Sentences with phrase «as wall installations»

Composed as wall installations that cling to architecture or freestanding sculptures, Caesar's work exudes a blunt «it is what it is» presence, but with a highly visceral, permeable density that hints at greater depth.

Drawing inspiration from traditional Islamic motifs, this work confronts visitors as a wall installation which signifies the fragility of victimized lands laid out on a fictional map.

The show includes the artist's coveted carpet paintings, as well as a wall installation consisting of golden powdered incense.

The frame and floors are recycled wood, 4,000 VHS video tapes work as wall installation, while 500 bike inner tubes serve as window seals and soundproofing.

Not exact matches

BabyZone covers this idea in a nice roundup called «The Best Baby Shower Games Guide» and suggests focusing on small, meaningful tasks such as stencil decoration or glow - in - the - dark star installation rather than full wall painting.

According to its capital campaign brochure, the non-profit organization is in the midst of a $ 2.5 million fundraising push to repair the exterior of the arts center, as well as to upgrade the historic playhouse and renovate the galleries, including the «installation of moveable walls (to) accommodate video installations and other contemporary work.»

During this planning time, I suggest you ask your new department for any repairs and installations you may need, such as having the walls repainted, getting more distilled water faucets installed, or having freezers hooked up to emergency generators, for example.

Our comprehensive, multi-disciplinary courses support the development of the living architecture industry in North America by providing detailed information on topics such as green roof design, installation, and maintenance, green walls, integrated water management for buildings and site, and more.

This summer, as part of Vision One91 facility upgrades in Burnsville - Eagan - Savage School District 191, Eagle Ridge addressed those issues with the installation of classroom walls, windows and doors throughout the school.

The Batik is nestled in Kuching city centre, in the epicentre of its commercial, tourist and entertainment districts.It offers 15 spacious rooms designed with guests comfort and convenience in mind.Room offerings include silk duvets, LCD TV with satellite channels, iPod docking station and speaker, complimentary specialty tea and coffee and free wifi.The property has adopted batik as its design style and representations of the batik pattern may be seen in various elements within the hotel, including its flooring, lighting, feature walls, glass installations and front facade.Within the hotel premises, The Batik houses Tarot Salmon serving Japanese cuisine, Boutique Bar at the reception area, an outdoor covered jacuzzi and a roof terrace.

Installation is incredibly easy as all you have to do is plug in the included power cord into the back of the box and then into a handy wall socket.

When the wall is breached, the Allies must fight off the defending Axis forces as they move to their objectives in order, such as destroying a radar installation, then stealing war documents, then finally escaping out the back entrance.

This particular installation, entitled Nasutamanus, depicts an elephant magically standing on a wall, as though it is holding itself on by sucking through its trunk.

For the past quarter century, primarily with his paintings but also, as a recent exhibition title put it, «other stuff,» like photographs, videos, sculptures, and installations, he has been getting black figures onto museum walls.

Meticulous wall installations of photographs in greatly varying sizes, often hung unframed or taped directly to the wall, allow for a multitude of aesthetic as well as social relationships to crystallize.

site specific installation directly on the gallery walls; a further three large scale works and a number of smaller scale works, enjoy learning more about the collaboration between artist, curator, and institution as well as the artist's vision, process, and creativity.

The images, which ranged from recognizable landmarks such as Manhattan's Flatiron Building to mundane street signage or a bundle of electric wiring fixed to a ceiling, were edited down to 450 photographs that are shown through a two - channel video installation projected onto perpendicular walls.

As part of the inaugural exhibitions, Sarah Cain has created a dynamic wall installation for the ICA LA courtyard titled «now i'm going to tell you everything,» 2017.

Philip Maysles presents a large - scale wall painting and sound installation inspired by Robert Motherwell's Elegy series that the abstract expressionist produced as a belated response to the Spanish Civil War.

The homeyness of their work is reinforced by the installation, with such midcentury touches as mint green walls and Eames chairs in the museum's wood - paneled second - floor galleries.

These images are drawn from his imagination as well as a range of other sources and also manifest themselves across large paintings on paper, used domestic objects such as batteries, mops and Underground Travelcard receipts, and expansive wall painting installations involving the surrounding architectural elements.

We view this space as a temporal solo exhibition, with each large work staying on the wall for at least 6 months, before being painted over and recommissioned for the next show.The site specific installation pushes the artists craft and practice to create something beyond their normal scale — the wall being 20 foot long and 14 foot high.

The works in the exhibition range from the mid-1970s to the present day, including many recent acquisitions and major installations such as A Minute Ago by Rachel Rose, and Odradek Wall by Liam Gillick.

The wall is part of an installation by the Whitney's David Kiehl that privileges interior spaces — as metaphor and as room for sculpture — but the photos suggest a greater continuity in Kusama's self - images and her art.

Describing his work as «long - form, visual, comedic poetry» and «glorified political cartooning,» the artist continues to use his unique background to create heroically - scaled installations, most often anchored by wall - sized, photorealistic drawings utilizing charcoal, graphite and colored pencils.

In the upstairs gallery, Suga is presenting more recent installations, such as Ido no gensoku — A (1994), a tower of paraffin blocks on a steel plate, as well as a wide range of small wall - mounted assemblages.

For Pace, Wilson will reconfigure Afro Kismet which includes two chandeliers, two monumental Iznik tile walls, four black glass drip works, and a globe sculpture, as well as installations and vitrine pieces that gather cowrie shells, engravings, photographs, a Yoruba mask, and furniture, among other objects that the artist discovered in his frequent trips to Istanbul throughout 2016 and 2017.

Elms includes much strictly formal work such as figurative drawings and symbol - based paintings by Elijah Burgher, overly nostalgic ink drawings by Paul P., and a seemingly popular, somewhat garish installation of aluminum and silver wall sculptures by Terry Adkins.

More painting, tending to semi-abstract, as imagery edged out abstraction; such were Chris Ofili's etched figurations that emerge as copulations out of a mottled blue backdrop, and Fondation Beyeler's three - wall installation of tiled pixellation that in photographs reads as porn.

Fallen Fruit from Frisland comprises a series of new paintings presented as part of an installation that features a carpeted floor, rising wave - like against one wall, and a simple wooden boat made...

The exhibition also includes an installation by Matthew Barney; animations by Jim Campbell, John Gerrard, and Takeshi Murata; and video works by Rivane Neuenschwander and Cao Guimarães, and Nicole Miller; as well as contemporary photography, including a large - scale work by Jeff Wall and a series by Cindy Sherman.

Individually, the black - and - white wall pieces function as installation photographs, giving each painting its accustomed place.

Lee works in multiple media such as graphite and colored pencil drawings, tracing, embroidery, collecting, wall installations.

The Painting Center is pleased to present «Wall Works,» an exhibition of painting, drawing and installation engaging the gallery's walls as the primary support and framing device.

This same awareness, we could even call it «duplicity,» is upfront in Haim Steinbach's installation of either and or — two pieces (necessarily separate, as one word is painted on a canvas, and the other directly onto the wall).

In his first L.A. museum exhibition, Simmons paints the titles of race films on five large walls as part of a site - specific installation in CAAM's grand entrance.

The installation begins with a New England stone wall that reads as a lumpy Carl Andre sculpture.

Her sculptural works are often site - specific, making use of architectural space and working in tandem with abstract wall drawings to form the installations as a whole.

Belshazzar's Feast / the Writing on the Wall is a complex, multi-media installation that references Marshall McLuhan's theory of the TV as replacing the hearth as the focal point of the living - environment, feeding our imagination as flickering flames once did.

Barbara Bloom's installation at David Lewis — a series of posters begun in the early 1980s that juxtaposes terrorism and tourism — serves as a warm - up for an exhibition of»80s art at the Hirshhorn next year, and Anna Betbeze presents sculptures in front of ruglike wall works at Jay Gorney.

The installation is intended to be on view for a minimum duration of 15 years, and follows in MASS MoCA's tradition of long - term installations, such as the exhibition of wall drawings by Sol LeWitt.

The first recipient of the Brian Wall Foundation Grant for Sculptors is Chinese - Canadian artist Terence Koh, who is best known for his sculptural installations, such as the Bee Chapel that he first created on his property in upstate New York.

Woman I (1950 - 52) is given a wall, but the spot it occupies in the narrative marks the point in the show where the installation becomes confusing, loses concentration, and where large rooms turn into vast halls where even great works seem like orphans (the scale of the David Smith and Franz Kline room does these artists a disservice as the temperature drops and the corporate quality rises although the same works in another context would feel very different).

The wall label tells us that this installation was intended as an «instrument for reflection» and a «proposition for behaviour».

Immediately upon entering the space, a perceptual split between the virtual and the real is presented by Hershman Leeson's The Infinity Engine (2014 — 2017), a row of distorted mirrors that subsumes and reflects our own appearance, as well as a video installation projected on adjacent walls behind us.

There were a few arresting installations, nonetheless, such as Danh Vo's floating gilded cardboard segments that comment on moral transgressions, for which the Marian Goodman gallery eliminated its walls; Liu Wei's architectural Library at Lehmann Maupin that collapses a metropolis to outrageous effect and, among the young artists who showed gripping promise, Aki Sasamoto's Luncheon Field, which livened the Focus section with a table perforated to suspend forks that bobbed in the breeze of a fan, and Eddie Peake's rumination on past and future that filled the Lorcan O'Neill booth with a tinted Plexiglas and steel installation involving a bear, a robot and lost Atlantis viewed through a meandering cut - out.

(On wall) Iman Issa, Material for a sculpture acting as a testament to both a nation's pioneering development and continuing decline, sound installation, 10 sec.

Riedel displayed installation photographs as inkjet prints across the very same gallery walls.

Presented as a hanging installation along one wall were eight small - format pictures whose gridded patterns called to mind tea towels or place mats, and were redolent of everyday routines linked to meals and cleaning.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greaWall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.