Sentences with phrase «such installations feature»

Not exact matches

The destination festival will also feature live, in - ring matches with WWE ®'s NXT ® Superstars, as well as interactive experiences and art installations such as Big Bully, artist autograph signings at the Monster Energy Hospitality Rig, theMonster Energy viewing area with beverage sampling, The Crazy Dave's Music Experience, Jack Daniel's Experience, Jäger World, It's Miller Time VIP Lounge, Zippo Music Experience and more.

The stroller comes with useful and essential features such as the 5 - point safety harness system, one - hand harness adjustment facility, push - button release, and a 4 - position push - button height adjustable base with level indicators for easy installation.

It has awesome features such as the European belt path, which allows for a solid installation without the base, as well as a load leg, which is designed to absorb some of the impact if you were in a frontal collision.

It surprisingly takes an international film community (coin coming from several sources) to keep Palme d'Or winner Thai Joe (Uncle Boonmee Who Can Recall His Past Lives) in business of feature filmmaking but it takes very little to motivate him as an artist: his generous output is visible in art installations, short films, to medium - sized items such as Mekong Hotel.

The short term solution would include, the installation of certain features within the lavatory, such as assist handles, accessible call buttons, and other accessible controls.

Like the BMW 3 Series Touring, it can be equipped exactly as required with special features such as a warning light, LED identification lights or control of a signalling installation via the operating system BMW iDrive fitted as standard.

A lot of effort has also gone into features such as the suspension system and engine installation to ensure high - class comfort.

Also, the current video is a continuation of the last video that depicted the Leaves system of working and goes to shed more light into a lot of things such as 3rd party application installation, portrait mode, application launching, pinch - to - zoom feature on the browser, automatic re-alignment in the browser when you zoom and so on.

Unfortunately for some, the VA says, «Installation of features such as barbecue pits, swimming pools, etc., does not meet this requirement.»

It has a number of useful features, such as an automatically closing door and the option of hardware installation.

Steam provides the user with installation and automatic updating of games on multiple computers, and community features such as friends lists and groups, cloud saving, and in - game voice and chat functionality.

The Armory Show (New York) features over 200 international galleries and shows both 20th and 21st century artworks in a primary gallery show as well as several areas of the show that feature more specific themes such as 20th century work, recent work from emerging artists, and large - scale installation artworks.

Comprised of two separate videos, «Ringtone» and «Geisha Song,» the installation features the artist's signature style of using inanimate objects, such as ventriloquist dummies, paper dolls and finger puppets in staged photographs and film to objectify people and express a blend of psychological, political and conceptual ideas.

The exhibition which opened on Sunday at Shanghai's contemporary art museum features over 300 paintings, photographs, screen prints, drawings, 3 - D installations and sculptures including iconic works such -LSB-...]

The first part, MANIC / LOVE, featured Wolfson's most recent large scale animatronic installation Colored sculpture (2016), whose red hair, freckles, and boyish look draw associations with such literary and pop cultural characters as Huckleberry Finn and Howdy Doody.

She studied at the Byam Shaw art school and then the Slade, going on to create performance pieces such as Under Siege, and video installations such as Corps Étranger, featuring the footage shot inside her body; the latter earned her a 1995 Turner prize nomination.

Artists from Istanbul represented in Double Crescent are Hale Tenger, whose edgy assemblage works, addressing issues of gender and identity, have been exhibited at the biennials in Saõ Paolo, Johannesburg and Istanbul; Ali Kazma, whose powerful videos of people at their occupations have been shown at the Istanbul Biennial; Ayşe Erkmen, whose witty architectural interventions have been featured at Art Basel, the Hamburger Bahnhof and the Sharjah Biennial; Gülsün Karamustafa, a multimedia artist whose research - based installations on subjects such as nomads and refugees have been shown at Documenta, the Salzburger Kunstverein and the Walker Art Center and Nazım Ünal Yılmaz whose large - scale figurative paintings have been exhibited at the Kunsthaus Stade in Germany and Contemporary Istanbul.

Hobbs creates installations in living spaces such «Alarmist (Motel 6)» that features a tent and objects hoarded by a survivalist; or, the room with walls clad in gold metallic sheets that features the iconic refreshment tables found at high school proms in «Prom Forever.»

Focusing on Attia's theories on the cycle of injury and repair, and how such actions are inextricably linked, the installation will feature works that address the legacy of European colonialism, the role that the imposition of Christianity played in the development of non-Western societies, and «the relationship between the political and the intimate,» as Attia notes.

The exhibition will feature paintings, mixed media sculptures, and interactive installations by 50 of the most dynamic artists and will emphasize Los Angeles's role in the evolution of graffiti and street art, with special sections dedicated to seminal local movements such as cholo graffiti and Dogtown skateboard culture.

The main feature of Building 6 will be its blend of long - term installations, changing exhibitions, and collaborations with artists such as James Turrell, Jenny Holzer, and Anderson, as well as the Robert Rauschenberg Foundation, the estate of Gunnar Schonbeck, and the Louise Bourgeois Trust.

Recently her installations have staged domestic environments, such as a series of bedrooms produced over the past year featuring beds that have been transformed into sound sculptures through the insertion of speakers.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

The exhibition, entitled Painting the Weights, consists of an extraordinary installation that features such diverse elements as watercolours, photographs and ceramics, as well as found materials that range from mineral specimens to plastic beer crates.

This comprehensive look at Van Dyck's portraits featured approximately 100 works by the artist, including a special installation of his portrait print series Iconographie, galleries dedicated to portrait drawings, and a selection of comparative works by contemporaries such as Rubens, Jordaens and Lely.

This is apparent in installations such as Sale A Way or Security Detail that feature slouched and hanging components.

Included alongside such signature artworks as Sigmar Polke's Mrs. Autumn and Her Two Daughters (1991) are major acquisitions on view here for the first time, including Ericka Beckman's You The Better, Film Installation (1983/2015), Adrian Piper's The Mythic Being: Sol's Drawing # 1 — 5 (1974), and Renée Green's Bequest (1991), among other featured pieces...

The exhibition features a series of sculptures and a large - scale, immersive installation fashioned from intricately reconstituted street materials, such as yellow and red «caution» tape, construction tarps, garbage bags, discarded hub - caps and debris netting.

These possibilities included engaging the floor, ceiling and corners of the exhibition space; taking advantage of architectural features such as doorways and moldings; fencing off segments of the exhibition space with «barriers» of light; and, by the time of his 1969 retrospective at the National Gallery of Canada, developing special installations, or «situations,» consisting of specially constructed architectural spaces containing room - filling light.

In addition to the culinary artistry, Lockbox features site - specific installations such as Tomorrow's Weather, Bigert & Bergstrom's multi-media installation.

Alongside these, more meditative areas will feature examples of Holzer's best - known work, such as her renowned engraved stonework, as well as new installations using black mondo grass

Under her direction Artpace experienced unprecedented growth, transitioning from a private operating foundation to an IRS - classified public charity and featuring more than 70 site - specific installations by artists such as Christian Jankowski, Ann Sofi Siden, and Do - Ho Suh, to name a few.

The exhibition also includes a broad range of drawings and collages, and more recent, immersive installations featuring such materials as commercial advertising posters, large - scale photographs, films, and books.

Often, the final compositions are exhibited as art objects — such as photographic prints and video installations — while others exist in a real - time software context, such as «Rainbow Aggregator» (2013) which will be featured at the fair.

Complex and playful installations of paintings, sculptures and videos feature a cornucopia of imagery, brought together from such diverse sources as Old Master paintings, slapstick cartoons, anthropomorphized animals, and pop iconography from the 1960s and 70s.

The exhibition features a broad variety of artistic media, such as videos, sculptures, paintings, photos, installations with light, wallpaper and performance.

Currently, the semi-permanent exhibition features 173 works — paintings, sculptures, installations, and photographs — by 20th and 21st century artists such as Georges Braque, Pablo Picasso, George Grosz, Fernand Léger, Piet Mondrian, Marcel Duchamp, Marc Rothko, Roy Lichtenstein, Andy Warhol, Cy Twombly, Michelangelo Pistoletto, Joseph Beuys, Cindy Sherman, Thomas Schütte, Louise Bourgeois, and Glenn Ligon, among many others, thus spanning over one hundred years of European and American art.

This new catalogue on legendary appropriation artist Elaine Sturtevant (born 1930) features 30 works, ranging from her repetitions of works by artists such as Andy Warhol, Marcel Duchamp, Jasper Johns and Felix González - Torres, to four of her most recent large video installations.

This companion volume to the artist's largest exhibition to date is a feast taken from countless visual documents of Kelley's early formation, such as his involvement with the experimental band Destroy All Monsters (DAM), which also featured Jim Shaw, Cary Loren, and Niagara (born Lynn Rovner) in 1973 while Kelly and Shaw were students at the University of Michigan in Ann Arbor; early performative sculptures and objects; drawings; paintings; handmade dolls and stuffed animal sculptures; photography; videos; and endless inventive installations in various forms and shapes that explore and deal with the themes of self - destruction, repression, class relations, sexuality, religion, politics, and whatever else lies between the grotesque and the sublime, the sacred and the profane.

From there we set off for the Chi K11 art space, featuring three exhibitions spanning thirty thousand basement - level square feet: media installations by Guan Xiao, sculptures by Neïl Beloufa, and the touring «Hack Space,» a group show curated by Hans Ulrich Obrist and Amira Gad that brings together artists such as Cao Fei, Firenze Lai, and Simon Denny.

As well as feature - length films, including Sleepless Nights Stories (2011), in recent years his film installations have been shown in institutions such as moma ps1, New York (2007), and Museum Ludwig, Cologne, Germany (2008).

The Gallery of Everything is just such an idea: a one - off installation featuring two 20th century masters whose work has been overlooked by most contemporary art institutions, collectors and curators.

In a wide range of feature films, meditative documentaries and art installations, he has consistently traversed challenging subject matter such as migration, economics, visual representation, homophobia and racism.

The BP walk - through also includes several major ArtFunded works, such as Jake and Dinos Chapman's satirical - ethnographic room of wooden carvings The Chapman Family Collection and Susan Hiller's installation Dedicated to the Unknown Artists, which features 14 panels and over 300 postcards.

The exhibition features a variety of mediums such as sculpture, textile works, photography, painting, drawing, printmaking, video, performance, and installation.

The reinstallation will feature iconic masterworks and present recent acquisitions across departments, including artworks never on view before at the High, such as Kara Walker's monumental cut - paper installation «The Jubilant Martyrs of Obsolescence and Ruin» and paintings and sculptures from the 2017 Souls Grown Deep Foundation acquisition of folk and self - taught art.

The Chicago installation also features a number of pieces from local artists such as Roger Brown, Danny Sotomayor, Israel Wright Jr., Patric McCoy, Judy Chicago, Arch Connelly, Michael Qualls, Rosalind Solomon and Robert Blanchon.

His installations and sculptures focus on the connection between humans, technology, and nature, often featuring hard - to - curate elements, such as bees, ice, and dogs.

Santiago Sierra's performances, installations and interventions have been featured internationally at venues such as Ikon Gallery, P.S. 1 / MoMA, Museo Rufino Tamayo, the Irish Museum of Modern Art, the Museo Nacional Centro de Arte Reina Sofia, the ICA (London), and the Sharjah and Moscow biennials.

Ranging from video performances to feature length dramas, from documentaries to art films each respond to different aspects of Konrad Smoleński Installation «One Mind In A Million Heads» such as the body in relation to the environment, sound as material, or the structural configurations that can be found in both architecture and film.