Sentences with phrase «against white gallery walls»

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

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

Not exact matches

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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).

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.