Sentences with phrase «architecture of the gallery does»

Not exact matches

Its gothic inspired architecture are not the only thing that makes an afternoon at the memorial art gallery one of the more romantic things to do in Rochester.
Whether you favor a beach vacation... would love to spend time touring art galleries and museums... have an interest in architecture... find the mix of Mayan, Aztec, and Spanish cultures fascinating... care to shop for handicrafts... or want to experience authentic Mexican music and cookery, you can do it all here at one of Mexico's incredible resorts.
And the Pulitzer Goes To... — Phillip Kennicott, the Washington Post journalist who pens the paper's column on art and architecture, has been awarded this year's Pulitzer award for criticism based on his articles on the Kevin Roche exhibition at the National Building Museum, photography at the Corocoran Gallery, and representations of the first family in contemporary images, stating that he was «especially happy to win at a time when arts criticism is not doing well.»
By placing each fragment against opposite walls of the gallery so that the front half appears from one wall, while the back disappears into another, Paolini not only destroys the object quality of the sculpture but in doing so creates an installation which calls attention to the architecture of the particular exhibition space.
Gehry, who is among those who believe signature architecture and good gallery spaces can go hand in hand, says of his critics, «I think they should search their souls on this fairy - tale thing that an art museum has to be neutral and not there architecturally so that it doesn't compete with the art.»
Having turned from paper scrolls that wrapped around the gallery walls to address the architecture itself, which I did at Anthony Reynolds Gallery in London in 1990, I realized that the imagery, whether figures or texts, were leaping off of their constraint format of the paper, to be dispersed like a dance, only, however, to accommodate the givengallery walls to address the architecture itself, which I did at Anthony Reynolds Gallery in London in 1990, I realized that the imagery, whether figures or texts, were leaping off of their constraint format of the paper, to be dispersed like a dance, only, however, to accommodate the givenGallery in London in 1990, I realized that the imagery, whether figures or texts, were leaping off of their constraint format of the paper, to be dispersed like a dance, only, however, to accommodate the given space.
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