Sentences with phrase «ceiling space of the gallery»

Here, the changing forms of a cloudscape are played out discreetly in the ceiling space of the gallery.

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The roots of Zhang's new abstract strategy, which made its debut at Hauser & Wirth in Zurich in 2016, may be found in the artist's «Space Paintings,» environmental installations in which he covers the ceilings, floors, and walls of a gallery with abstract patterns that alter one's sense of sSpace Paintings,» environmental installations in which he covers the ceilings, floors, and walls of a gallery with abstract patterns that alter one's sense of spacespace.

Viewed within the modern monastic space of the Paul Kasmin Gallery, with its cool white walls, polished floors, and concrete ceiling, the visceral earth tones and frantic forms of Lee Krasner's «Umber Paintings» emerge as fields of boundless energy.

At the National Gallery, the high ceilings and more institutional scale of the space preclude any domination of the walls.

The installation includes works on the walls, on the ceiling, and a sculpture in the center of the gallery space.

The Nevelson piece, Sky Cathedral / Southern Mountain, 1959, which was borrowed from LA MoCA, is installed somewhat differently than these other works, directly on the floor in a portion of the room where the ceiling is lower.It looks consistent with similar Nevelsons I viewed at Pace Gallery or the Jewish Museum in New York during the»80s and»90s, before the advent of the enormity of scale that typifies so many of the new exhibition spaces of today.

In the early days, staff and volunteers merely held the pieces for auction Carol - Merrill style, while in later years patrons had to sift through pages of numerically assigned wall to ceiling art on display in the Art League Gallery space, making intricate if / then flow charts and spread sheets determining their preferred selections.

Shelton recently moved into «the fanciest gallery space in all of Texas,» according to Glasstire's Rainey Knudson, with «terrazzo floors, soaring ceilings, and beautifully designed gallery spaces.»

Inside the lobby of the building, a grand staircase leads up to a series of three gallery spaces with concrete floors and white walls and ceilings.

A grand staircase takes visitors to a series of gallery spaces, which feature concrete floors with white walls and ceilings to allow the extensive collection to take center focus.

The galleries have been significantly expanded, especially with the opening of the third - floor spaces, their elegant, roughhewn beamed ceilings beautifully restored, and currently containing Picasso's collection of works by Cézanne, Degas, Le Douanier Rousseau, Matisse, Balthus, and other modern masters.

Upon entering the gallery, one confronted a massive «wall» of green brick that extended all the way to the ceiling, slicing through the space like one of Richard Serra's arcs of Cor - Ten steel.

The Hester Street location, formerly the home of Lu Magnus Gallery, is about three times bigger than the Eldridge Street space, and has a soaring ceiling, a big change from the two previous homes of the gallery, which focuses on conceptual work with an interest in institutional crGallery, is about three times bigger than the Eldridge Street space, and has a soaring ceiling, a big change from the two previous homes of the gallery, which focuses on conceptual work with an interest in institutional crgallery, which focuses on conceptual work with an interest in institutional critique.

Horizontally transecting The Aldrich's Project Space Gallery, Floor / Ceiling creates (depending on one's point of view) either a continuation of the Museum's second floor or a dropped ceiling that lowers the double - height section of the gallery from twenty - four to fourteeGallery, Floor / Ceiling creates (depending on one's point of view) either a continuation of the Museum's second floor or a dropped ceiling that lowers the double - height section of the gallery from twenty - four to fourteeCeiling creates (depending on one's point of view) either a continuation of the Museum's second floor or a dropped ceiling that lowers the double - height section of the gallery from twenty - four to fourteeceiling that lowers the double - height section of the gallery from twenty - four to fourteegallery from twenty - four to fourteen feet.

The wall partially obscures the view into the gallery space, hiding a life - sized sculpture of an androgynous adolescent that is suspended from the ceiling of the main gallery room.

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.

A large, raffia - covered hut kisses the gallery's ceiling, taking up three - quarters of the space in the small room.

Running the length of these galleries is a sloping sort of gangway that gradually brings the visitor into the largest exhibition spaces and, combined with glassed - in ceiling and window walls, rather gives one the feeling of being on a cruise ship — especially on an appropriately dark and stormy night like the one that witnessed the opening of Gray Matters, the maiden voyage of newly appointed Senior Curator Michael Goodson.

Emma Talbot's colorful open tent, suspended from the vaulted ceiling, creates the feeling of an intimate, sacred space at the center of the gallery.

In some of the paintings, the room looks like a bedroom (it was a converted attic); in others, like Peter's Sitters 2 (2009) or Peter's 3 (2007), it looks like a modern gallery space, with its low white ceiling and mirrored squares like canvases.

The work revisits the biblical story of Jacob's ladder with a towering floor to ceiling structure of rare artefacts and books that will fill the lofty spaces of the Gallery.

The artist's piece reminds us that, like so many old buildings in Chicago, Shane Campbell Gallery has a really beautifully molded ceiling, one that carries the unique history of the space.

«Nel's site - specific installation, Reflective Field (2011), explores the space between knowing and not knowing, the inexplicable realm symbolised in his work by reflections of water against the gallery ceiling in what the artist describes as a «scientific exploration of divination».

So when Wright has completed the painstaking process of painting one of his neat abstract patterns on to a wall, ceiling or piece of coving in the gallery space, he insists that after an appointed viewing time, it must all be painted over again.

[1] The redesign resulted in a procession of medium - size, more intimate galleries with raised ceilings and improved lighting, increased rotating exhibition space, an entire floor devoted to Asian art, and restored access to the gardens.

Where the hush of Paula Cooper gallery's cavernous interior, pristine walls, and pointed ceiling threatens to overwhelm any art, Maya Lin allows SculptureCenter to resemble at any moment a warehouse, a factory, a cathedral, or a scrappy display space, with none of these privileged above the others.

For Fondation Beyeler's annual Summer Nights Gala, Swiss artist Pipilotti Rist has created an installation entitled Tender Roundelay, which consists of 23 kaleidoscopic projections that will shine down from the ceiling on 46 round tables within the gallery space.

For this exhibition, Carl Ostendarp has devised a series of site specific wall - to - ceiling drip murals that envelop the gallery space and provide the context in which the works are displayed.

The vast wall space and soaring ceilings escalated everything to scale of grandeur and made the venue ideal for exhibiting large sculptural objects, minimalist readymades and monochromatic canvases as Lisson Gallery, David Zwirner and Gagosian (respectively) demonstrated.

N. Dash's first solo museum exhibition was staged in the Hammer's distinctive Vault Gallery; with its diminutive, bullet - shaped floor plan and arched ceiling, the chamber is one of the museum's more unusual spaces, and the room's obdurate layout underscored the role of architecture within Dash's incisive painting practice.

Maria Raponi, Installation view, re-site at Künstlerhaus Dortmund, 6 lightboxes of the ceiling of their gallery spaces presented in gallery 2, 2010.

Garth Greenan Gallery is pleased to announce its expansion and relocation to the ground floor of 545 West 20th Street — a 5,000 square - foot space with 13 - foot - high ceilings.

New galleries have a hexagonal lattice ceiling structure that incorporates skylights while a former auditorium space which was repurposed as a gallery with 20» ceilings, has a system of modulated skylight bays.

Curated by Adelina Vlas, the AGO's Associate Curator of Contemporary Art, Sandra Meigs: Room for Mystics (with Christopher Butterfield) will be located on the 5th Floor of the AGO's Contemporary Tower (the Vivian & David Campbell Centre for Contemporary Art) and consists of 30 large - scale paintings stationed throughout the gallery floor space, 13 fabric wall banners, a large mobile hung from the ceiling, a custom - designed sound system, and a recurrent 15 - minute musical performance by the Vox Aeris brass trio.

Continuing his interest with reflective materials and mirrors, Huston has installed curtain walls of aluminum leaf on fabric mesh, a floor to ceiling installation of receding panels that occupy the central space of the gallery.

Far from being overawed by the biggest and most frightening gallery space in the world, Eliasson has effectively doubled the height of the 155 - metre (508ft) long Turbine Hall by mirroring the ceiling.

The main room of the Hufkens gallery for this exhibition from floor to ceiling and wall to wall will be entirely filled with a polyhedral space - frame into which the body of the viewer is invited to wander.

James Turrell's Skyscapes, rectangular cuts into the ceilings of spaces that frame a patch of the sky moving above, encourage viewers to meditate on the beauty of the heavens and use light from to provide insight into changing natural forces, while Ólafur Elíasson uses blue to probe the phenomenological effects of the sky, for instance enveloping entire gallery spaces in blue.

A monumental sculpture forms the centerpiece of Buzz Kill: extending from the four corners of the gallery, and reaching from the floor to the ceiling, this massive painted aluminum sculpture divides the exhibition space into individual «rooms «through which viewers can move.

In Cosmos (2015), a large - scale triptych mounted to the gallery ceiling, Irish interrupts the typical movement of viewers through the space and forces their gaze upwards.

Suspended from the ceiling and dominating the main space of the gallery, Baskin's life - size piece Jag transforms the overt sex appeal of a sports car into an ambiguous, embryonic shape, beckoning less with its brand identity than with its odd anthropomorphism.

As the flight across the ceiling of an empty gallery via the line of pitons and hand - holds could be described as both a drawing and sculpture, so here when preparing the «drawings» for his films he arranges the images and objects in space.

In each case, the artists responded to the particular nature of each gallery space, encompassing the floors, windows and ceiling.

Located in a space on the lower portion of the second - floor gallery where the ceiling juts up to be more than 20 feet high, «L'ènetènafionale» is an installation featuring an animatronic crescent moon and a Pierrot clown whose face features the countenance of the radical, anti-colonialist 20th - century writer Frantz Fanon.

Swiss artist Eric Hattan (born 1955) engages with the everyday through interventions that may present furniture on the ceiling, displaced street lamps in gallery spaces or videos of the artist turning packaging inside out.

«Not too skinny, no structural columns, 11 - foot ceilings,» Donahue, 34, said last week, standing in the rough second - floor space on the corner of Bowery and Hester that now houses her namesake gallery.

She will be presenting a new, large scale installation entitled «Live Through This,» incorporating Victorian tobacco clay pipes sourced from the banks of the Thames, Shire horse collars and a cattle feeder which will reach from floor to ceiling of the main gallery space at EB&F low alongside a series of smaller installations.

Clearing owner Olivier Babin moved into the massive compound in 2017 — the gallery operated for five years out of a small townhouse, but the support for his program from local collectors prompted him to bet on more ambitious digs in Brussels, and he purchased a 5,400 - square - foot former shutter factory and turned it into a stunning space with high ceilings that run together like the roof of a church, buttressed by separate exhibition spaces, a bar, a café, and office space.