Sentences with phrase «black floor gallery»

David Baumflek is a Brooklyn - born sculptor whose work has been included in group and solo shows at the Brooklyn Arts Exchange, Black Floor Gallery in Philadelphia and the Oni Gallery in Boston, among other cities.

A collaborative work by Isaac Resnikoff and Kate Abercrombie will appear in Two - Headed Monster: A group show of collaborations at Black Floor Gallery in Philadelphia.

Not exact matches

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The latest news, pictures and show floor galleries from Los Angeles, including the new Porsche Cayman and Mercedes SLS Black

A floor apart from the mid-career retrospective of Glen Ligon at the Whitney Museum, a gallery - turned - sanctum offers its own glimpse into black experience — in a manner apart from the literalism of Ligon's neon signs flickering «AMERICA.»

In P.S. 1's Second Floor Corner Gallery, Shannon Ebner presents works from two series of black - and - white photographs, to be displayed on tables.

She has exhibited widely across the USA in galleries such as, A.I.R. Gallery (NY), PPAC, Philadelphia (PA), Black Box Gallery, Portland (OR), Rush Street Gallery, Washington (DC), Orange County Center for Contemporary Art, Santa Ana (CA) and On The Ground Floor, Los Angeles (CA).

«There were some glaring omissions in the collection that we were really trying to rectify, and this is one of them,» Panetta says of this abstract short by the painter - turned - filmmaker Mary Ellen Bute (which will be screened in a black - box gallery on the seventh floor).

Beecroft is famous for performances with large casts of nude women, and she stuck to her theme: In the main gallery, a long, hangar - like room, a mixture of black and white women, nude but heavily powdered, lay on the floor on their backs, interspersed with white plaster casts of women.

Base Camp Inc., Black Cat, Body Smith Training Gym & Studio, Chocolate House, City Houses, LLC, Coldwell Banker, DC Noodles, District Creative, Floors on 14th, Framesmith DC, Good Wood, Hamiltonian Gallery, Hemphill Fine Arts, Home Rule, JAM Communications, The Joan Hisaoka Healing Arts Gallery, Little Leaf, Miss Pixie's Furnishings & Whatnot., Peregrine Espresso, Pink Line Project, Rapp Distributors (Wine and Liquor), Rice Restaurant, Room & Board, Salt & Sundry, Som Records, and White Cloud Gallery.

Sam Moyer, Karla Black, Ann Shostrom, and Douglas Wheeler look to marble, dust, fabric, and light to challenge the gallery floor and the weight of the art world.

The most striking installation in the Zeeburg gallery is a series of stripes, ranging from black to white, which turn the banal chromatic shift of the venue's floor that occurs over the course of the day into something visible and discrete.

The floor of the main gallery will be covered with a thin layer of black volcanic sand and the floor of the second gallery will be covered with white sand.

The black tiles lining their interiors reference the kitchen floor in Guyton's studio, collapsing the distance between the site of production and its representation in the gallery space.

Longo's most recent confrontation with the contentious nature of the American flag as symbol of both nationalism and protest is a 17 - foot high black wax surfaced sculpture that appears to collapse into or fall through the gallery's floor.

He is also known for funding his real - estate investments in this neighbourhood partly through the artworks that he sells in galleries — notably vertical stripe paintings made from the wooden floorboards of school gym floors (sourced from condemned Chicago public schools) or canvas fire hoses (in reference to their brutal use against civil - rights protestors in Birmingham, Alabama, in 1963) and also for his expressionist black paintings, abstractions made in tar in collaboration with his father, a retired roofer.

Diverse as ever, McLean's select exhibition contains two mixed media works; presented on the ground floor of the gallery, the Untitled paintings are comprised of dense, black organic shapes that veer to the abstraction on neutral backgrounds, adorned with daubs of coloured paper that on some sides have been hastily cut and others impatiently ripped, a nod to the rebellious humour of McLean who's body of oeuvre comprises witty sculptures made of rubbish and even his own body.

Scrim veil — Black rectangle — Natural light, Whitney Museum of American Art, New York (1977), by California Light and Space artist Robert Irwin, is a large - scale installation that uniquely engages the Whitney's iconic Breuer building and the natural light that emanates from the large window in the fourth floor gallery space.

Also included is a work from 1969 in which lengths of braided stainless steel wire form a horizontal sequence of five subtly - reflective squares, mounted flat against the wall; and Untitled (Eight - part Vertical Construction), 1992, a composition of black, gray, white, and red lengths of yarn stretched vertically between floor and ceiling in perpendicular and parallel configurations that relate to the surrounding walls of the gallery.

«Emory Douglas: Black Panther» will be on view in the second floor gallery from July 22 through October 18, 2009.

On view in ICA Miami's second floor galleries through January 16, 2016, the exhibition includes the first comprehensive presentation of photographs from the artist's ongoing series Black Box Collision A, which since 2012 has seen the artist isolating and documenting the letter «A» from the vestiges of sign, advertisement, message, and other modes of visual communication.

I went to visit Dawn Black's exhibition, Conceal Project, at the Columbus Museum of Art and became engulfed with Promises of Great Things to Come: Future Gifts to the Collection of the Columbus Museum on view in its third floor gallery and organized to celebrate the Museum's 60th anniversary [December 4, 2012 - February 3, 2013].

Over eight years in the making, the exhibition follows upon the museum's 2008 exhibition, «The American Scene; Prints from Hopper to Pollock,» also curated by Coppel, but whereas the earlier show with its modestly sized prints could be accommodated in the cabinets of the upper floor Prints and Drawings Gallery, the current exhibition is of another scale entirely — from the 24 running feet of James Rosenquist's F - 111 (1974) to the ten - foot - high tower of Donald Judd's Untitled (Ivory Black, 1988), the show swells and flexes as it winds through the spacious Sainsbury exhibitions gallery on the museum's mainGallery, the current exhibition is of another scale entirely — from the 24 running feet of James Rosenquist's F - 111 (1974) to the ten - foot - high tower of Donald Judd's Untitled (Ivory Black, 1988), the show swells and flexes as it winds through the spacious Sainsbury exhibitions gallery on the museum's maingallery on the museum's main floor.

Wearing one of the floor - length black dresses that a friend, the Givenchy designer Riccardo Tisci, creates for her, Ms. Abramovic stepped from the vehicle and glided into the gallery with the hypnotic gravity of some loopy space priestess from a sci - fi kitsch classic of the»50s.

White Black Gold, an exhibition of new work by Keith Coventry will be on view at PACE London at the ground floor galleries of 6 Burlington Gardens from 27 April to 28 May 2016.

As he prepared the show, however, Marshall decided that «multiple fronts were needed to set forth a black aesthetic» and the exhibition then expanded into the museum's two main second floor galleries with paintings, sculpture, photographs, videos, installations, drawings and excerpts from the artist's cartoon series RYTHM MASTR, which originally began as a newspaper comic strip at the 1999 Carnegie International exhibition.

On the occasion of the reinstallation of this formative work, Scrim veil — Black rectangle — Natural light, Whitney Museum of American Art, New York (1977), made specifically for the Whitney's fourth floor gallery, Robert Irwin spoke about this seminal example and its significance for his larger career in conversation with Donna De Salvo, the Whitney's Chief Curator and Deputy Director for Programs.

The Whitney presents Scrim veil — Black rectangle — Natural light, Whitney Museum of American Art, New York (1977), a large - scale installation by Robert Irwin that uniquely engages the Whitney's iconic Breuer building and the natural light that emanates from the large window in the fourth floor gallery space.

Called «Other Side», the large - scale installation consumes Towner's upper gallery, presenting a façade of five wooden doors caught in a dense dark tangle of thousands of metres of black yarn extending from wall to wall, and from ceiling to floor.

The floor of the first gallery was lined with Hart's installation Here We Go Again (all works 2016): pairs of black ceramic feet stuffed inside black socks, contorted to look like a chorus of nagging mouths.

«Scrim veil - Black rectangle - Natural light, Whitney Museum of American Art, New York» (1977) is comprised of a single scrim and painted black line, both just above eye - level, spanning the entirety of a cleared - out gallery on the fourth floor of the Whitney Museum of AmericanBlack rectangle - Natural light, Whitney Museum of American Art, New York» (1977) is comprised of a single scrim and painted black line, both just above eye - level, spanning the entirety of a cleared - out gallery on the fourth floor of the Whitney Museum of Americanblack line, both just above eye - level, spanning the entirety of a cleared - out gallery on the fourth floor of the Whitney Museum of American Art.

There's been a resurgence of interest in Bernstein's work over the past several years, highlighted by a solo show in the New Museum's first - floor gallery in 2012, and she's back at full throttle with Birth of the Universe, an exhibition of black - light paintings at Gavin Brown's Enterprise.

LOS ANGELES — Michele Maccarone, in a flowy black jumpsuit, was striding across the cement floor of her cavernous new gallery here last week, debating where brightly colored abstract paintings by Alex Hubbard should go.

4/5 + 2 AP Frank Stella Untitled, 1959 Enamel on canvas board 17 3/4 x 11 3/4 inches Collection of Bill and Sheila Lambert Dan Flavin «monument» for V. Tatlin, 1967 cool white fluorescent light 96 x 28 x 5 inches Robert Morris Untitled, 1976 - 1980 Felt with metal grommets 96 x 85 x 20 inches Back Gallery Richard Serra Untitled, 1975 Paintstick on paper 37 3/8 x 49 5/8 inches Private collection, Switzerland Ad Reinhardt Black Painting, 1960 - 1966 Oil on canvas 60 x 60 inches Tony Smith New Piece, 1966 Welded bronze, chemically treated black 20 3/4 x 43 1/2 x 42 inches Jo Baer Untitled, 1972 Oil on canvas 72 x 72 inches Second Floor (left to right) Rotunda Agnes Martin Untitled, 1965 Black ink on paper 11 x 11 inches David Hammons Untitled (Basketball Drawing), 2006/7 Dirt on paper, wood frame, asphalt Overall: 120 1/2 x 100 x 27 inches Robert Indiana Love, 1966 - 1999 Stainless steel 36 x 36 x 18 inches Front Gallery Andy Warhol Ambulance Disaster, c. 1963 Silkscreen ink on paper 40 x 30 inches Anselm Reyle Untitled, 2006 Mixed media on canvas, acrylic box 92 x 78 1/2 inches Mark Grotjahn Untitled (White Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4 iBlack Painting, 1960 - 1966 Oil on canvas 60 x 60 inches Tony Smith New Piece, 1966 Welded bronze, chemically treated black 20 3/4 x 43 1/2 x 42 inches Jo Baer Untitled, 1972 Oil on canvas 72 x 72 inches Second Floor (left to right) Rotunda Agnes Martin Untitled, 1965 Black ink on paper 11 x 11 inches David Hammons Untitled (Basketball Drawing), 2006/7 Dirt on paper, wood frame, asphalt Overall: 120 1/2 x 100 x 27 inches Robert Indiana Love, 1966 - 1999 Stainless steel 36 x 36 x 18 inches Front Gallery Andy Warhol Ambulance Disaster, c. 1963 Silkscreen ink on paper 40 x 30 inches Anselm Reyle Untitled, 2006 Mixed media on canvas, acrylic box 92 x 78 1/2 inches Mark Grotjahn Untitled (White Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4 iblack 20 3/4 x 43 1/2 x 42 inches Jo Baer Untitled, 1972 Oil on canvas 72 x 72 inches Second Floor (left to right) Rotunda Agnes Martin Untitled, 1965 Black ink on paper 11 x 11 inches David Hammons Untitled (Basketball Drawing), 2006/7 Dirt on paper, wood frame, asphalt Overall: 120 1/2 x 100 x 27 inches Robert Indiana Love, 1966 - 1999 Stainless steel 36 x 36 x 18 inches Front Gallery Andy Warhol Ambulance Disaster, c. 1963 Silkscreen ink on paper 40 x 30 inches Anselm Reyle Untitled, 2006 Mixed media on canvas, acrylic box 92 x 78 1/2 inches Mark Grotjahn Untitled (White Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4 iBlack ink on paper 11 x 11 inches David Hammons Untitled (Basketball Drawing), 2006/7 Dirt on paper, wood frame, asphalt Overall: 120 1/2 x 100 x 27 inches Robert Indiana Love, 1966 - 1999 Stainless steel 36 x 36 x 18 inches Front Gallery Andy Warhol Ambulance Disaster, c. 1963 Silkscreen ink on paper 40 x 30 inches Anselm Reyle Untitled, 2006 Mixed media on canvas, acrylic box 92 x 78 1/2 inches Mark Grotjahn Untitled (White Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4 inches

Hassan Sharif Drawing Squares on the Floor Using a Cube (1982) on view as part of Adventures of the Black Square: Abstract Art and Society 1915 - 2015 at the Whitechapel Gallery, London written about by Ben East in The National.

Susan Inglett Gallery / 522 West 24 Street / inglettgallery.com / Gary Stephan and Alina Tenser / Mar 17 — Apr 23, 2016 Berry Campbell / 530 West 24th Street, Ground Floor / www.berrycampbell.com / Raymond Hendler Paintings from the 1970s / Mar 17 — Apr 16, 2016 Lyons Wier Gallery / 542 West 24th Street / lyonswiergallery.com / James Austin Murray Super Massive Black Hole / Mar 10 — Apr 9, 2016 Edward Thorp Gallery / 210 11th Avenue, 6th Floor / edwardthorpgallery.com / / 5 x 5 Recent Abstractions w Andrea Belag, Chuck Boyce, Jenifer Kobylarz, Rachel Malin, and Paul Pagk / Mar 24 — Apr 23, 2016 Reception: Thu Mar 24 6 pm — 8 pm Winston Wächter Fine Art New York / 530 West 25th Street, Ground Floor / winstonwachter.com / Peter Waite site / sight / Mar 10 — Apr 16, 2016 Pace / 510 West 25th Street / pacegallery.com / Qiu Xiaofei Double Pendulum / Mar 11 — Apr 23, 2016 Davidson Contemporary / 521 W 26th Street / www.davidsoncontemporary.com / Sam Messenger 13 Cycles / Feb 25 — Apr 9, 2016 Mitchell - Innes & Nash / 534 West 26th Street / [phone] / miandn.com / Sarah Braman You Are Everything / Mar 10 — Apr 16, 2016 Thomas Erben Gallery / 526 West 26th Street, Floor 4 / thomaserben.com / Joan Brown, Charles Garabedian, Jackie Gendel, Haley Josephs, Kyle Staver Painting Forward / Feb 18 — Apr 2, 2016 David Nolan Gallery / 527 West 29th Street, Ground Floor / davidnolangallery.com / Sandra Vásquez de la Horra / Mar 18 — Apr 30, 2016

When Lew, who like Locks is Asian - American, led me to a smaller gallery on the floor, it had already been hung with a number of photographs by the same artist, Deana Lawson, 38, who carefully stages powerful scenes of black domestic life.

huber.huber's bubble machine spews black paint against the white gallery floor, alluding to the regulation of creativity by technology.

There was art to walk through, into, up to, and of course from at Frieze London, besides the big black rock hanging from the ceiling at PSM's booth and the black puddles on the floor at Milan's Fluxia gallery filled with grass and trash.

A West 29th Street building that housed the Sean Kelly and Peter Blum galleries before they moved has been purchased by the development company Black House, which plans to construct a 13 - floor luxury condo tower on the site, according to Sean Ludwick, a principal at Black House.

Ken Price thru 8/18 Opening 6/19; Sean Scully thru 6/9 / Drawing Center / 35 Wooster Old Black organized by Todd von Ammon / Team / 47 Wooster / thru 7/26 Opening 6/6 Zilia Sanchez thru 6/16; Andre Cadere thru 6/23 / Artists Space / 38 Greene — floor 3 Nadja Frank / Denny / 261 Broome / thru 6/16 Illuminators / OK Harris / 383 West Broadway / 6/1 thru 7/19 Reception 6/5 (5 - 7 PM) A Broken Inheritance: Niki de Saint Phalle; Philippe Perrot; Loredana Sperini / Clifton Benevento / 515 Broadway / thru 8/2 Opening 6/8 John Opera; Hot House: Tisch Abelow; Seth Alverson; Ivin Ballen; Ariel Dill / Longhouse / 285 Spring / thru 6/29 Babs Reingold curated by Midori Yoshimoto / ISE Foundation / 555 Broadway / thru 6/28 Still Life / Waterhouse & Dodd / 104 Greene / thru 6/8 Wang Keping / Zurcher / 33 Bleecker / thru 6/23 Brock Enright / Werble / 83 Van Dam / thru 6/15 Alice Aycock / NYU Grey Art Gallery / 100 Washington Square East / thru 7/13 Ying Li; Eve Ascheim / New York Studio School / 8 E 8 / thru 7/20 Opening 6/6 Dan Colen / Oko / 220 E 10 / thru 6/8 Alia Syed / Talwar / 108 E 16 / thru 6/29?

Finally, Richard Hiorns has covered half of a gallery floor with the black and grey metal dust of an atomized passenger aircraft engine, in a work designed to question our faith in technology and remind us of our own mortality.

Karla Black's «Includes Use,» a sprawling installation of brown, pink and white dry powdered paint and plaster, was sprinkled on the floor of New York's David Zwirner gallery last year.

Matthew Marks is pleased to announce Nayland Blake: The Black / White Album, the next exhibition in his second floor gallery at 523 West 24th Street.

The Berkeley gallery, on the ground floor of the building, features a selection of Sturtevant's Frank Stella works, encompassing the Black, Aluminium and Copper Paintings, as well as a number of Concentric Squares.

The exhibition spans two floors and traces the career of this pivotal black artist from the late 1960's to 2011 (the gallery has put on two exhibitions of Hammons before this one).

But much of the drama comes from the gallery's plywood floor, which has been scorched black; it intensifies the sense of an eerie landscape, at once stark and excessive, in which nature is out of balance.

Sahib became interested in the domestic past of the Brussels gallery and has covered the ground floor space with black carpet, in an attempt to emulate a traditional family environment.

On the first floor of the gallery there are two monumental black monochrome canvases, created especially for this exhibition, shown alongside an immense white monochrome from 1999: the three works narrate and trace Olivier Mosset's continuous exploration of the relationship between the ego and the death of the notion of author.

Shown on the ground floor of the gallery is Graham's multi-piece work «Black Tapestry», which comprises 25 darkly painted over copies of Carole King's legendary record album «Tapestry», with which she celebrated her breakthrough in Rock and Pop Music in 1971.