Sentences with phrase «architectural space of the gallery»

The show will present all new work by the artist, inspired in part by the architectural spaces of the gallery's historic townhouse.

The visual and conceptual investigations into the conjunction of these elements transform the architectural space of the gallery into an exhibition space where the artist is evident and a vision is perceived.

These enigmatic phrases are interspersed with abstract sculptural structures, which consist of white powder - coated aluminum frameworks holding sheets of colored Plexiglas, which — much like the texts on the walls — redefine the architectural space of the gallery.

Those works grappled with the architectural space of the gallery and the conventions of a rectangular support, merging both geometric and expressive tendencies into a multi-planar site.

Not exact matches

We wanted to keep some of these architectural features to provide some visually interesting points and it helps us not to stumble too far into the typical white walls / grey floor of the usual gallery and studio spaces.

Inspired by the architectural character of the neighborhood and featuring various scales of gallery space that speak to the diverse needs of contemporary artists, the design seeks to ensure that artistic dialogue remains at the heart of the Museum.»

Ibid Gallery is hosting a solo exhibition of Mexican artist Alejandro Almanza Pereda, whose work explores the relationships and invisible links between sculptures, architectural spaces, and the spectator.

Not limited to the confines of the museum and gallery, his practice engages the broader public sphere through architectural projects and interventions in civic space.

Since Ritchie exhibited «The Universal Adversary» at Andrea Rosen Gallery in 2006, his work has been included in numerous exhibitions including: the Venice Architecture Biennale; the Seville Biennale; the Havana Bienal; «Matthew Ritchie, The Iron City,» St. Louis Art Museum; «Wunderkammern» Museum of Modern Art, New York; «The Guggenheim Collection,» Guggenheim Bilbao, Spain; «Not For Sale» PS1, New York; «Confines,» IVAM, Valencia, Spain; «The Shapes of Space,» Guggenheim Museum, New York; «Between Art and Life,» San Francisco Museum of Modern Art; «The Kaleidoscopic Eye,» Mori Art Museum, Tokyo; «In the Beginning: Artists Respond to Genesis,» Contemporary Jewish Museum, San Francisco; «Experimental Marathon Reykjavik, Reykjavik Art Museum; «The Last Scattering, Phase Two,» London, «To the Milky Way by Bicycle,» Staatliche Kunstsammlungen Dresden, Germany; «The Architectural Imaginary in Contemporary Art,» Museum of Contemporary Art, San Diego.

Despite being detained in China throughout the planning of the exhibition, the show will feature monumental architectural pieces created for the RA galleries, the artist having virtually navigated the spaces from his studio in Beijing.

Similar to Owen's other works, this site - specific installation responds to the particular architectural properties — formal qualities as well as spatial patterns — of the Market and the gallery space, and is constructed out of modest and / or ephemeral materials, which seemingly grow from and within the architecture.

Docents are active members of the Wexner Center's education department who lead interactive tours of gallery exhibitions and the center's unique architectural spaces.

Ostrow, Saul; «Interview w / Julie Langsam», Julie Langsam: Of Other Spaces (catalogue) 2008 Carrier, David; «Julie Langsam's Architectural Surrealism», Julie Langsam: Of Other Spaces (catalogue) 2008 Genocchio, Ben; Today's Landscape's, Tomorrow's Dystopia, NY Times, June 1, 2008 ArtWorks, Cameron, Dan; Lewis, Toby; Morrison, Tony, DAP, 2007 The Collector As Curator: Beth Rudin DeWoody, Saatchi Gallery Online, www.saatchi-gallery.co.uk/quick - critique/index.php?

For the occasion of his exhibition Stealing Space Wilson has created two site - specific works which dominate the gallery's main space and stand above the height of the architectural bSpace Wilson has created two site - specific works which dominate the gallery's main space and stand above the height of the architectural bspace and stand above the height of the architectural beams.

In Floors of the Exhibition, 2011, lines of magnetic tape run along the gallery walls creating three distinct elevated architectural drawings of the three theatre spaces used by Welles.

Each piece abuts an architectural feature of the gallery (floor, column, beam), activating the negative spaces between them, as if the illuminated triangle permeates the space, but is only visible on the surface of the loose weave.

An abstract architectural structure composed of industrial materials and ecological matter ranging from aluminium scaffolding to grass turf and aquatic plants, the installation itself becomes a synthetic eco-system requiring its own life support systems to sustain it within the gallery space.

Spanning three decades, the show focuses particularly on the body's relation to architectural space: a new, site - specific commission partially engulfs the exterior of the gallery, which has recently undergone extensive refurbishment, including the restoration of its 66 glass pyramid rooflights.

Focusing on the perceptual experience of space, the exhibition offers opportunities for discovering public architectural features and galleries throughout the newly expanded building.

The revelation can be architectural - as in his 1973 work at the Galleria Toselli in Milan, where he had layers of paint stripped from the walls to expose the original plaster surface - or functional, as in his piece for the Claire Copley Gallery in Los Angeles, in which he made public the business operation of the gallery by removing the wall dividing the exhibition area from the office and storageGallery in Los Angeles, in which he made public the business operation of the gallery by removing the wall dividing the exhibition area from the office and storagegallery by removing the wall dividing the exhibition area from the office and storage space.

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.

These qualities are underpinned and stabilised by the architectural accuracy of his miniature interiors, which draw from broad influences, from classical Palladian or a White Cube gallery space, to the contemporary commercial kitsch of fast - food joints, or even a depiction of his childhood home as in the 18 Fortis Green series.

It exposes the idiosyncratic elements of the Lower East Side streets, colors and signs while emphasizing the architectural details of the gallery space.

Recent site - specific installations and architectural interventions have been on view at «Equitable Vitrines» in the Equitable Life Building, Los Angeles, CA; satellite exhibition space for the Museum of Contemporary Art, Santa Barbara, CA; the Hammer Museum; the Los Angeles County Museum of Art; and at Night Gallery, Los Angeles.

She also writes frequently on art and architecture for international books such as Automatic Cities: The Architectural Imaginary in Contemporary Art (Museum of Contemporary Art, San Diego, 2009), Space (MAXXI Museum for 21st Century Arts, Rome, 2010), and Ruins (MIT Press and Whitechapel Gallery, 2011).

Each have a prolific multi-decade artistic career deserving of further scholarship, but a palpable coincidence further connects these three gures: Betty Parsons was the founder of the eponymous gallery which launched the careers of the likes of Pollock, Rothko and Newman; Arakawa and his wife co-founded the Reversible Destiny Foundation, seeking a new model for architectural practices by borrowing from disciplines including experimental biology, quantum physics, and medicine; Lohaus co-founded the Wide White Space gallery (WWS) in Antwerp in 1966, which exhibited artists such as Beuys, Broodthaers, Christo and many others.

Refreshing gallery spaces to evoke Freer and Platt's aesthetic vision, removing carpeting and restoring original terrazzo floors, installing marble baseboards, refinishing architectural details and preserving the use of natural light while incorporating state - of - the - art standards for the display and preservation of the collection.

In Dauerwelle — a new work commissioned for the gallery's tiny architectural element of a cube recessed into a wall — the singer's pitch black Cleopatra - coif wig rotates in mid-air, preserved like a relic, endlessly hovering in space like the spectre of a violent beheading.

In her first solo exhibition at the gallery, Commito will show paintings that, while abstract, also look beyond their own geometric formal language to the world outside them — conveying the artist's interest in architectural space, the materiality of our everyday surroundings, and the productive process by which impressions and recollections are converted into images.

In the work of Ann Veronica Janssens and Diana Thater, colored light is projected onto the walls of the gallery whereby the architectural space becomes the arena for an experience that melds physical and immaterial / mental coordinates.

Thomas in her photograph of an image of a window, Moments of Place IV, explores the depth and construction of space within the picture frame while masterfully considering color and form and, in depicting an architectural detail and through the work's placement in the gallery, draws attention to spacial relationships.

In her first solo show in New York, Litchfield's collaged and painted memory landscape compositions will ramble across the walls of the gallery working directly with the architectural elements of the space itself and calling attention to how we perceive and recall place and time.

The architectural suturing of a 235,000 square foot addition to a 225,000 square foot parent building expands the «old» museum's indoor and outdoor gallery space by two - and - a-half times, the education space by four times, and the performance and event space by eleven times.

«Inspired by the architectural character of the neighborhood and featuring various scales of gallery space that speak to the diverse needs of contemporary artists, the design seeks to ensure that artistic dialogue remains at the heart of the museum.»

In Paul Morrison's first solo exhibition in London since 2008, for which he has executed a major architectural intervention on the façade of the gallery and installed a monumental white sculpture within the main space, the artist extends his enquiry into the nature of representation, and the representation of nature.

Furthering their notion of «sculptural theaters» — installations built as containers for specific movies, whose architectural, audiovisual, and sculptural elements expand onscreen content into environmental panoramas — the artists have transformed Andrea Rosen Gallery into a network of halls and chambers that plot a path for visitors through a sequence of new movies and ambient spaces.

Artists will include Simon & Tom Bloor, who will turn the gallery into a studio space, while Liverpool - based artist Emily Speed will make a number of playful architectural interventions.

The main gallery spaces showcase Portman's architectural feats and are flanked by smaller rooms filled with abstract paintings and sculptures from his personal collection of his own work.

A survey of light art from the 1960s to the present day at The Hayward Gallery considers the way in which we think about architectural space, environments and phenomena as artworks in themselves.

Architectural in nature, the focus of this group turns to the empty gallery space, where small interventions create chaos in the truancy of human interference.

Using tower forms as key signifiers of place and identity, Scenic Overlook activates the two - story gallery space with four large - scale wooden sculptures that borrow signature architectural features from the four highest observation towers in the world: Tokyo Skytree, Canton Tower, CN Tower and Ostankino Tower.

Varying in scale, her works are often fleeting in nature, as in the case of her ceramic skipping stones which she asks people to skip, while being photographed, on the street in a given city; or, in the gallery proper, in subtly but noticeably present architectural disruptions of the space itself.

Known for graceful sculptures that use raw materials such as drywall, mud, and wood beams, Overton will create an elegant arrangement of long metal pipes across architectural voids between the Museum's main galleries and performance space and between the performance space and lobby.

Foyer: one work... Everyday As a response to the architectural possibilities of the gallery's new site, Mercer Union will be inaugurating One Work — exhibitions of individual artworks in various spaces outside of the two formal galleries, including the stairwell, windows and foyer.

For this exhibition, Fu has reconfigured the work to respond to an indoor gallery space, responding to the architectural surroundings and crowded conditions of New York City.

MAGALI REUS: AS MIST, DESCRIPTION Mar 23 - May 27, 2018 London - based Dutch artist Magali Reus's first major institutional solo exhibition in London comprises an entirely new body of work, framed by architectural interventions designed specifically for the South London Gallery's main space.

During its duration, the actual structures or containers intrigued me — the physical boxes holding the archive and the various architectural spaces that the centre had occupied over its history; it had moved 5 times.The piece I included in the final exhibition of our investigations was a one - to - one scale photograph compiled of all the sides (inside and outside views) of one of the programming boxes, mounted on the gallery floor.

Mr. Barnes was involved with the architectural shell of the gallery spaces and with the installation of the 90 - foot - long Benton mural.

The exhibition consists of new and recent audio and video works, re-assembled and displayed site - specifically in relation to the architectural features of the gallery space.

Group exhibitions and collaborative projects in recent years are Llocs comuns, Can Felipa Arts Visual, Barcelona, ES (2014); Systems Thinking from the Inside, 21st Century, Chisenhale Gallery, London; Total Vitality (by Julia Tcharfas), Bold Tendencies, London; Recent Work by Artists, Auto Italia, London; A Space Base, for Instance, [space], London (all 2013); The Biopolitical City (by Tim Ivison), Architectural Association, London; Summer School: The Eltham Open curated by Alex Ross, Gerald Moore Gallery, London; (On) Accordance, or-bits.com; ROCRO, MACRO, Rome IT; Echo - System, Helsinki World Design Capital, commissioned by the British Council (all 2012); For Inclusion in the Syllabi, Pigeon Wing, London; Rules of Engagement, Angus - Hughes, London; (Architecture in Words Only), Hilary Crisp, London (all 2011); New Wight Biennial: New Romance, UCLA Department of Art, Los Angeles US; Counter Constructs, Auto - Italia South East, London; No Soul For Sale, Panel discussion with members of The Suburban, Vox Populi, and Auto - Italia South East at Tate Modern, London; Utopia and Nature, Residency ASFA, Crete, Greece (all 2Space Base, for Instance, [space], London (all 2013); The Biopolitical City (by Tim Ivison), Architectural Association, London; Summer School: The Eltham Open curated by Alex Ross, Gerald Moore Gallery, London; (On) Accordance, or-bits.com; ROCRO, MACRO, Rome IT; Echo - System, Helsinki World Design Capital, commissioned by the British Council (all 2012); For Inclusion in the Syllabi, Pigeon Wing, London; Rules of Engagement, Angus - Hughes, London; (Architecture in Words Only), Hilary Crisp, London (all 2011); New Wight Biennial: New Romance, UCLA Department of Art, Los Angeles US; Counter Constructs, Auto - Italia South East, London; No Soul For Sale, Panel discussion with members of The Suburban, Vox Populi, and Auto - Italia South East at Tate Modern, London; Utopia and Nature, Residency ASFA, Crete, Greece (all 2space], London (all 2013); The Biopolitical City (by Tim Ivison), Architectural Association, London; Summer School: The Eltham Open curated by Alex Ross, Gerald Moore Gallery, London; (On) Accordance, or-bits.com; ROCRO, MACRO, Rome IT; Echo - System, Helsinki World Design Capital, commissioned by the British Council (all 2012); For Inclusion in the Syllabi, Pigeon Wing, London; Rules of Engagement, Angus - Hughes, London; (Architecture in Words Only), Hilary Crisp, London (all 2011); New Wight Biennial: New Romance, UCLA Department of Art, Los Angeles US; Counter Constructs, Auto - Italia South East, London; No Soul For Sale, Panel discussion with members of The Suburban, Vox Populi, and Auto - Italia South East at Tate Modern, London; Utopia and Nature, Residency ASFA, Crete, Greece (all 2010).