Albert Oehlen's work meets Martin Kippenberger 1988 First European shows Cologne and Athens 1988 Collaborates with Richard Prince on two paintings: My Name and My Act 1989 Museum Group shows in Amsterdam Frankfurt am Main and Munich Whitney Biennial 1989 One year fellowship at the American Academy in Rome 1989 Starts taking photographs 1989 Publishes Black Book an oversized collection of 9 - letter images 1989 Fall of the Berlin Wall 1990 Meets Larry Clark 1991 First survey mounted at Boymans - Van Beuningen Museum Rotterdam publishes accompanying artist's book Cats in Bag Bags in River color photocopies of photographs of black and white paintings 1991 Creates edition of small paintings for ACT - UP New York Needle Exchange 1991 Participates in Carnegie International includes painting and billboard with truncated text announcing «THE SHOW IS OVER» 1991 Meets Jim Lewis 1991 Relocates studio to East 9th Street in New York 1992 LA riots 1992 DAAD residency in Berlin 1993 Publishes Absent Without Leave 160 black - and - white images from travel photographs taken over previous 4 years 1993 Begins silkscreened flower paintings 1993 Meets Michel Majerus 1994 Makes road - signs for Martin Kippenberger's Museum of Modern Art Syros 1994 New York Knicks lose to Houston Rockets in Game 7 NBA Finals 1995 Organizes retrospective of the New Cinema late 70's New York underground Super-8 films 1995 First spray - paintings 1995 Kids 1996 East Village studio severely damaged in building fire leaving Wool without a working space for 8 months artist's insurance photos become portfolio Incident on 9th Street 1997 Marries painter Charline von Heyl 1998 Museum of Contemporary Art Los Angeles mounts mid-career retrospective travels to Carnegie Museum of Art Pittsburgh and Kunsthalle Basel 1998 Begins silkscreen re-imaging of own work 2001 Solo exhibition at Secession Vienna 2002 «Grey» paintings 2003 East Broadway Breakdown photos of New York City 2005 First digital drawings 2006 Contributes art to Sonic Youth Rather Ripped 2007 Collaborates with Josh Smith on Can Your Monkey Do the Dog 2008 Collaborates with Richard Hell on Psychopts 2008 Christopher Wool lives and works in New York and Marfa Texas

Four years later, the Gallery organized The Prints of Roy Lichtenstein, the first comprehensive survey of the artist's prints in more than two decades.

A traveling survey of the artist's drawings was on view during the years of 2011 and 2012, at the Metropolitan Museum of Art, New York, as well as the San Francisco Museum of Modern Art and the Menil Collection, Houston (the organizing venue).

Lost on nobody was the fact that this energetic survey of sixty artists and collectives — organized by Anne Ellegood, Lauri Firstenberg, Malik Gaines, Cesar Garcia, and Ali Subotnick — capped nearly a year of the exhibitions and festivities making up «Pacific Standard Time: Art in L.A. 1945 — 1980,» as if to say, «Hey, this is what's going on now; you probably missed it while you were out getting your art - history lesson.»

Over the years, Center grants have helped PAFA to bring notable single - artist surveys organized elsewhere to Philadelphia — Barkley Hendricks and Peter Saul — as well as to support the commissioning of new works by younger, mid-career artists, such as Emily Harvey.

EXHIBITION Jan. 24, 2014 «Carrie Mae Weems: Three Decades of Photography and Video» Opens at Guggenheim A survey of her work over the past 30 years, the exhibition was organized by the Frist Center for Visual Art in Nashville to include more than 200 objects (photographs, video, audio, text and fabric banners) and an accompanying 280 - page catalog The exhibition opened at the Frist Center on Sept. 21, 2012, and was on view through Jan. 13, 2013, before traveling to the Portland Art Museum, Cleveland Museum of Art, Cantor Center for Visual Arts and finally the Guggenheim in New York (Jan. 24 to May 14, 2014).

In 1997 the Whitney Museum of American Art organized his great retrospection, Bill Viola: A 25 - Year Survey that included over 35 installations and videotapes and traveled for two years to six museums in the United States and Europe.