Sentences with phrase «spaces in between gallery»

Jason Middlebrook The Small Spaces in Between Gallery 16 501 Third Street, San Francisco, CA 94107 March 25 — May 6, 2016 Reception: March 25, 6 - 9 pm

Jason Middlebrook The Small Spaces in Between Gallery 16 501 Third Street, San Francisco, CA 94107 March 25 — May 6, 2016 Reception: March 25, 6 - 9 pm Gallery 16 presents The Small Spaces in Between,...

Not exact matches

The Albright - Knox Art Gallery in Buffalo plans to sink its parking lot beneath a restored public green space along Elmwood Avenue, radically reconfigure much of Gordon Bunshaft's low - lying 1962 addition into a grand public entry hall and create 23,000 square feet of new gallery space split between two new buildings that pay deference to the surrounding paGallery in Buffalo plans to sink its parking lot beneath a restored public green space along Elmwood Avenue, radically reconfigure much of Gordon Bunshaft's low - lying 1962 addition into a grand public entry hall and create 23,000 square feet of new gallery space split between two new buildings that pay deference to the surrounding pagallery space split between two new buildings that pay deference to the surrounding parkland.

Teams of 150 - 180 students work with teachers in shared learning spaces with cutting - edge technologies that shift between traditional classrooms, Makeries, Collaboratories, The Gallery, and The Loft to support a student - centered approach to instruction.

This will be the artist's first solo exhibition in the US and will inaugurate the gallery's new space at 299 Grand Street (between Allen and Eldridge).

In her solo exhibit at Chainlink Gallery, Lithuanian artist Gedvile Grace Bunikyte demonstrates how the dichotomy between simple shapes and complexity of mind is one of the most compelling spaces in which to creatIn her solo exhibit at Chainlink Gallery, Lithuanian artist Gedvile Grace Bunikyte demonstrates how the dichotomy between simple shapes and complexity of mind is one of the most compelling spaces in which to creatin which to create.

1999 AC Project Room, New York, N.Y. Staff USA Gallery «Goldberg, Kamitaki, Beckett» New York, N.Y. Galerie Albrecht Minimal.Emotional» (Goldberg, Hofmann, Mills, Su) Munich, Germany Parsons School of Design Galleries «Drawing in The Present Tense» curated by Roger Shepherd and George Negroponte (catalogue) New York, N.Y. Zeitgeist «Monotypes» (Glenn Goldberg, Will Berry) Nashville, TN 1998 Hill Gallery Birmingham, MI 20th Century Art L.I.C., N.Y. 1997 20th Century Art L.I.C., N.Y. Galerie Albrecht Munich, Germany Rose Art Museum «Works From The Collection» Waltham, MA 1996 Knoedler & Co., New York, N.Y. Hill Gallery, Birmingham, MI 1995 Hill Gallery, Birmingham, MI The Work Space «Wacko» New York, N.Y. Galerie Albrecht «Gosewitz / Goldberg» Munich, Germany Edward Hopper House «Goldberg / Wiley» (videotape) Nyack, N.Y. 1994 Hill Gallery Birmingham, MI The Academy of Arts & Letters «46th Annual Academy Purchase Exhibition» New York, N.Y. Baxter Gallery of Art «Intimate Observation» curated by Jennifer Gross Portland, ME Castle Gallery «Toys / Art / Us» curated by Lori Friedman New Rochelle, N.Y. 1993 New York Studio School «Formative Past: Present Form» New York, N.Y. Galerie Albrecht «Baechler, Goldberg, Hofer, Roiter» Munich, Germany Robert Morrison Gallery «Goldberg, Humphrey, Koorland» New York, N.Y Castelli Gallery «Drawings: Foundation of Contemporary Performance Arts» New York, N.Y. 1992 Germans Van Eyck Gallery «Play Between Fear And Desire» curated by Jennifer Gross New York, N.Y. Rosenthal Fine Art «Glenn Goldberg - Josef Ramaseder» Chicago, IL Angles Gallery «Numbers» Santa Monica, CA David Beitzel Gallery «Paper Houses» New York, N.Y. Betsy Senior Gallery «Goldberg, Mangold, Row, T. Winters» New York, N.Y. Galerie Theuretzbacher «Against The Grain» (catalogue) Vienna, Austria 1991 Bellas Artes Gallery «Masterworks of Contemporary Painting, Sculpture and Drawing: The 1930's to the 1990's» Santa Fe, New Mexico Hill Gallery Birmingham, MI Museum of Contemporary Art «The Scott Spiegel Collection» Los Angeles, CA 1990 Wetterling Gallery (catalogue) Stockholm, Sweden Madison Art Center «Intimate Inventions / Gestural Abstractions» Madison, WI.

2007 Weather Report, Centro Atlantico de Arte Morderno, Las Palmas de Gran Canaria Absent Without Leave, Victoria Miro Gallery, London, UK Unholy Truths, Initial Access, Frank Cohen Collection, Manchester, UK Effigies, Stuart Shave / Modern Art, London, UK Fractured Figure, Curated by Jeffrey Deitch, Deste Foundation, Athens, Greece Beyond the Zero, Peres Projects, Athens, Greece Destroy Athens, The First Athens Biennale, Athens, Greece Get Lost: Artists Map Downtown New York, The New Museum, New York, NY How Much Longer, Belkin Staellite, Vancouver, B.C., Canada Out of Art, Centrepasquart, Kunsthaus Centre D'art, Biel Bienne, Switzerland Sweet Bird of Youth, Curated by Hedi Slimane, Arndt & Partner, Berlin, Germany Chi Peng's Journey to the West, White Space, in association with Alexander Ochs Gallery, Beijing, China New York — States of Mind, Haus der Kulturen der Welt, Berlin, Germany Terence Koh and AA Bronson, Galerie Fredric Giroux, Paris, France Between Two Deaths, Zentrum Für Kunst and Medietechnologie, Karlsruhe, Germany Time Difference, Initial Access, Frank Cohen Collection, Wolverhampton, UK Body Politix, Witte De with Center for Contemporary Art, Rotterdam, Netherlands

The Visual Arts Program at Wave Hill presents the work of contemporary artists who explore the dynamic relationship between nature, culture and site through exhibitions in Glyndor Gallery and the Sunroom Project Space, and through the Winter Workspace Program and generated@wavehill.

After the Pace Gallery's Marc Glimcher completed his recent purchase of prime real estate beneath the High Line between West 24th and 25th streets — it abuts one of Pace's two branches on 25th Street — he faced a dilemma: what to do with the empty space before construction began on the new gallery he plans to open there in falGallery's Marc Glimcher completed his recent purchase of prime real estate beneath the High Line between West 24th and 25th streets — it abuts one of Pace's two branches on 25th Street — he faced a dilemma: what to do with the empty space before construction began on the new gallery he plans to open there in falgallery he plans to open there in fall 2012?

The artist's latest series, Revisiting the Area, currently on view at Rachel Uffner Gallery in New York, is an intimate look at the neighborhood where he grew up, which he refers to as occupying a uniquely - American «middle space,» situated in the middle - ground between poverty and middle class.

, 2009 2008 — Inclusion in Publication of Artists, Studio Visit, Volume 2, 2008 2007 — Artner, Alan, Art: Reviews, Chicago Tribune, June 22, 2007 2007 — Nance, Kevin, Art Review, «How it all happened, or not; New exhibit blurs the line between fact and fantasy» Chicago Sun - Times, June 6, 2007 2007 — Featured Artist CHI # 140, Flavorpill: Chicago, May 22, 2007 2007 — «Gallery Shorts», F News Magazine: The School of the Art Institute of Chicago, May 2007 2007 — «Galleries and Museums: Featured Artists», Chicago Reader, May 18, 2007 2007 — Rose, Joshua, «Persistence of Memory», American Art Collector, Issue 19, May 2007 2006 — Duffy, Heather, «Creative Imaginings: The Howard A. and Judith Tullman Collection», The Vanguard, USA, Nov. 20th, 2006 2006 — Harrison, Thomas, «Artwork, Imagery Provocative in Tullman Show», Mobile Register, Nov. 2006 2003 — Krenz, Marcel, «Space Invaders: Six Painters & Two Sculptors Reconstruct Representation», Contemporary, Issue 55

Between 2016 — 2017, her work has been featured in numerous international exhibitions, including «Moving Kate» curated by Nick Knight at SHOWStudio in London and The Mass in Tokyo, Japan, «The Vulgar» at The Barbican, London curated by Judith Clark and Adam Phillips, «Red Hot Wicked» at Studio C Gallery in Los Angeles, as well as The Untitled Space group shows «UPRISE / ANGRY WOMEN» and «SECRET GARDEN» curated by Indira Cesarine and «LIFEFORCE» curated by Kelsey and Remy Bennett.

In more traditional gallery spaces, Martin has blurred the distinction between the art object and the viewer, placing paintings on floors, ceilings, and displayed among household objects.»

Art Basel Miami Beach, with GAVLAK Los Angeles / Palm Beach, Miami, FL (catalogue) Ten Year Anniversary Show, Gavlak, Palm Beach, FL and Los Angeles, CA Re (a) d, curated by Ryan Steadman, Nathalie Karg Gallery, New York, NY The Valentine's Day Cardiovascular, Geoffrey Young Gallery, Great Barrington, MA Puente, KINMAN, London, UK 2014 The Go Between: Selections from the Ernesto Esposito Collection, Museo di Capodimonte, Naples, Italy Art Basel Miami Beach, Gavlak booth, Miami Beach, FL 100 Painters of Tomorrow: New York Exhibition, One Art Space, New York, NY Inaugural Exhibition, Gavlak, Los Angeles, CA The Armory Show, Gavlak Booth, Pier 94, New York NY Painting: A Love Story, Contemporary Arts Museum Houston, Houston, TX (catalogue) 2013 Art Basel Miami Beach, Gavlak Booth, Miami Beach, FL (catalogue) This is the Story of America, Brand New Gallery, Milan, Italy Rema Hort Mann Foundation LA Arts Initiative Auction, Hannah Hoffman Gallery, Los Angeles, CA Acid Summer, Curated by Matthew Craven, DCKT Contemporary, New York, NY All Fucking Summer, Gavlak, Palm Beach, FL Whitney Museum Art Party Benefit Auction, Whitney Museum of American Art, New York, NY MiArt2013, Gavlak Booth, Milan, Italy The Armory Show, Focus: USA, Gavlak Booth # 908, New York, NY (catalogue) Art Rotterdam, Office Baroque Gallery, Rotterdam, Netherlands My Echo, My Shadow, Gavlak, Palm Beach, FL 39 Great Jones, Galerie Eva Presenhuber, Zurich (catalogue) 239 Days, School of Visual Arts MFA Alumni Show, Allegra LaViola Gallery, New York, NY 2012 News From Chicago and New York City, Curated by Henning Strassburger, Fiebach Minninger, Cologne, Germany Time, After Time, Curated by ARTNESIA, Ronchini Gallery, London, UK (catalogue) SUNY New Paltz Alumni Show, Dosky Projects, Long Island City, NY What's the Point, Jen Bekman Gallery, New York, NY It's a Small, Small World, Curated by Marilyn Minter and Organized by Hennessy Youngman, Family Business, New York, NY The Virgins Show, Curated by Marilyn Minter, Family Business, New York, NY Just the Tip, SVA MFA Fine Arts Thesis Exhibition, Organized in Collaboration with Mike Egan, Visual Arts Gallery, New York, NY (catalogue) 2011 MFA Fine Arts Fall Open Studios, School of Visual Arts, New York, NY Sentimental Education, Gavlak, Palm Beach, FL Things Fall Apart, Curated by Asya Geisberg, Visual Arts Gallery, New York, NY Abstract Means, Curated by Richard Brooks, Visual Arts Gallery, New York, NY MFA Fine Arts Spring Open Studios, School of Visual Arts, New York, NY Celebrating 15 Years: Young Artists at Heckscher, Heckscher Museum of Art, Huntington, NY College Art Association New York MFA Exhibition, Hunter College / Times Square Gallery, New York, NY Vuu Collective W / S 2011 Show, K&K Gallery, Brooklyn, NY 2010 MFA Fine Arts Winter Open Studios, School of Visual Arts, New York, NY Emerge to be Seen, Westside Gallery, New York, NY Marks That Matter, Juried by Gillian Jagger, Muroff Kotler Visual Arts Gallery, SUNY Ulster, Stone Ridge, NY The New, Art (That Matters), Oyster Bay, NY New York Art & Culture Exhibition Series, Albany International Airport, Albany, NY 2009 No Girls Allowed: BFA Thesis Exhibition, Samuel Dorsky Museum of Art, SUNY New Paltz, New Paltz, NY Best of Show: 2009 Best of SUNY Exhibition, State University Plaza, Albany, NY 2008 Crit 3: Work from Students and Alumni of SUNY New Paltz, Curated by Kathy Goodell, Spencertown Art Gallery, Spencertown, NY Somewhere I Have Never Traveled, Smiley Art Gallery, New Paltz, NY Three, Smiley Art Gallery, New Paltz, NY SPECIAL PROJECTS 2013 Shinola x Andrew Brischler, Installation & Capsule Collection, Tribeca Flagship Store, New York, NY Converse Footwear for Publicolor, organized by Grey Area COLLECTIONS Norton Museum of Art, West Palm Beach, FL AWARDS AND HONORS 2015 Painting Fellowship, New York Foundation for the Arts

SELECTED GROUP EXHIBITIONS 2008 for what you are about to receive, Gagosian Gallery c / o Red October, Moscow Oranges and Sardines: Conversations on Abstract Painting with Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool, curated by Gary Garrels, Hammer Museum, Los Angeles, CA Painting Now and Forever: Part II, Matthew Marks Gallery and Greene Naftali Gallery, New York Not So Subtle Subtitle, curated by Matthew Brannon, Casey Kaplan Gallery, New York That social space between speaking and meaning, by Fia Backstorm, White Columns, New York God is Design, curated by Neville Wakefiled, Galerie Fortes Vilaca, San Paulo A New High in Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Bspace between speaking and meaning, by Fia Backstorm, White Columns, New York God is Design, curated by Neville Wakefiled, Galerie Fortes Vilaca, San Paulo A New High in Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Berlin Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, BerlIn Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, BSpace, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Berlin

Throughout the duration of the exhibition, her performers continuously enact a form of live installation in the gallery and the museum's outdoor spaces, bridging the conceptual and physical divide between performer and object, bystander and viewer, while addressing the ways in which dance and the spectacle of performance are presented in theatrical and exhibition contexts.

His installations have appeared at MoMA, New Museum, Whitney Museum of American Art, the Museum of Natural History, Chelsea Art Museum, Times Square, numerous galleries and clubs, and the incidental spaces in between.

Seated on a Victorian see - saw, the entire work slowly pivots in the gallery space, offering a metaphor for dialogue, balance and conflict, while symbolising the possibility of compromise and resolution between two opposing forces.

Since Ritchie exhibited «The Universal Adversary» at Andrea Rosen Gallery in 2006, his work has been included in numerous exhibitions including: the Venice Architecture Biennale; the Seville Biennale; the Havana Bienal; «Matthew Ritchie, The Iron City,» St. Louis Art Museum; «Wunderkammern» Museum of Modern Art, New York; «The Guggenheim Collection,» Guggenheim Bilbao, Spain; «Not For Sale» PS1, New York; «Confines,» IVAM, Valencia, Spain; «The Shapes of Space,» Guggenheim Museum, New York; «Between Art and Life,» San Francisco Museum of Modern Art; «The Kaleidoscopic Eye,» Mori Art Museum, Tokyo; «In the Beginning: Artists Respond to Genesis,» Contemporary Jewish Museum, San Francisco; «Experimental Marathon Reykjavik, Reykjavik Art Museum; «The Last Scattering, Phase Two,» London, «To the Milky Way by Bicycle,» Staatliche Kunstsammlungen Dresden, Germany; «The Architectural Imaginary in Contemporary Art,» Museum of Contemporary Art, San Diegin 2006, his work has been included in numerous exhibitions including: the Venice Architecture Biennale; the Seville Biennale; the Havana Bienal; «Matthew Ritchie, The Iron City,» St. Louis Art Museum; «Wunderkammern» Museum of Modern Art, New York; «The Guggenheim Collection,» Guggenheim Bilbao, Spain; «Not For Sale» PS1, New York; «Confines,» IVAM, Valencia, Spain; «The Shapes of Space,» Guggenheim Museum, New York; «Between Art and Life,» San Francisco Museum of Modern Art; «The Kaleidoscopic Eye,» Mori Art Museum, Tokyo; «In the Beginning: Artists Respond to Genesis,» Contemporary Jewish Museum, San Francisco; «Experimental Marathon Reykjavik, Reykjavik Art Museum; «The Last Scattering, Phase Two,» London, «To the Milky Way by Bicycle,» Staatliche Kunstsammlungen Dresden, Germany; «The Architectural Imaginary in Contemporary Art,» Museum of Contemporary Art, San Diegin numerous exhibitions including: the Venice Architecture Biennale; the Seville Biennale; the Havana Bienal; «Matthew Ritchie, The Iron City,» St. Louis Art Museum; «Wunderkammern» Museum of Modern Art, New York; «The Guggenheim Collection,» Guggenheim Bilbao, Spain; «Not For Sale» PS1, New York; «Confines,» IVAM, Valencia, Spain; «The Shapes of Space,» Guggenheim Museum, New York; «Between Art and Life,» San Francisco Museum of Modern Art; «The Kaleidoscopic Eye,» Mori Art Museum, Tokyo; «In the Beginning: Artists Respond to Genesis,» Contemporary Jewish Museum, San Francisco; «Experimental Marathon Reykjavik, Reykjavik Art Museum; «The Last Scattering, Phase Two,» London, «To the Milky Way by Bicycle,» Staatliche Kunstsammlungen Dresden, Germany; «The Architectural Imaginary in Contemporary Art,» Museum of Contemporary Art, San DiegIn the Beginning: Artists Respond to Genesis,» Contemporary Jewish Museum, San Francisco; «Experimental Marathon Reykjavik, Reykjavik Art Museum; «The Last Scattering, Phase Two,» London, «To the Milky Way by Bicycle,» Staatliche Kunstsammlungen Dresden, Germany; «The Architectural Imaginary in Contemporary Art,» Museum of Contemporary Art, San Diegin Contemporary Art,» Museum of Contemporary Art, San Diego.

One wonders if Weber and Stritzler - Levine realised just how far off the map they would go when independent institutional curator José Roca, a native of Colombia who now lives in Bogotá, agreed to take on the project.1 Inspired by a show of Andean chuspas — bags made from coca leaves — that would run simultaneously in the BGC Focus Gallery, Roca envisioned immersive environments in which the paradoxes, polarities and points of contact between diverse artistic practices are explored through the tropes of the river and weaving.2 The works themselves provide their own context as they interact with each other and viewers, who are given a minimalist illustrated pamphlet as their only guide to what they will encounter in the gallery Gallery, Roca envisioned immersive environments in which the paradoxes, polarities and points of contact between diverse artistic practices are explored through the tropes of the river and weaving.2 The works themselves provide their own context as they interact with each other and viewers, who are given a minimalist illustrated pamphlet as their only guide to what they will encounter in the gallery gallery spaces.

Fontana also saw that in a more concrete sense, as with Robert Rauschenberg's White Paintings of the early 1950s, a pure white surface could be a receptor for the movements of light and shadow in the gallery space, furthering his quest for direct interface between viewer and work.

In her 2005 Artforum essay «From the Critique of Institutions to an Institution of Critique,» Andrea Fraser scrutinized the distinctions between what is inside and outside of the gallery space, emphasizing the inquisitive approach artists working with the framework of institutional critique — Michael Asher and Daniel Buren to name a few — bring into exhibition spaces.

The framing and composition of Mackie's works in Painting the Weights are carefully controlled to create a dense but playful set of relations between the individual artworks and the gallery space itself.

The Space in Between, an exhibition featuring the work of Lynn Saville, was recently on display at the Photographic Resource Center at Boston University, and is now on view at the Atlantic Wharf's Waterfront Square Gallery in Boston through March 22, 2013.

Her work is currently on exhibit at Bates College Museum of Art («Back and Forth: the collaborative works of Dawn Clements and Marc Leuthold»), and has been included in numerous exhibitions including: «Paper» (Saatchi Gallery, London), «Ghost of Architecture» (Henry Art Gallery, Seattle), «Ballpoint Pen Drawing Since 1950» (Aldrich Contemporary, CT), «Making Room: The Space Between Two and Three Dimensions» (MassMoCA), «11th National Drawing Invitational: New York, Singular Drawings» (Arkansas Arts Center), «Contemporary American Drawing» (Xiang Art Museum, Sheng Zheng, China), and the Whitney Biennial 2010 (Whitney Museum of American Art, NY).

2004 Between the Lines, James Cohan Gallery, New York, NY Andererseits: Die Phantastik, Landesgalerie am Oberöterreichisches Lanedesmuseum, Linz, Austria It's a Wonderful Life: Psychodrama in Contemporary Painting, Spaces Gallery, Cleveland, OH Genesis: Gifts and Promised Gifts to the Permanent Collection, Intuit — The Center for Intuitive Outsider Art, Chicago, IL À corps perdu, abcd, une collection d'art brut, Pavillon des Arts, Paris, France Smart Collecting, Acquisitions (1994 - 2004), Celebrating the Thirtieth Anniversary of David and Alfred Smart Museum of Art, University of Chicago, Chicago, IL Die Zehn Gebote, Deutsches Hygiene Museum, Dresden, Germany Dopes, Dupes, and Demagogues: Viewed by Outsiders, Luise Ross Gallery, New York, NY

«A Cold War,» Jamison Carter's current solo exhibition, and his second with Klowden Mann, revisits dichotomous themes introduced in his 2013 solo exhibition with the gallery, in which he explored the tensions that exist between man's pervasive desire for advancement and the limitations of space - time.

The Lynden Sculpture Garden opened to the public in May 2010, and by choosing Inside / Outside as our inaugural theme, we hoped to initiate a dialogue between the new indoor gallery and the environment — both sculpture and nature — beyond its walls; to explore Lynden's transition from a private, domestic space to a public space; and to define Lynden's new position within the art community.

«Unenclosed by the usual rectangle,» writes Carter Ratcliff in his essay on Kelly's curved canvases, «Kelly's monochromes do not establish an impermeable barrier between pictorial space and the space of the gallery.

1995 Pasted Paper: Collage in the 20th Century, Louis Stern Fine Arts, Los Angeles, CA 25 Years: An Exhibition of Selected Works, Margo Leavin Gallery, Los Angeles, CA Between Reality and Abstraction: California Art at the End of the Century, Art Museum of South Texas, Corpus Christi, TX 1994 Balls, World Cup USA 1994, Newspace, Los Angeles, CA Twentieth — Century Drawings, Los Angeles County Museum of Art, Los Angeles, CA In Plain Sight: Abstract Painting in Los Angeles, Blue Star Art Space, San Antonio, TX Paintings of the 80's, RosamundFelsen Gallery, Los Angeles, CA Fractured Identity: Cut and Paste, Julie Saul Gallery, New York pen & ink, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA Fawbush Gallery, New York Very Visual Dialogue, Personal Journeys in Abstract Painting, Rancho Santiago College Gallery, Santa Ana, in the 20th Century, Louis Stern Fine Arts, Los Angeles, CA 25 Years: An Exhibition of Selected Works, Margo Leavin Gallery, Los Angeles, CA Between Reality and Abstraction: California Art at the End of the Century, Art Museum of South Texas, Corpus Christi, TX 1994 Balls, World Cup USA 1994, Newspace, Los Angeles, CA Twentieth — Century Drawings, Los Angeles County Museum of Art, Los Angeles, CA In Plain Sight: Abstract Painting in Los Angeles, Blue Star Art Space, San Antonio, TX Paintings of the 80's, RosamundFelsen Gallery, Los Angeles, CA Fractured Identity: Cut and Paste, Julie Saul Gallery, New York pen & ink, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA Fawbush Gallery, New York Very Visual Dialogue, Personal Journeys in Abstract Painting, Rancho Santiago College Gallery, Santa Ana, In Plain Sight: Abstract Painting in Los Angeles, Blue Star Art Space, San Antonio, TX Paintings of the 80's, RosamundFelsen Gallery, Los Angeles, CA Fractured Identity: Cut and Paste, Julie Saul Gallery, New York pen & ink, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA Fawbush Gallery, New York Very Visual Dialogue, Personal Journeys in Abstract Painting, Rancho Santiago College Gallery, Santa Ana, in Los Angeles, Blue Star Art Space, San Antonio, TX Paintings of the 80's, RosamundFelsen Gallery, Los Angeles, CA Fractured Identity: Cut and Paste, Julie Saul Gallery, New York pen & ink, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA Fawbush Gallery, New York Very Visual Dialogue, Personal Journeys in Abstract Painting, Rancho Santiago College Gallery, Santa Ana, in Abstract Painting, Rancho Santiago College Gallery, Santa Ana, CA

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.

In between exhibitions, Dürst Britt & Mayhew will invite makers from other cultural fields to activate the gallery space through for example dance, theatre, literature, music or fashion.

And finally, in the show's namesake, «The Velocity of Change» (2015), which appears directly on the right wall as one enters the gallery, the intervals of white space between the clearly defined, occasionally fractured sets of colored wedges simultaneously pause and accentuate the rhythmic momentum within the mural.

Kavi Gupta Gallery is pleased to present a solo exhibition of new work by Clare Rojas entitled Spaces in Between.

NEW YORK, NY, September 8, 2011 — C24, a new gallery dedicated to presenting outstanding contemporary art from beyond the usual circle of U.S. and European cities, celebrates its opening, inaugurating a bi-level, 9,000 - square - foot space at 514 West 24th Street, between Tenth and Eleventh Avenues in New York City.

The StART Up Art Fair «s Selection Committee, stalwarts of the Southern California scene, seemed to accept the difference between typical art / craft fair staples and what some of us look for in our museums, galleries, alternative spaces, and studio visits with equanimity in the process of the selection of artists.

According to the info posted on her previous gallery's website, Wanklyn «has long been interested in the relationship between form, shape, space, the limitation of the canvas surface, the idea of speed and the mechanism of memory.

Shot on several of the Museum's floors, the videos reveal the artist as she moves and dances alone through the building, camouflaging herself in the empty gallery spaces during the transition period between exhibitions.

Through installed video performances Wyman explores the interrelationships between fiction and reality, by presenting virtual space within the screen in association with actual objects / bodies located in the gallery.

In their juxtaposition, Shore II and Signal illucidate the dynamic relationships created between the sculptures, the viewer and the exhibition space; it is particularly significant in this context given that these works are the first to be shown in the gallery's new locatioIn their juxtaposition, Shore II and Signal illucidate the dynamic relationships created between the sculptures, the viewer and the exhibition space; it is particularly significant in this context given that these works are the first to be shown in the gallery's new locatioin this context given that these works are the first to be shown in the gallery's new locatioin the gallery's new location.

Recent group exhibitions include Folly, EMALIN, Stirling, Scotland, UK, 2016; National Gallery 2: Empire, CHEWDAY»S, London, UK, 2015; Summertime, Gallerist, Istanbul, TR, 2015; Pre-Pop to Post-Human: Collage in the Digital Age, Hayward Gallery, London, UK, 2015; Breeze, Deweer Gallery, Otegem, BE, 2014; Between the lines, Galería Agustina Ferreyra, San Juan, PR, 2014; Display, University of Connecticut Contemporary Art Gallery, Connecticut, US, 2014; La Chose Encadree, Glasgow International, Scotland, UK, 2014; Comrades of Time, curated by CHEWDAY»S, Cell Project Space, London, UK, 2013; CHEWDAY»S Bar, CHEWDAY»S, Berlin, DE, 2013; and Desire, Yancey Richardson Gallery, New York, US, 2013.

In September 2013, Catharine Clark Gallery moved to a newly renovated space at 248 Utah Street between 15th and 16th Streets in San Francisco's Potrero Hill neighborhooIn September 2013, Catharine Clark Gallery moved to a newly renovated space at 248 Utah Street between 15th and 16th Streets in San Francisco's Potrero Hill neighborhooin San Francisco's Potrero Hill neighborhood.

Be it the rebound of the real estate market, continued financial hard - luck of Gen - Y» ers or the proclivity of New York City to run on pretension, permanent project spaces and artist - run galleries remain few and far between in the Big Apple.

SFMOMA's presentation — the largest on the tour in terms of gallery space and number of works — is overseen by Garrels and will be augmented with 10 of the artist's earliest sculptures from the 1960s, underscoring the vital connection between the processes of sculpting and drawing in Serra's art.

Exhibitions that Stephanie has curated include One, Another, 2011, at FLAG; Losing My Religion in Young Curators, New Ideas IV, Meulensteen Gallery, New York, NY (2012); and Space Between, co-curated with Louis Grachos at FLAG (2015).

Close to Lambeth Bridge, Newport Street's sleek, White Cube style space stands midway between the galleries founded by Hirst's dealer Jay Jopling in Bermondset in 2011 and his former patron Charles Saatchi in Chelsea in 2008.

In the last decade, the Museum's second floor galleries have alternated between showcasing Noguchi's original installation of the gallery spaces and exhibitions highlighting Noguchi's work through the lens of his contemporaries and teachers, specific genres of his production, and his working process.

For his debut at Blaffer Art Museum, the artist's first solo museum exhibition, Coolquitt will recombine 60 discrete sculptures and tableaux made between 2006 and 2011 into a site - specific installation which, in its singularity and temporariness, reflects on the condition of the gallery space as a codified place of encounter for people and works of art.

MELODRAMA is an exhibition in two acts taking place between Luxembourg & Dayan's London and New York gallery spaces.