Sentences with phrase «against white gallery»

The small works, which appear against white gallery walls, create the illusion that they've splintered from the ground.

huber.huber's bubble machine spews black paint against the white gallery floor, alluding to the regulation of creativity by technology.

The collective effect of the pieces, displayed against white gallery walls, is one of calm.

Not exact matches

Arlen Austin (b. 1981, Winooski VT), has worked on an uncompensated or below minimum wage basis for: Columbia University School of the Arts, Scaramouche Gallery, Chinese Staff and Workers» Association, Brooklyn is Burning, Public Art Fund Development Grant, Daniele Ugolini Contemporary, National Mobilization Against Sweatshops, Lower Manhattan Cultural Council, Mole Vanvitelliana, Ancona, Sweatshop Free Upper West Side, Volta NYC, Creative Time / Queens Museum, 6 - 9 Months Project Space, Fischer - Landau Center for Contemporary Art, Barefoot in the Head at Bruce High Quality Foundation, White Box and Frederich Petzel Galleries.

It emphasises that the works of our time do not have to be seen against the institutional background of a museum, or the white cube of a gallery, but can be seen in relation to time and the elements.

Accompanied by Bove's own monumental sculpture, Cretaceous (2014), an ancient, four - metre chunk of petrified wood bolted directly to an I - beam, the works are seen against white walls, with sunlight flooding in through the skylights of the gallery — a fitting homage to Scarpa in more than one way.

The Artist and the Model, a portfolio of twelve intaglio prints, is published by Sylvan Cole at Associated American Artists, New York; receives a Tamarind Artist Fellowship and travels to the Tamarind Lithography Workshop in Los Angeles, where he produces thirty - four editions of primarily black - and - white lithographs that continue the Artist and the Model theme; begins using the airbrush, which he had learned from the artist Billy Al Bengston while at Tamarind; sees the exhibition Edgar Degas: Monotypes at the Fogg Art Museum and subsequently begins making monotypes; in Boston co-founds Artists against Racism and the War and collaborates with Fred Stone on The American Way Room (fig), an antiwar installation piece that is shown throughout the Boston area and subsequently travels to New York, Atlanta, Syracuse, and Philadelphia; solo exhibitions: Associated American Artists, New York (The Artist and the Model); Comsky Gallery, Los Angeles; group exhibitions: Contemporary American Graphic Artists, Rijksakademie van Beeldende Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking, National Collection of Fine Arts, Washington, D.C. (travels in Germany and Belgium); 16th National Print Exhibition, Brooklyn Museum, New York; Annual Exhibition, Whitney Museum of American Art, New York; Graphics» 68: Recent American Prints, University of Lexington, Kentucky.

A total of 14 black and white photographic works, framed in white and unmatted, and hung against cream colored walls in the main gallery space, the smaller side room, and the entry area.

This exclusionary posture can also bleed over to black collectors dealing with white galleries where they're coming up against a situation where they're told in an unsolicited way, «We don't offer discounts,» You know, certain things they say specifically to these black collectors which exclude and dismiss them.

Also included is a work from 1969 in which lengths of braided stainless steel wire form a horizontal sequence of five subtly - reflective squares, mounted flat against the wall; and Untitled (Eight - part Vertical Construction), 1992, a composition of black, gray, white, and red lengths of yarn stretched vertically between floor and ceiling in perpendicular and parallel configurations that relate to the surrounding walls of the gallery.

From a distance this piece is an abstract composition of grays and blacks against a white background, but closer inspection reveals multiple series of images (some depicting the same subjects as in the upstairs gallery) each printed in the form of a postage stamp from an undeclared country.

Viewed against the white wall of the gallery, shape and volume are foregrounded, recalling the socially acute minimalism of Rachel Whiteread's «Ghost House».

Meanwhile, across the street at Tanya Bonakdar Gallery, ghostly shadows doubled and tripled against the walls of chapel - like, white - cube rooms as guests passed before projected lights chiseled by Olafur Eliasson, who appeared a bit more grizzled than usual and slightly dazed by the commotion around him.

In the Main Gallery, Untitled (Unfold), a group of 6 large white aluminum panels lean against the walls and lie on the floor.

In a blatant statement against the popular Abstract Expressionist movement dominating the NYC art scene at the time, Rauschenberg exhibited his 1951 White Paintings at Stable Gallery in 1953.

Sprawling across two gallery walls, the monumental black - and - white installation contains traces of markings typically found in Rodriguez's abstract work: solid rectangles juxtaposed against flattened transparent forms and ghosts of rectangles hovering in the distance.

Mark Rothko's No 1 (1957) at Helly Nahmad Gallery With a rectangle of marmoreal white floating against a blood - red background, this smallish powerhouse of a Rothko can not be ignored.

Indeed, his «Night Square» painting of 1951 with white, squiggly lines against a black background, not included in the show, was a two - dimensional stylistic precursor of the late almost 3 - dimensional works A run through the museum's other galleries after viewing the exhibition comes as a shock as few of de Kooning's fellow Abstract Expressionists seem to be in the same league as the paintings here.

Yet, stripped of context, they also appear vulnerable and naked, awkwardly exposed against the white walls of the gallery.

A barefooted Mutu, dressed in a long black dress and matching gloves, strolled into Pace Gallery, and for a few minutes stood silently reaching into a basket and throwing a sticky black pulp against a white wall.

On the other two walls of the main gallery, which are painted a customary white, there is an oil painting of blue balls on a white field, «Bloobs» (2014) by Mathew Cerletty; a loopy, oddly affecting drawing, «Untitled (shit)» (2011) by David Shrigley, of concentric circles emanating from the word «shit»; Vern Blosum's «Off The Hook» (2015), a larger - than - life - size graphite drawing of a vintage payphone with its receiver dangling, appropriately, off the hook; and Emily Mae Smith's «The Studio (Science Fiction)» (2015), which depicts the split halves of an eggshell hovering above a flying saucer / fried egg, the edge of its white perimeter forming the words «THE STUDIO» against the starry blackness of outer space.

These sculptures, made from stone and welding steel, are juxtaposed against gestural works hung on the stark white walls of the gallery.

The gallery window stops onlookers by showcasing Bad idea a sculpture of a polar bear, covered in white feathers, smashed flat against the glass: it is not clear if the polar bear is running away from something terrifying or if it is falling as a consequence of an audacious dance move.

Black and White, Mostly — Hiram Butler Gallery, Houston, TX The Grant and Peggy Reuber Collection of International Works on Paper — McIntosh Gallery, London, ON Local History: Enrico Castellani, Donald Judd, Frank Stella — Dominique Lévy Gallery, New York City, NY Local History: Castellani, Judd, Stella — Dominique Lévy Gallery — London, London In Living Color: Andy Warhol and Contemporary Printmaking — Joslyn Art Museum, Omaha, NE Taking A Stand Against War — Lehmbruck Museum, Duisburg Alois Breyer, El Lissitzky, Frank Stella: Wooden Synagogues — Tel Aviv Museum of Art, Tel Aviv Love Story — Sammlung Anne & Wolfgang Titze — Schweizergarten, Vienna Modernism from the National Gallery of Art: The Robert & Jane Meyerhoff Collection — The de Young Museum, San Francisco, CA Openness And Clarity: Color Field Works From The 1960S And 1970S — Honor Fraser, Los Angeles, CA Summer Group Exhibition: Part I — Van Doren Waxter, New York City, NY The Shaped Canvas, Revisited — Luxembourg & Dayan, New York City, NY Calculated Abstractions — Hard - Edge Prints — UB Art Galleries — University of Buffalo, Buffalo, NY Solidaridad Y Resistencia.

Trouvé extended his aesthetic further into slabs of cut glass titled Baroque Broken Lines (2010) that leaned in different heights against the gallery's white wall.

Illuminating in the main gallery was the juxtaposition of Fernandez's white square reflecting floor sculpture against Morris's steely gray but gently circular wall piece, titled Observatory (1972).

Against the gallery's white walls, the sculptures resemble drawings with black pen on paper that have come to life to claim a three - dimensional existence.

Baechler is at home in the play of black against white, and there are some glorious whites in these galleries: chalky, creamy, hoarfrost tinted.

Filmed in black and white against a seamless studio backdrop in the style of French musical television productions from the mid-1960's, «Hors - Champs» is on the one hand nostalgic in the way it pays homage to a powerful but yet obscure art form, while on the other it is vibrant as it stretches the limits of what we expect to see in an art gallery.

1996 Against, Anthony D'Offay Gallery, London, UK The Damien Hirst Collection, Quo Vadis, London, UK Joo, Sheward & White, Wigram, The Post Office, London, UK Patrick Painter Editions, Bloom Gallery, Amsterdam, NL

Postcards From The Edge, Metro Pictures, New York, US New York / New Drawing 1946 - 2007, Museo de Arte Contemporáneo Esteban Vicente, Segovia, ES Monuments With A Horizon Line II, Buchmann Galerie, Berlin, DE Desenhos [Drawings]: A-Z, Museu da Cidade, Pavilhão Preto, Lisbon, PT The Porn Identity, Kunsthalle Wien, Vienna, AT A Bit of Matter And A Little Bit More, screening Performatik 09, Cultuurcentrum Strombeek and Performatik, Brussels, BE Regift, The Swiss Institute, New York, US Cut & Paste, Galleri Susanne Ottesen, Copenhagen, DK Down To Earth (Ceramics), Cultuurcentrum Strombeek, Grimbergen, BE Double 40 Jahre Kabinett für Aktuelle Kunst, Bremerhaven, MMK, Frankfurt, DE The First Stop on the Super Highway, Nam June Paik Art Center, Gyeonggi - do, KR Feedbackstage, Galerie Thomas Schulte, Berlin, DE Sharjah Biennial 9: Provisions For The Future (curated by Isabel Carlos), Sharjah Arts Museum, Sharjah, UAE Two in One Contemporary Art from Witte De With & De Appel, Christie's, Amsterdam, NL 40th Anniversary Benefit Exhibition, White Columns, New York, USA Écritures Silencieuses, curated by Herve Mikaeloff, L'Éspace Louis Vuitton, Paris, FR Carnival Within - An Exhibition Made in America, curated by Sabine Russ, Gregory Volk, Uferhallen, BE Espèces d'Espaces, Yvon Lambert, New York, US Take The Money And Run, Brouwergracht 196, Appel, Amsterdam, NL Double Participation, Museum für Moderne Kunst, Frankfurt / Main, DE Beginnings, Middles, And Ends (cur.Gianni Jetzer), Christine Koenig Galerie, Vienna, AT Dematerialised: Jack Wendler Gallery 1971 to 1974, curated by Teresa Gleadowe, Chelsea Space, London, UK Time As Matter, MACBA, Barcelona, ES 15 Years of Collecting Against the Grain, Kunstmuseum Wolfsburg, Wolfsburg, DE Artist Rooms Tate St Ives Summer Season, Tate St.Ives, UK Au Pied De La Lettre, Centre d'Art Contemporain, Chamarande, FR Art - Athina, Galerie Hubert Winter, Faliro Pavillion, Athens, GRSerralves 2009 The Collection: An Exhibition in Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrinth.

, ASC Gallery, London UK; Left Hand to Back of Head, Object Held Against Right Thigh, The Bluecoat, Liverpool UK (all 2016); The Place of the Scene, Bloc Projects, Sheffield UK; Artissima with The Gallery Apart, Turin IT; Conversation Piece, Part 1, Fondazione Memmo, Rome IT; And so we gape (solo public performance), curated by Nero, Rome IT (all 2015); Chronovisor: Archive, South Kiosk, London UK (2014); The Starseed Transmission, Enclave Projects, London UK; Hack the Barbican, The Barbican, London UK; Open Cube, The White Cube, London UK (all 2013); Cold Compress, Drei Gallery, Cologne DE; Punctuating (duo show), La Scatola Gallery, London UK (both 2012); Site of Flesh and Stone, Çağdaş Galeri, Istanbul TR (2011); To Look is to Labour, Laden Fuer Nichts, Leipzig DE (2010).

Displayed against the fresh white gallery walls, the functional purpose of the objects is de-accentuated, allowing the works to be appreciated as objets d'art.

Working both on crumbling street walls and white gallery walls, he makes art characterized by the soft edge of his watercolor feel up against the hard, bold lines of the shapes and forms.

«AIDS, A Community in Crisis,» Jamaica Arts Center, Jamaica, NY, 1991 «Language: Body and Dream,» PS 122, New York, NY, 1991 «1991 Biennial Exhibition,» Whitney Museum of American Art, New York, NY, 1991; catalogue «We Interrupt Your Regularly Scheduled Programming,» White Columns, New York, NY, 1991 «Interrogating Identity, Grey Art Gallery and Study Center,» New York, NY 1991; traveled to the Museum of Fine Arts, Boston, MA; Walker Art Center, Minneapolis, MN; Madison Art Center, WI; Center for the Fine Arts, Miami, FL; Allen Memorial Art Museum, Oberlin College, Oberlin, OH; catalogue «Positions of Authority,» Art in General, New York, NY, 1991 «Color Theory,» Amelie A Wallace Gallery, State University of New York at Old Westbury, Old Westbury, NY, 1991 «Text Out of Context,» SoHo Center, New York, NY, 1991 «New Work,» PS 122, New York, NY, 1991 «Spent: Currency, Security and Art on Deposit,» The New Museum of Contemporary Art at Marine Midland Bank, New York, NY, 1991 «Works on Paper,» Selena Art Gallery,» Long Island University, Brooklyn, NY, 1991 «Rutgers National «90: Works on Paper, Stedman Art Gallery,» Camden, NJ, 1991; brochure «Art of Resistance,» El Bohio, New York Public Mirror, Art against Racism, The Clocktower Gallery, New York, NY, 1991

The exhibition is comprised of solid steel slab works, as well as a drawing against the gallery's pristine white walls.

He is a very late Conceptualist with no bias against objects, a devotee of the rarefied art - in - the - street tendency of Situationism whose favorite situation seems to be the white cube of the gallery.

The mother and daughter on horseback, their quiet faces implacably black against the blue and white of the sky; the marchioness in her chair (the walls in the gallery have been painted the same rich red as the room in this painting); and Selective Histories, a wry close - up of a wall of heavily framed paintings, hung salon - style and surrounding a tribal mask.

From the 1960s are Charles Green Shaw's Black on White against Yellow (1968), in which Shaw revived the polygon from his art of the 1930s to create a new minimalist statement, Leon Berkowitz's Cathedral, No. 11 (1968), a work by the Washington Color School artist in which imperceptible shifts of color and an emanating luminosity produce a meditational quality, and Betty Parsons's Miami (1966), which evokes the artist's enthusiasm for Native American art, while demonstrating the influences on her work of the leading abstract painters of the era, whose art she championed at her gallery on 57 th Street.

His work has also been the subject of important group and solo shows throughout the span of his almost 50 - year career, including Against the Grain: Wood in Contemporary Craft and Design, Museum of Art and Design, New York (2013); superhuman, Central Utah Art Center, Ephraim (2012); Reenactor, Williams Center Gallery at Lafayette College, Easton, PA (2012); The Last Newspaper, New Museum, New York (2010); 30 Seconds Off an Inch, The Studio Museum in Harlem, New York (2009); Corbu Pops, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA (2009); Thirty Americans, Rubell Family Collection, Miami (2008); Black Is, Black Ain't, Renaissance Society at the University of Chicago (2008); Drawing, Dreaming, Drowning at Art Institute of Chicago (2008); Art After White People: Time, Trees, and Celluloid... at Santa Monica Museum of Art, Santa Monica, CA (2007); William Pope.L: The Black Factory and Other Good Works, Yerba Buena Center for the Arts, San Francisco (2007); 7e Biennale de l'Art Africaine Contemporaine, Dakar, Senegal (2006); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); The Interventionists: Art in the Social Sphere, Massachusetts Museum of Contemporary Art, North Adams (2004); The Big Nothing, Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2004); Only Skin Deep, International Center of Photography, New York (2004); William Pope.L: the friendliest Black artist in America at ICA at Maine College of Art, Portland, DoverseWorks Artspace in Houston, Portland Institute for Contemporary Art, ME, Artists Space in New York, and Mason Gross Art Galleries at Rutgers University in New Brunswick, NJ (2002 - 2004); eRacism: Retrospective Exhibition, Institute of Contemporary Art at Maine College of Art, Portland (2002); eRacism: White Room, Thread Waxing Space, New York (2000); Eating the Wall Street Journal and Other Current Consumptions, Mobius, Boston (2000); and Out of Actions: Between Performance and the Object, 1949 — 1979, Museum of Contemporary Art, Los Angeles (1998).

At Gregory Lind Gallery through October 20th, Don Voisine's second solo show exhibits a new series of paintings that explore and experiment the both the boundaries of the medium and of painting's surface and perimeters by central expanses of overlapping black rectangles against white fields, bound above and below by elemental color bands.

Months afterwards the results of Martinez's stylistic shift — near mural - sized canvases of primary colored forms set against open white backgrounds — are shown on exhibition at The Journal Gallery in Brooklyn.

In a side gallery, several charcoal drawings from his X-ray series (1976) depict sheets of tattered white paper apparently taped against a dark background.

There are nine masterful canvases in this deeply moving show of Ellsworth Kelly's final paintings, but the sublime exemplar of Kelly's art among them is White Diagonal Curve, which carves its elegant star turn in the final gallery against a white wall that nearly matches its radiWhite Diagonal Curve, which carves its elegant star turn in the final gallery against a white wall that nearly matches its radiwhite wall that nearly matches its radiance.

I've made a dent in my gallery wall, using a white shelf, and frames painted white, and it's looking so pretty against my green Crocodile Tears!

When placing a gallery wall against a dark wall, white frames can pop just as much as the brightest - colored artwork.

Against the backdrop of white walls and black floors, this gallery wall is an inspired way to create a room full of color, pattern, and energy.

And here is a sneak peek of the family room area... these lovely sconces flank the TV / gallery wall & the mixed metals and black and white frames look great against the medium gray paint, too.

Gallery owners have long displayed artwork against white walls for maximum effect.

A stunning display piece in themselves set against a plain, white wall, they also create a mini gallery space to exhibit favourite ornaments and keepsakes.