Sentences with phrase «actual installation of a work»

Since 1977 I have installed all of the solo exhibitions that I have had, and I have usually been involved in the actual installation of a work in any group show, if it occurred in a city in which I was living.

From what Dan tells us of the actual installation of the work, a bold setting is to be expected.

Not exact matches

As A.i.A. senior editor William S. Smith pointed out in his essay on Michael Heizer (whose 1970 installation Actual Size: Munich Rotary is on view at the Whitney Museum of American Art through April 10) our April issue, «Land art was photogenic out of necessity... images produced in tandem with the construction of giant earthworks could greatly expand the works» aesthetic and conceptual range.»

The work's position in front of the actual entryway was especially thoughtful, giving Double Exit new meaning as an installation.

Formed, in part, from remnants of the actual editing desk where the work was made, Timekeeper doubles as sculptural installation and as functional tool: a projector of itself.

His most well - known body of work, The Vesper Project, an installation of sculpture and painting, displayed within the reconstructed walls of an actual 19th century historic houseexemplifies Kaphar's interest in historical memory and reconstructed narratives.

Equally, she is conscious of the tension between artistic and industrial or productive labour, making the point most recently with the installation demo at her 2016 — 17 Kunsthalle Zurich show, where her work was combined with the actual demolition and construction being carried out in the building, which could be watched from a viewing platform that the artist constructed.

Through photographs, video, and installation, actual light and representations of it appear in the work of over 20 artists ranging from Dzine and Deborah Kass to Jorge Pardo and Pipilotti Rist.

Of key importance for all of his exhibitions is the actual staging of the experience — ranging from the design of the space and installation, the conceptualization of the catalogue and related programming, to the attention paid to the performance of the work itselOf key importance for all of his exhibitions is the actual staging of the experience — ranging from the design of the space and installation, the conceptualization of the catalogue and related programming, to the attention paid to the performance of the work itselof his exhibitions is the actual staging of the experience — ranging from the design of the space and installation, the conceptualization of the catalogue and related programming, to the attention paid to the performance of the work itselof the experience — ranging from the design of the space and installation, the conceptualization of the catalogue and related programming, to the attention paid to the performance of the work itselof the space and installation, the conceptualization of the catalogue and related programming, to the attention paid to the performance of the work itselof the catalogue and related programming, to the attention paid to the performance of the work itselof the work itself.

Boys» Quarters Project Space is made up of two small gallery spaces, a reading room and Ken Saro - Wiwa's actual office which is now a miniature museum site hosting projected photographic and video installation works relating to Ken's personal life and international legacy.

Other images, unlike most of Johan's past work, were created as final installations at the actual locations, or as complete sets built in the studio, and were therefore not digitally composed.

Part 3 — Michael Heizer, Actual Size: Munich Rotary — from March 25 to April 10 Michael Heizer (b. 1944), renowned for his large scale earth works and landscape interventions, will present his iconic installation «Actual Size: Munich Rotary», realized in Germany in 1970 and composed of six black - and - white glass slide projections, six custom - made steel projectors, and six steel pipes with wood platforms.

«Nothing in this arrangement is his actual work, he is merely showing what is possible in the arts,» he said, referring to an installation in corner of the gallery.

Working across various mediums, from paintings and comic - style drawings to sculptural installations, photographs, and videos, the artist conflates actual and imagined events from African - American history, integrating a range of stylistic influences to address the limited historiography of black art.

Kan Xuan's Kū Lüè Er, an installation consisting primarily of landscape photos taken on a mobile camera, seems like an afterthought for the actual work — a project proposal for a five - month research trip to Central Asia.

Combining works of the imagination with rare examples of actual «surreal» houses, the exhibition presents a diverse range of paintings, photographs, films, models and installation from public and private collections in Britain, Europe, Canada and the United States, many rarely seen in the UK.

Hirschhorn's mastery isn't with craft or object making, but he infuses a sense of wonder and play into his installation that enables the viewer to project past the actual physicality of the work.

In addition to her interior installation of all new works, this exhibition features in the Courtyard of the gallery, «Rose III,» an 8 - meter tall sculpture, modeled after an actual flower Genzken chose and sent to the foundry.

This open - hearted and stimulating interchange was organized around three themes: the conceptual process that led up to the new installation plan and its outcomes regarding questions of narrative, chronology and mediation; the plan itself and the choices that have been made regarding possible clusters of works and themes, as well as the actual works to be displayed; and, finally, the position of the Stedelijk Museum in the contemporary debates surrounding the canon, curatorial strategies, the relationship between fine art and visual culture, and the influence of non-museological display formats on museum practice.

Philippe Parreno (born 1964) is interested more in the dynamics of how a work of art is shown to the public than in its actual production, and in his films, installations, performances and texts, he subverts the codes normally applied to exhibition spaces.

In a time when the artist may remain uninvolved in the actual creation of the work and the concept is more important than either the model or the process of creation, this installation emphasizes craft and taking your models seriously.

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