Sentence examples for clusters of works from inspiring English sources

"Cleveland's DNA is to be a museum of unique and rare individual works rather than clusters of works," Mr. Franklin said.

The selection here covers quite a bit of this ground, with large clusters of works by several artists and lots of inter-generational back and forth, both intended and unconscious.

3), which contains works by Winslow Homer, Georgia O'Keeffe, Norman Rockwell, and John Singer Sargent (his lighthearted watercolor "Summer on the Giudecca"), features several clusters of works from private collections.

All are represented here, usually by clusters of work, as are Kurt Schwitters, Jean Arp and the little-known John Covert, maker of muscular painted reliefs.

Instead, Berthold has centred his program around two clusters of work from and about the Congo and Singapore, inspired by a local Brisbane performer Future D Fidel, who has written the festival's headline homegrown show, Prize Fighter.

The individual clusters of work here sometimes function as intense shows within shows, each presenting its own cultural and historical context, its own back story of custom and visual tradition, and often an aspect of psychic suffering.

It features 15 artists, each represented by concentrated clusters of work that in some cases amount to mini-career retrospectives and that together create an immersive sense of the vitality of the prewar period.

The clusters of work that Ms. Donnelly has chosen ambush us, quietly but incisively disrupting the still largely chronological, mostly canonical, movement-by-movement account of modernism put forth in these galleries.

Cushman's new open offices, designed by Mancini Duffy, contain clusters of work stations, glass-walled offices along the perimeter of the floor, and only two corner offices, for its global and Americas chief executives.

Each cluster of works represents an ephemeral gang, with an alpha, a beta, and members embraced or, at least, tolerated by their associates.

Similarly, a cluster of works by Carrie Mae Weems, Fernando Bryce, Luc Tuymans and Koto Ezawa exposes the contortions of race and power, while Cady Noland's mostly metal found-object sculpture from 1988 (acquired 17 years after it was made) stands among them insinuating an incorrigible type of American pride and prejudice.