In the smaller gallery stands Elegantka II, a cast resin sculpture that glows ominously with interior lights which transform the appearance of its tough exterior into a curiously soft silhouette.
Not exact matches
Sofa — Home Center
Gallery wall frames and big frames — Ikea Wall Shelf — Home Box Curtain — Ikea Office Desk — Ikea (but I bought it from someone on Dubizzle) Corner Shelf — Home box Mustard yellow throw pillow cover — Home Box Black and Big Black & White throw pillow cover — Ikea
Smaller Striped Black & White throw pillow cover — Gift from a Client Lamp
Stand — Home Box Rug — Dragon Mart White office chair and Mustard Yellow chairs — Dragon Mart Flower Vase and life plants — Ikea Fake Plants and other vases — Discount Center
in Ajman White board — Day to Day White fur Rug — Ikea Wall Papers — Discount Center Sharjah (You can also find them
in Day to Day)
Except for a
small mask
in the office, all were located
in the main
gallery — chunky, disjointed, gouged figures
in a variety of mediums (plaster, hemp, iron rebar, redwood, bronze), some
standing fully upright but most lying about on plinths.
The
small number and size of the works amplify the large and open space of that
gallery and
stand in stark contrast to the monumentally scaled works by Clyfford Still on view
in adjacent
galleries.
So too have areas of
smaller stands for less - established
galleries or artists,
in this case the aforementioned Spotlight, which features single - artist presentations of 20th - century artists.
I'm
standing next to a
small wall - mounted speaker, looking through a large circular hole cut
in a plasterboard wall and watching a film of dancers moving through the same
gallery space I'm occupying.
Wesselmann's inquiries into the material qualities of painting evolved, and
in 1972 he exhibited a
Standing Still Life for the first time at the Sidney Janis
Gallery in New York, along with a selection of
smaller works from his Bedroom Paintings series.
«Ashes» is a two - part exhibition; the darkened
gallery at 3 Duke Street, is filled with McQueen's short film; the on - screen image of a young black man sitting on the prow of a
small boat, basking
in the glory of the sun, while at 11 Duke Street a black marble column
stands resplendent, but broken.
These pioneering performances are the overlooked predecessors of relational aesthetics that developed
in the 1990s — when Rirkrit Tiravanija served food
in a
gallery, for instance, or Santiago Sierra paid a
small group of homeless women the price of a night
in a hostel to
stand facing a wall
in the Turbine Hall at Tate Modern for a single day
in 2008.
LONDON — On a sunny Saturday afternoon earlier this month, a young woman
stood in a
gallery at Tate Britain, running her fingertips over a
small marble sculpture that represented — how to put this?
There were a lot of
small details that
stood out, like
in the
Gallery where you can drag down to open a quick camera interface, or
in the notification dropdown, which has a nice way of presenting, chronologically, your received notifications.
>> > SOURCES << < wall colour: Red Earth, ceiling colour: Nancy's Blushes, alcove colour: Picture
Gallery Red, velvet curtains: AuDelaVintage, fabric for sheers: bettiecouture, curtain tassels: FabricsTrimsPillows, curtain hardware: Cozzy Coverings, 3 pink and purple signed and numbered prints from Montreal's St. Michel flea market, vintage radio converted into a Bluetooth speaker by my husband: Daff Design, purple vase on radio & glass owl vase on dining table & most of the vintage ceramics on buffet: Vanier Moderns, plate with semi-circle hanging on wall
in alcove & bowl below it & 2
small bowls leaning against books: Le Lou Ula Atelier, plate with flower: L'Arbre et la Rivière, brass reed sculpture & brass plant
stand: The Pale Blue Dot, wooden stool plant
stand & purple vase on dining table: Highjinx, rug: eCarpetGallery, Hay Denmark blanket and Ferm Living orange pot: The Modern Shop, framed canvas abstract painting: Andrea @hunt.