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 b
Space Wilson has created two site - specific works which dominate the
gallery's main
space and stand above the height of the architectural b
space 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 storage
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 storage
gallery 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 2
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 2
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 2010).