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 given
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 given
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 given space.