While architecture exhibitions have a tendency to be drab affairs with poorly displayed poster boards and reams of intellectualized text spouting pseudo-complex ideas, the Chicago Architecture Biennial stands out for its undeniable sense of playfulness.
Not exact matches
It features a two - room layout that preserves many aspects of its historic use and distinctive
architecture,
while updating the space with contemporary
exhibitions.
While highlighting works by some of the most celebrated Japanese print artists from the 18th and 19th centuries, this
exhibition also offers insight into this source of inspiration for Wright's
architecture.
The first US solo
exhibition of Guadalajara - based artist Luis Alfonso Villalobos features painting, video, and installation that opens an inquiry into the functions of
architecture and art,
while also expanding...
The first US solo
exhibition of Guadalajara - based artist Luis Alfonso Villalobos features painting, video, and installation that opens an inquiry into the functions of
architecture and art,
while also expanding into ideas of history and place.
Commemorating one of the earliest documented moments of cross-cultural exchange between Japan and the West, this
exhibition will unveil a new series by revered photographer Hiroshi Sugimoto
while also juxtaposing his monumental black - and - white photographs of early modern European art and
architecture with traditional Japanese artworks.
While our first exhibition Architecture as Muse: The Grand Tour featured architectural subjects that artists encountered while traveling abroad, our newest iteration in the series turns its attention to the dynamic and eclectic architecture of the United St
While our first
exhibition Architecture as Muse: The Grand Tour featured architectural subjects that artists encountered
while traveling abroad, our newest iteration in the series turns its attention to the dynamic and eclectic architecture of the United St
while traveling abroad, our newest iteration in the series turns its attention to the dynamic and eclectic
architecture of the United States.
By placing each fragment against opposite walls of the gallery so that the front half appears from one wall,
while the back disappears into another, Paolini not only destroys the object quality of the sculpture but in doing so creates an installation which calls attention to the
architecture of the particular
exhibition space.
Fowler's walls are at once
architecture, a sculpture, an
exhibition space, an object, and a subject,
while Rees's paintings are simultaneously performative site - specific installations and painterly objects that are tethered to the gallery space and the temporality of the show.
Tatiana Trouvé is well known for the large - scale spatial installations integrated with
architecture and her paintings,
while Laure Prouvost mainly works on video and immersive installations combined with video.The
exhibitions are named for the titles of their works: «The Sparkle of Absence» is from Trouvé's conceptual series, consisting of works that have never been materialized and that are only in the existence of titles; «Into All That Is Here» comes from the latest work of Prouvost's most representative series «Granddad».
In conjunction with the
exhibition architect and draughtsman, Benedict O'Looney is running sketching tours of buildings by Shaw and his followers local to the RA — so you can learn about Shaw's
architecture while trying out some of his stunning techniques!
This
exhibition traces the evolution of his practice across each of its major stages,
while asserting ongoing themes, most notably, the changing relationship of the individual to society as filtered through American mass media and
architecture at the end of the 20th century.
Santos plays with the
architecture of the
exhibition space to reflect on the particular conditions of being an artist temporarily displaced from her customary work space,
while she also considers the evolution of her work in a hand - drawn map for a new website.
While there he held his solo
exhibition in Stedelijk Museum, Amsterdam (Nov - Dec 1934), and designed the large Fair in Utrecht (March 1935) for Dutch Rayon Industry, the manufacturers of artificial silk, which offered a new approach to
exhibition architecture and which, a year later, found its continuation in the Courtauld Exhibit at the Industrial Fair in London.
The
exhibition Béton (Concrete) emphasises the perpetually modern aspect of this material,
while shining light on the social and ideological implications of past concrete
architectures at the same time.
This
exhibition will provide a rare opportunity to experience two large - scale presentations by Flavin and Judd that demonstrate both artists» unique ability to unify form and material
while incorporating — through their deliberate installation and use of light and color — the surrounding
architecture into the perception of the works themselves.
The inaugural
exhibition of significant large - scale works by Flavin and Judd will showcase the versatility of the building's innovative
architecture,
while initiating the gallery's ambitious program.
Titled «
While We Wait,» the
exhibition investigated the possibility of erecting a meditation space combining innovative stone design and evoking the vernacular
architecture in the Cremisan Valley, a lush patch of land wedged between the West Bank and Jerusalem.
While the
architecture influences
exhibition making, it's definitely not the only factor.
While Cuadra San Cristóbal is as a mecca for
architecture buffs as well as a popular location for photo shoots, this is the first time the landmark is being used as an
exhibition space.
Comprising approximately 60 prints from the MoMA collection that were included in the 1938 book or
exhibition, the installation maintains the bipartite organization of the originals: the first section portrays American society through images of its individuals and social contexts,
while the second consists of photographs of American cultural artifacts — the
architecture of Main streets, factory towns, rural churches, and wooden houses.