Sentences with phrase «cube gallery as»

Not exact matches

They built the front desk out of plywood and Ikea furniture and modeled the studio's dark tile and gleaming white walls after London's White Cube art gallery, honing the look as «inviting but still sexy, cool but still tribal,» Rice remembers.

Rubik's Cube makes its appearance here once again and we see other visuals such as photo galleries and application icons.

As explained by the gallery: «Beginning with a downloaded digital map of a tank from the internet, the piece is composed of a series of stacked metre cubed sections manufactured using a form of 3D printing, which Peter developed specifically for this commission.

The artist creates works as signifiers of the destruction of the natural world by «colonial powers», via a series of tabletops containing mineral fragments and photographs of equatorial scrublands.The minerals are representative of the original environment now re-contextualized within the white cube of the gallery space becoming «art», and forming a dialectic concerning «value».

Similarly, with Pipe, it's as if one of Nancy Holt's Sun Tunnels (1976) was transported from the desert to this small, white cube gallery on the Lower East Side.

But the works also pressure the standard white cube gallery, since Sánchez presented them in a dentist's office, a sanitary space which, as he points out, is another kind of white cube.

As in an upcoming 2010 Whitney Biennial, his gleaming photos of vacant rooms seem at first simply to make fun of the gallery's white cube.

As the refurbished Hayward Gallery reopens at the end of January, its director, Ralph Rugoff, explains what the brutalist building offers artists — and audiences — who are willing to venture beyond the white cube.

Danni Shen is the Curatorial Associate at Empty Gallery, a black - cube space dedicated to time - based, non-object-oriented, interdisciplinary practices as well as Asian diasporic artists and communities, physically located in Hong Kong.

Within that tradition, the space was conceived not as a typical white cube gallery, but as a new public space for the entire community — and this is reflected in a new approach to programming.

Today, however, Hatoum smiles as she strolls into a bright, wide - windowed room at White Cube, the London gallery that represents her.

The artists» existing relationship with Craig Burnett, who worked at White Cube for five years and joined Blain Southern as director of exhibitions in 2016, was not a factor, the gallery added.

Set up as a small project room for contemporary art, White Cube is now one of the most influential commercial galleries in the world.

It looks like a major exhibition in a massive commercial gallery with nothing to sell, as if he has tricked White Cube into doing something for the love of art alone.

Only around 30 galleries exhibit but they include international market big dogs such as Hauser & Wirth, Pace and White Cube alongside local galleries.

The «South Galleries» provide the principal display area for White Cube's expanding programme of exhibitions and three smaller galleries, known collectively as the «North Galleries», are used for an innovative series of shows.

2017 On Bodies: GMF x UNT, The Goss - Michael Foundation, Dallas, Texas «The Critic as Artist» curated by Michael Bracewell and Andrew Hunt, Reading Museum, London, UK ISelf Collection, Self - Portrait as the Billy Goat, Whitechapel Gallery, London Dreamers Awake, curated by Susanna Greeves, White Cube, London, UK As Above, So Below: Portals, Vision, Spirits & Mystics, Irish Museum of Modern Art, Dublin, Ireland The Ends of Collage: New York, Luxembourg & Dayan, New York, NY The Ends of Collage: London, Luxembourg & Dayan, London, UK La Movida, HOME, Manchester, UK Coming Out: Sexuality, Gender and Identity, Walker Art Gallery, Liverpool, UK Daughters of Penelope, Dovecot Studios, Edinburgh, Scotlaas Artist» curated by Michael Bracewell and Andrew Hunt, Reading Museum, London, UK ISelf Collection, Self - Portrait as the Billy Goat, Whitechapel Gallery, London Dreamers Awake, curated by Susanna Greeves, White Cube, London, UK As Above, So Below: Portals, Vision, Spirits & Mystics, Irish Museum of Modern Art, Dublin, Ireland The Ends of Collage: New York, Luxembourg & Dayan, New York, NY The Ends of Collage: London, Luxembourg & Dayan, London, UK La Movida, HOME, Manchester, UK Coming Out: Sexuality, Gender and Identity, Walker Art Gallery, Liverpool, UK Daughters of Penelope, Dovecot Studios, Edinburgh, Scotlaas the Billy Goat, Whitechapel Gallery, London Dreamers Awake, curated by Susanna Greeves, White Cube, London, UK As Above, So Below: Portals, Vision, Spirits & Mystics, Irish Museum of Modern Art, Dublin, Ireland The Ends of Collage: New York, Luxembourg & Dayan, New York, NY The Ends of Collage: London, Luxembourg & Dayan, London, UK La Movida, HOME, Manchester, UK Coming Out: Sexuality, Gender and Identity, Walker Art Gallery, Liverpool, UK Daughters of Penelope, Dovecot Studios, Edinburgh, ScotlaAs Above, So Below: Portals, Vision, Spirits & Mystics, Irish Museum of Modern Art, Dublin, Ireland The Ends of Collage: New York, Luxembourg & Dayan, New York, NY The Ends of Collage: London, Luxembourg & Dayan, London, UK La Movida, HOME, Manchester, UK Coming Out: Sexuality, Gender and Identity, Walker Art Gallery, Liverpool, UK Daughters of Penelope, Dovecot Studios, Edinburgh, Scotland

With a newfound focus on collaboration and developing interesting partnerships, Jonathan LeVine Projects aims to go beyond the white cube gallery model and become a thriving creative center within Mana Contemporary, as well as the community at large.

Both have moved easily between indoors and out, when Minimalism still celebrated the gallery as a white cube.

White Cube Director Tim Marlow told the Financial Times last month that the gallery's Hong Kong branch serves as a platform for its artists to become better known there.

On view at Silas Marder Gallery, Gallacio's four open cubes — two inside the gallery and two outside — speak to the mineral and the corporeal as well as to the landscape and to modernism and miniGallery, Gallacio's four open cubes — two inside the gallery and two outside — speak to the mineral and the corporeal as well as to the landscape and to modernism and minigallery and two outside — speak to the mineral and the corporeal as well as to the landscape and to modernism and minimalism.

Like the other major fairs, the White Cube Gallery's collection of Hirsts and Emins make an appearance, but there is a significant and important infusion of Asian names as well.

These interjections within the gallery's white cube serve as a way in which the artist rebuilds and elevates these fractured stories, now sturdily supported with weighted columns of opaque color.

These qualities are underpinned and stabilised by the architectural accuracy of his miniature interiors, which draw from broad influences, from classical Palladian or a White Cube gallery space, to the contemporary commercial kitsch of fast - food joints, or even a depiction of his childhood home as in the 18 Fortis Green series.

Dilyara Allakhverdova and Elchin Safarov, Maryam and Edward Eisler, Candida and Zak Gertler, Jack Kirkland, Ringier Collection Zurich, Maria and Malek Sukkar, Galeria Graça Brandão, Embassy of Israel to the UK, Multimedia Art Museum / Collection of Moscow House of Photography Museum, Outset Israel, Pace Gallery, taubert Contemporary, Vilma Gold, London, White Cube, With support from the Government of Mexico as part of the Year of Mexico in the UK 2015.

It was originally installed in the park outside White Cube Hoxton Square, as part of Hirst's solo exhibition at the gallery, «Romance in the Age of Uncertainty» in 2003 and has since been installed on the balcony of the Royal West of England Academy, Bristol.

With this ambitious installation, Beecher positions the exhibition space as a place somewhere between pristine white - cube gallery and dark comedy club basement.

Despite O'Doherty's debunking of this context, the white cube mode of exhibiting continues to underpin much exhibition - making in the West, from commercial galleries that are designed to look like modern art museums (think of David Zwirner's minimalist 30,000 square foot space on 20th Street in New York) to websites such as Contemporary Art Daily that tend to privilege the flattened picture surfaces of post-minimalist paintings, which look good filtered through the even light of a laptop screen.

World - class galleries such as White Cube and Galerie Perrotin have moved in and last year Art HK morphed into Art Basel, putting Hong Kong on the world art map.

Shown as a monumental cube installation, the films invite viewers to move through the gallery as they follow the progression of the image across three screens.

This dynamic combination allows EFA to successfully operate within the rapidly expanding online art market as well as extending the traditions of the white cube gallery.

His work has been included in a number of group exhibitions in and outside of the Netherlands, at places such as White Cube Gallery, KUMU Art Museum in Tallinn, the Royal Palace in Amsterdam and NEST in The Hague.

Unlike artists including Robert Smithson and Mark Dion, who brought live or dead trees into white - cube gallery spaces, Mr. Oliveira has constructed a tree from scratch, using plywood and other materials, as well as wood brought from Brazil.

Meanwhile, across the street at Tanya Bonakdar Gallery, ghostly shadows doubled and tripled against the walls of chapel - like, white - cube rooms as guests passed before projected lights chiseled by Olafur Eliasson, who appeared a bit more grizzled than usual and slightly dazed by the commotion around him.

SeaWomen installation video documentation from Mikhail Karikis's solo exhibition at Arnolfini Gallery, Bristol (UK) in 2013, where the work was presented as a 12 - speaker sound installation with 5 cube monitors displaying the video.

Gallery interpretation had it that he sought to «challenge the identity of White Cube as an organization, as physical space and as concept».

The Young British Artists revitalised (and in some cases spawned) a whole new generation of contemporary commercial galleries such as Karsten Schubert, Sadie Coles, Victoria Miro, Maureen Paley's Interim Art, and Jay Jopling's White Cube.

These included artistic spaces such as award - winning art gallery New School House Gallery and white cube space According togallery New School House Gallery and white cube space According toGallery and white cube space According to McGee.

The modern pebbledash building offers few clues as to the minimalist, private gallery inside: an enormous white cube in which Spalletti (b. 1940), who represented Italy at the 1997 Venice Biennale, likes to experiment with hangings.

I frequent all sorts of galleries from Gagosian, Simon Lee and White Cube to smaller ones such as Roman Road.

For Oliver, «getting into painting» meant a degree in Art History at Bristol University, three intensive years studying in Florence as a portrait painter followed by work experience at notable galleries Hauser & Wirth and White Cube.

In gallery news: David Zwirner now represents the Joan Mitchell Foundation, with an exhibition planned for next year in the gallery's New York space — «The gallery is proud to be entrusted to help with the extraordinary legacy of Joan Mitchell, one of the most important and original American painters to emerge in the second half of the twentieth century», Zwirner commented; Lehmann Maupin have announced representation of the Estate of Heidi Bucher — «Her exploration of spaces — often designated as feminine, particularly domestic environments and objects — is very much in line with Lehmann Maupin's programming and closely ties into the work of artists such as Do Ho Suh and Liza Lou,» director Anna Stothart said; New York's James Cohan Gallery represents Matthew Ritchie; LA's Kayne Griffin Corcoran now represents painter Mary Obering (her work is on show at their booth at Frieze New York); London's White Cube have opened an office on New York's Upper East Side; and Mexico City gallery kurimanzutto also opened a space in New York's Upper East Side yesterday, inaugurated with new work by Abraham Cruzvigallery news: David Zwirner now represents the Joan Mitchell Foundation, with an exhibition planned for next year in the gallery's New York space — «The gallery is proud to be entrusted to help with the extraordinary legacy of Joan Mitchell, one of the most important and original American painters to emerge in the second half of the twentieth century», Zwirner commented; Lehmann Maupin have announced representation of the Estate of Heidi Bucher — «Her exploration of spaces — often designated as feminine, particularly domestic environments and objects — is very much in line with Lehmann Maupin's programming and closely ties into the work of artists such as Do Ho Suh and Liza Lou,» director Anna Stothart said; New York's James Cohan Gallery represents Matthew Ritchie; LA's Kayne Griffin Corcoran now represents painter Mary Obering (her work is on show at their booth at Frieze New York); London's White Cube have opened an office on New York's Upper East Side; and Mexico City gallery kurimanzutto also opened a space in New York's Upper East Side yesterday, inaugurated with new work by Abraham Cruzvigallery's New York space — «The gallery is proud to be entrusted to help with the extraordinary legacy of Joan Mitchell, one of the most important and original American painters to emerge in the second half of the twentieth century», Zwirner commented; Lehmann Maupin have announced representation of the Estate of Heidi Bucher — «Her exploration of spaces — often designated as feminine, particularly domestic environments and objects — is very much in line with Lehmann Maupin's programming and closely ties into the work of artists such as Do Ho Suh and Liza Lou,» director Anna Stothart said; New York's James Cohan Gallery represents Matthew Ritchie; LA's Kayne Griffin Corcoran now represents painter Mary Obering (her work is on show at their booth at Frieze New York); London's White Cube have opened an office on New York's Upper East Side; and Mexico City gallery kurimanzutto also opened a space in New York's Upper East Side yesterday, inaugurated with new work by Abraham Cruzvigallery is proud to be entrusted to help with the extraordinary legacy of Joan Mitchell, one of the most important and original American painters to emerge in the second half of the twentieth century», Zwirner commented; Lehmann Maupin have announced representation of the Estate of Heidi Bucher — «Her exploration of spaces — often designated as feminine, particularly domestic environments and objects — is very much in line with Lehmann Maupin's programming and closely ties into the work of artists such as Do Ho Suh and Liza Lou,» director Anna Stothart said; New York's James Cohan Gallery represents Matthew Ritchie; LA's Kayne Griffin Corcoran now represents painter Mary Obering (her work is on show at their booth at Frieze New York); London's White Cube have opened an office on New York's Upper East Side; and Mexico City gallery kurimanzutto also opened a space in New York's Upper East Side yesterday, inaugurated with new work by Abraham CruzviGallery represents Matthew Ritchie; LA's Kayne Griffin Corcoran now represents painter Mary Obering (her work is on show at their booth at Frieze New York); London's White Cube have opened an office on New York's Upper East Side; and Mexico City gallery kurimanzutto also opened a space in New York's Upper East Side yesterday, inaugurated with new work by Abraham Cruzvigallery kurimanzutto also opened a space in New York's Upper East Side yesterday, inaugurated with new work by Abraham Cruzvillegas.

Featured high up on the external wall of White Cube Gallery's booth at this year's Frieze Art Fair in London, it seemed to function as a clever and subconscious reflection on the key question for collectors at Frieze and the world's many other art fairs.

What he posited as one of the «new ways of existing» away from a «traditional white - cube model» was a display of four David Adamo sculptures in the lobby of Finsbury Circus House, a newly renovated office building just around the corner from Liverpool Street station, listed as an «Ibid Gallery London» exhibition in collaboration with art consultancy HS Projects.

The focus on the dissolution of the white cube is a MacGuffin; while the smaller galleries are forced to close, the space for viewing art is concentrating into the larger galleries and foundations, spaces that now seem to be posing as public museum spaces.

With multimedia artist Lee Blalock at the helm, Hyde Park Art Center campers will spend a week investigating the «white cube» gallery as a space for making.

Particularly worthy of mention in the contemporary section are international heavy weights such as David Zwirner, Gagosian, Hauser + Wirth, Lisson, Thaddaeus Ropac, White Cube, Kamel Mennour, Pearl Lam, nächst St. Stephan and Gio Marconi as well as leading galleries of Germany such as Sprüth Magers, Michael Werner, Gisela Capitain, Karsten Greve, Daniel Buchholz, Max Hetzler, Konrad Fischer, Eigen + Art, Nagel Draxler, NEU as well as König Gallery.

[9] Works of art began to emerge from the walls of the museum and galleries (Daniel Buren, Within and Beyond the Frame, John Weber Gallery, New York, 1973), were created specifically for the museum and galleries (Michael Asher, untitled installation at Claire Copley Gallery, Los Angeles, 1974, Hans Haacke, Condensation Cube, 1963 — 65, Mierle Laderman Ukeles, Hartford Wash: Washing Tracks, Maintenance Outside, Wadsworth Atheneum, Hartford, 1973), thus criticizing the museum as an institution that sets the rules for artists and viewers.

The Kanter - McCormick Gallery will become a curatorial laboratory for five quick - and - dirty shows proposed by participants involved in the Art Center's Oakman Clinton School & Studios, engaging the traditional «white cube» gallery as a learning space while highlighting connections among Oakman Clinton School & Studios faculty, students, and the broader Chicago arts comGallery will become a curatorial laboratory for five quick - and - dirty shows proposed by participants involved in the Art Center's Oakman Clinton School & Studios, engaging the traditional «white cube» gallery as a learning space while highlighting connections among Oakman Clinton School & Studios faculty, students, and the broader Chicago arts comgallery as a learning space while highlighting connections among Oakman Clinton School & Studios faculty, students, and the broader Chicago arts community.

Of course, there were many thematic and visual references to poverty and exclusion that were framed by the discourse of art history — as in a metal construction by Jannis Kounellis [who died in February this year] that combines a hard - edged steel - cast minimalist frame with multicoloured rags of Arte Poveraat White Cube, for example; or in a an arresting display of Sadie Benning's «drawings» made of wood, Aqua - Resin, casein and acrylic gouache with motifs reminiscent of African textilesat Susanne Vielmetter Los Angeles Projects; or works about otherness framed by the formerly excluded, or on their behalf — as in a display from the Goodman Gallery in Johannesburg, South Africa; or Andres Serrano's unforgettable photographs of notable figures in American pop culture, such as his portrait of Snoop Dogg (America)(2002) placed next to that of Donald Trump, on view at Galerie Nathalie Obadia.