Sentences with phrase «function exhibition form»

Not exact matches

Film Comment was joined by Apichatpong at the exhibition on its final day to discuss how this unique project came to be, the influences behind the look and feel of the hotel, and how dreams function as a very particular and personal form of cinema.

The American Kennel Club licenses dogs shows (competitive exhibitions in which dogs are judged in accordance with an established standard of perfection for each breed) that test and evaluate the form and function of purebred dogs.

The exhibition features Samuel T. Adams, Guy Nelson, Leah Raintree, and Frank Zadlo,» four artists whose works contain a rigorous materiality and a transparent integrity of process, wherein form and aesthetic function become one.»

These and the other urns and bowls in the exhibition — formed from intersecting lines of steel — signal function but, with their wide open spaces, steadfastly avoid it.

From the beginning of his career, his poems have functioned as entries into catalogues about his work, appeared alongside his sculpture in exhibitions, formed exhibitions in their own right, been published in strictly limited editions, made appearances in scholarly writings about the artist, been repeatedly cited in relation to the development of avant - garde poetry.

architecture, biology, body, communal, communication, environment, exhibition, female body, form, function, hypnotic, installation, multimedia, New Museum, physical, Pipilotti Rist, projection, psychological, sensual, soundscape, sublime, technological sublime, technology, texture, video art

The SCAD exhibitions department presents Dario Escobar: Singular - Plural, a selection of re-worked industrial objects and works on paper highlighting form, function and concept.

In the exhibition, Dávila furthers his ongoing fascination with equilibrium, form and function, as well as his interest in architecture, minimalism and conceptual art.

Large - format works were installed in the area during special exhibitions, but as an architectural element, it had more form than function.

Inspired by Pan Yuliang and her decision to open the 1977 exhibition to others, this May in Paris, the exhibition Pan Yuliang: A Journey to Silence invited artists Hu Yun, Huang Jing Yuan, Wang Zhibo and art historian Mia Yu to form a research group functions as a collective subjective agency.

TRANSPARENCY SHADE: SEEING THROUGH THE SHADOW is a group exhibition of two - and three - dimensional artwork that conveys post-identity semiotics, or the use and interpretation of visual and linguistic signs and symbols that function to form identity.

This exhibition takes a lurid approach to what is normally considered decorative architecture, re-thinking the female form through its role in classical objects of function; a Venetian Moore lamp, a stool, a vanity, a mirror, a chandelier and tapestry.

The exhibition draws on Jakobson's distinctive ideas on the poetic function of language as a departure point for considering forms of expression situated beyond semantic clarity.

For the exhibition, Susskind has strategically manipulated household building materials and ersatz counterparts alike to establish an off - kilter echo between form and function.

Irreverence toward a material's original function (and context), preciousness in its preservation, and fetishization of its form (divorced from its original function) are central to Sibony's sensibility, and apparent in his current exhibition at Greene Naftali Gallery.

Group exhibitions include Function Follows Vision, Vision Follows Reality, Kunsthalle Wien Karlsplatz, Vienna, Austria (2015); Überschönheit, Salzburger Kunstverein, Salzburg, Austria (2015); A Singular Form, Secession, Wien, Austria (2014); Villa Massimo Stipendiaten, Martin - Gropius Bau, Berlin, Germany (2013); Perspectives On Collage, Photographers Gallery, London, UK (2013); Re-generation, Museo d'Arte Contemporanea (MACRO), Rom, Italy (2012); The New Decor, Hayward Gallery, London, UK (2010), A wavy line is drawn across the middle of the original plans, Kölnischer Kunstverein, Cologne, Germany (2012); Weltempfänger, Galerie der Gegenwart / Hamburger Kunsthalle, Hamburg, Germany (2007); Tate Triennale, Tate Britain, London, UK (2006).

Today, data is commonly used as raw material for artists, and the artists in this exhibition do more than merely turn data into visual work — they reshape it, both in form and function — to create compelling conceptual artworks that materialize the Internet.

This exhibition of recent work by American artist Andrea Zittel continues her preoccupation with fusing art, architecture and design to create objects that straddle the boundary between form and function, artwork and tool.

This enormous white elephant both dominates the exhibition and embodies within itself Blachly and Shaw's compulsive reenactment of the moment where aesthetic forms cease to function as originally intended; a space perched uneasily between nostalgia for the simple certainties of bygone elites and exhilaration and revulsion at those very certainties.

Kawakubo's radical reshuffling of clothing's function, purpose, and form is the work of an artist, as the Metropolitan Museum of Art Costume Institute exhibition, Art of the In - Between, demonstrates.

More an experiment than a manifesto, this talk and accompanying exhibition at UIC questions whether architecture might be a discipline autonomous enough to create its own narrative, content, function, purpose, and imagination — and therefore, meaning — stemming solely from its bare form.

This exhibition will be the fruit of collaboration between KHB and the Goethe Institut in Bratislava, which plans to evaluate its 25 years» functioning in Bratislava in the form of an artistic review of these themes.

Edited by Latitudes Produced for ten consecutive weeks from a micro-newsroom in the galleries of the New Museum, The Last Post, The Last Gazette, The Last Register, The Last Star - Ledger, The Last Monitor, The Last Observer, The Last Evening Sun, The Last Journal, The Last Times and The Last Express comprise the catalogue accompaning the exhibition «The Last Newspaper», curated by Richard Flood and Benjamin Godsill Featuring over 100 contributors, and including essays and interviews with participating artists, this compilation also brings together articles and special features around an expanded selection of work that addresses the news, the newspaper, and its evolving form and function.

In her sculpture show «Judith Hopf: Stepping Stairs» at the KW Institute for Contemporary Art in Berlin, she moves from sculpture to exhibition furniture and back, the transformed everyday materials in the exhibition constituting hybrids in material, form, function, content, meaning, and use.

Group Exhibition, Agazzi Art, Lakeville, CT Contextual, Form and Function, Chicago IL

Her work was also included in the Turner Prize exhibition at Tramway, Glasgow (2015 - 2016); The Kids Want Communism, curated by Joshua Simon (2016 - 17); Quiz 2, curated by Robert Stadler & Alexis Vaillant, MUDAM Luxembourg (2016); Display Show, curated by Celine Condorelli, Stroom den Haag, The Hague, The Netherlands (2016); Function Follows Vision, Vision Follows Reality, Kunsthalle Wien Karlsplatz, Vienna, Austria (2015); Überschönheit, Salzburger Kunstverein, Salzburg, Austria (2015); A Singular Form, Secession, Wien, Austria (2014); Villa Massimo Stipendiaten, Martin - Gropius Bau, Berlin, Germany (2013); Perspectives On Collage, Photographers Gallery, London, UK (2013); Re-generation, Museo d'Arte Contemporanea (MACRO), Rom, Italy (2012); Crazy House at Museum für Moderne Kunst in Frankfurt (2012); The New Décor, Hayward Gallery, London and the Garage Centre in Moscow, Russia in (2010 - 2011); A wavy line is drawn across the middle of the original plans, Kölnischer Kunstverein, Cologne, Germany (2012); Weltempfänger, Galerie der Gegenwart / Hamburger Kunsthalle, Hamburg, Germany (2007); Tate Triennale, Tate Britain, London, UK (2006).

The tiered form is not only an architectural amalgam that offers the potential of housing exhibitions and collections, but it also functions as furniture upon which visitors can walk, read and ultimately enter.

Form / Function, curated by Lisa Denyer and Matthew Macaulay, continues at Piccadilly Place Manchester until Sunday 22 September Exhibition open: Saturdays and Sundays 12 — 6 pm, or by appointment.