This site - specific installation features a repeated geometric pattern derived from one of the artist's abstract photographs, printed as a wallpapered lithograph with applied pigment and wrapped around
the center wall of the gallery.
Not exact matches
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.»
I have worked with them professionally on a number
of projects (this
gallery wall and this tabletop
center piece were favorites).
Originally created as a gouache painting in various shades
of gray, our Aloe Triptych takes
center stage on a
gallery wall.
When it's time to start hanging the
gallery wall, we suggest starting at the bottom
of the arrangement at either one side or the
center, and simply building off
of it.
I inherited the old clock from my grandma and decided it should be the
center of the
gallery wall so it got a fresh coat
of chalk paint.
Inside the McNamara
center we also find the Heritage
Gallery, a multimedia museum with some
of the accomplishments
of University
of Minnesota alumni but what really grabbed my attention was the
Wall of Books, which is esentially a wall full of books some written by members of the university community and second copies of doctoral dissertations from the University Libr
Wall of Books, which is esentially a
wall full of books some written by members of the university community and second copies of doctoral dissertations from the University Libr
wall full
of books some written by members
of the university community and second copies
of doctoral dissertations from the University Library.
The Old Town, the
center of all happenings, with numerous monuments,
galleries, concerts, together with many cozy restaurants and cafes that are all located inside the city
walls you can reach in 3 minutes walk.
Other site - specific works and commissions include Storm King
Wall, Storm King Art
Center, Mountainville, NY; Garden
of Remembrance, Jewish Heritage Museum, New York, NY; and Roof, National
Gallery of Art Washington, D.C. Goldsworthy has exhibited in major museums such as the Metropolitan Museum
of Art, New York, NY (2004); Frederik Meijer Gardens & Sculpture Park, Grand Rapids, MI (2006); the Yorkshire Sculpture Park, U.K. (2007); Pori Art Museum, Finland (2011); and deCordova Sculpture Park and Museum, Lincoln, MA (2011).
The installation includes works on the
walls, on the ceiling, and a sculpture in the
center of the
gallery space.
Maychack, who could be labeled a sculptor, has largely created flat
wall works, with the exception
of a few freestanding sculptures in the
center of the
gallery.
2005 — BRIC PROJECT DIVERSITY, Corridor
Gallery, Brooklyn, NY 2004 — THE MELTING, Rockefeller Arts
Center, SUNY Fredonia — TELL ME A STORY
OF A WORLD WITHOUT WORDS, City Without Walls, Newark, NJ — A SLOW READ, BRIC Rotunda Gallery, Brooklyn, NY, curated by Katarina Wong — SIX NEW YORK ARTISTS, Linda Warren Gallery, Chicago — SEEN & UNSEEN, Broadway Gallery, New York 2003 — ANNUAL JURIED EXHIBITION, Delaware Center for Contemporary Arts, Wilmington 2002 — ART AT STEEPLETOP, Millay Colony for the Arts, Austerlitz, NY 2001 — ART CONTEMPORANI DE MUNTANYA, Ecomuseu, Valls d'Aneu, Spain 1999 — LEST WE FORGET, Amory Arts Center, West Palm Beach, FL 1996 — RED CLAY SURVEY BIENNIAL, Huntsville Museum of Art, AL 1995 — CONFESSIONS, Woodruff Arts Center, Atlanta 1994 — ALEX O'NEAL AND JAN HANKINS, P. S. 122, New York 1989 — NEW AMERICAN TALENT, Austin Museum of Art, Austin, TX, curated by John Caldwell 1988 — BIGGER THAN A BREADBOX, S.I.T.E., Culver City, California 1987 — FIFTY YEARS OF VISUAL CREATION, Memphis College of Art 1986 — FOUR ARTISTS, Randolph Street Gallery, Chica
OF A WORLD WITHOUT WORDS, City Without
Walls, Newark, NJ — A SLOW READ, BRIC Rotunda
Gallery, Brooklyn, NY, curated by Katarina Wong — SIX NEW YORK ARTISTS, Linda Warren
Gallery, Chicago — SEEN & UNSEEN, Broadway
Gallery, New York 2003 — ANNUAL JURIED EXHIBITION, Delaware
Center for Contemporary Arts, Wilmington 2002 — ART AT STEEPLETOP, Millay Colony for the Arts, Austerlitz, NY 2001 — ART CONTEMPORANI DE MUNTANYA, Ecomuseu, Valls d'Aneu, Spain 1999 — LEST WE FORGET, Amory Arts
Center, West Palm Beach, FL 1996 — RED CLAY SURVEY BIENNIAL, Huntsville Museum
of Art, AL 1995 — CONFESSIONS, Woodruff Arts Center, Atlanta 1994 — ALEX O'NEAL AND JAN HANKINS, P. S. 122, New York 1989 — NEW AMERICAN TALENT, Austin Museum of Art, Austin, TX, curated by John Caldwell 1988 — BIGGER THAN A BREADBOX, S.I.T.E., Culver City, California 1987 — FIFTY YEARS OF VISUAL CREATION, Memphis College of Art 1986 — FOUR ARTISTS, Randolph Street Gallery, Chica
of Art, AL 1995 — CONFESSIONS, Woodruff Arts
Center, Atlanta 1994 — ALEX O'NEAL AND JAN HANKINS, P. S. 122, New York 1989 — NEW AMERICAN TALENT, Austin Museum
of Art, Austin, TX, curated by John Caldwell 1988 — BIGGER THAN A BREADBOX, S.I.T.E., Culver City, California 1987 — FIFTY YEARS OF VISUAL CREATION, Memphis College of Art 1986 — FOUR ARTISTS, Randolph Street Gallery, Chica
of Art, Austin, TX, curated by John Caldwell 1988 — BIGGER THAN A BREADBOX, S.I.T.E., Culver City, California 1987 — FIFTY YEARS
OF VISUAL CREATION, Memphis College of Art 1986 — FOUR ARTISTS, Randolph Street Gallery, Chica
OF VISUAL CREATION, Memphis College
of Art 1986 — FOUR ARTISTS, Randolph Street Gallery, Chica
of Art 1986 — FOUR ARTISTS, Randolph Street
Gallery, Chicago
Here, clockwise from left: Fred Sandback's «Untitled,» at David Zwirner; an installation view
of Sol LeWitt's «
Wall Drawing # 368» from its 1984 installation at the Walker Art
Center in Minneapolis; Sean Scully's «By Night and by Day,» 1983, at Mnuchin
Gallery.
This modest easel - size painting is set in the
center of a
wall that faces you as you enter the main
gallery, not so much to greet you as seemingly to square off with you.
-- NYTimes The Larry Gagosian Effect —
Wall Street Journal World's Biggest Museum Opens in China — Studio 360 Top Exhibitions
of 2010 — The Art Newspaper Recent Art News - Texas Week
of 03/27/11 Ed Ruscha at the Modern Museum
of Fort Worth — CBS New: Sunday Morning (Video) Simpsons Takes Shots at Dallas Football, Arts District — FrontRow A work in progress: The Dallas Arts District gathers trophy buildings, but still searches for urban vitality — Chicago Tribune James Turrell mound at Rice University - Glasstire Richard Serra, Pushing the Boundaries
of Drawing — ARTnews Recent Art News - National - International Week
of 03/27/11 Ed Ruscha Street Photography — LATimes Stephen Colbert Exposes Himself to Art (the Appropriate Way)-- NYTimes (Video) Jerry Saltz on Andy Warhol's Portraits
of Liz Taylor — NYMag Eduardo Souto de Moura, Architect from Portugal, Wins Pritzker — NYTimes Recent Art News - Texas Week
of 03/20/11 Neiman Marcus to feature artwork in Windows — FrontRow MAC director resigns — Glasstire Recent Art News - National - International Week
of 03/20/11 Jerry Saltz: How a Joyride in Gavin Brown's Volvo Became Art — NYMag Walker Art
Center to Acquire Merce Cunningham's collection — Art in America Cultural Complex in Santiago di Campostela is expensive mistake - The Art Newspaper Toshiko Takaezu, Ceramic Artist, Dies at 88 — NYTimes Recent Art News - Texas Week
of 03/13/11 Artpace San Antonio — YouTube Crow Collection To Expand, Add Asian Sculpture Garden — FrontRow Donor's Son Sues Dallas Museum Over Art Collection, 25 Years Later — NYTimes Recent Art News - National - International Week
of 03/13/11 Abramovic wins two - year copyright battle — The Art Newspaper Scents and Sensibility, Artists use scent to create new experience in museums — ARTnews Spark: How Creativity Works, by Julie Burstein, Kurt Andersen — Amazon.com (Book) Michelangelo's David «could collapse due to high - speed train building» — Telegraph Recent Art News - National - International Week
of 03/06/11 Norman Foster to Design Huge Hong Kong Cultural District — NYTimes Recent Art News - Texas Week
of 02/27/11 AMOA leaving downtown, focusing on Laguna Gloria — Austin 360 Recent Art News - Texas Week
of 02/13/11 Amon Carter's Director
of Education Named National Educator
of the Year — Amon Carter Museum Blanton curator heads to National
Gallery of Art — Austin 360 Director Dana Friis - Hansen departs from the Austin Museum
of Art — The Austin Chronicle Dallas Architecture Forum wins AIA National Collaborative Achievment Award — Dallas Archicture Forum Recent Art News - National - International Week
of 02/13/11 Egyptian Archeological Sites Were Looted, Says Antiquities Minister — NYTimes Tracey Emin, the visionary, emerges as Margate's answer to William Blake — Guardian What's The Matter With Kansas... This Time?
Sol LeWitt's «
Wall Drawing # 352,» a mural that has been hidden from public view while used in an office for the Amistad
Center, will be part
of the Sol LeWitt and friends
gallery at the Wadsworth Atheneum.
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.
Metabolism and Communication, Zentrum fur Kunst und Medientechnologie,
Center for Art and Media, Karlsruhe, Germany 2003 Love, Magazin4 Vorarlberger Kunstverein, Bregenz, Germany Patty Chang, Tracy Emin, Naomi Fisher, Paul McCarthy, The Moore Space, Miami, FL (performance, April 26) Water, Water, curated by Lilly Wei, The Rotunda
Gallery, Brooklyn, NY Awakenings,
Center for Curatorial Studies at Bard College, Annandale - on - Hudson, NY Feminine Persuasion, The Kinsey Institute and the School
of Fine Arts
Gallery, Indiana Univeristy, Bloomington, Indiana 2002 Videos in Progress, The RISD Museum, Providence, Rhode Island Le Plateau Frac Ile - de-France (performance only, November 7), Paris, France Mirror, Mirror on the
Wall, MASS MoCA, North Adams, MA The Body Electric: Video Art and the Human Body, Cheekwood Museum
of Art, Nashville, TN Americas Remixed, La Fabbrica del Vapore, Milan, Italy (performance / exhibition) Extreme Existence, curated by Klaus Ottmann, Pratt Manhattan
Gallery, NY (performance / exhibition)(catalogue) Moving Pictures, Guggenheim Museum, New York Fusion Cuisine, Deste Foundation Centre for Contemporary Art, Athens, Greece (performance / exhibition), (Catalog available) Time Share, Sara Meltzer
Gallery, NY Le Studio, Yvon Lambert, Paris, France Oral Fixations, curated by Sandra Firmin,
Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Panorama, curated by Carmen Zita, Room Interior Products, NY Superlounge, curated by Andrea Salerno & Mari Spirito, Gale Gates, Brooklyn, NY About the Mind (Not Everything You Always Wanted to Know), Video Cafe, organized by Hitomi Iwasaki, Queens Museum, NY Mirror Image, curated by Russell Ferguson, UCLA Hammer Museum, Los Angeles, CA Traveled to: Bard College,
Center for Curatorial Studies Museum, Annadale - on - Hudson, NY Perspectives: Artists
of Chinese Descent in New York, Queens College Art
Center, NY Traveled to: Firehouse Art
Gallery, Nassau Community College, Garden City, NY, March - April 2003 2001 Bodily Acts, curated by Jennifer L. Gray,
Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Circus Maximus, BeganeGrond,
Center for the Contemporary Arts, Utrecht, Holland Group Show, Hamburg Kunstverein, Germany (performance) Mimic, Gale Gates et al., Brooklyn, NY Casino 2001, 1st Quadrennial
of Contemporary Art, Stedelijk Museum Voor Actuele Kunst and the Bijloke Museum, Gent, Belgium (performance / exhibition) Looking for Mr. Fluxus: In the Footsteps
of George Maciunas, Art in General, NY La Hijas de la Tierra (The Daughters
of the Earth), IODAC Museum
of Contemporary, Spain Panic, Julie Saul
Gallery, New York Video Jam, Palm Beach Institute
of Contemporary Art, Lake Worth, Florida (brochure) 2001 Art + Performance + Technology, in conjunction with the 19th International Sculpture Conference, Wood Street Galleries, Pittsburgh, PA (performance) WET, Luise Ross
Gallery, New York Trans Sexual Express Barcelona, Centre d'Art Santa Monica, Barcelona, Spain Smirk: Women, Art, and Humor, curated by Debra Wacks, Firehouse Art
Gallery, Nassau Community College, New York 2000 Uncomfortable Beauty, Jack Tilton / Anna Kustera
Gallery, New York Cross Female, Kunstlerhaus Bethanien, Berlin, Germany (performance / exhibition): Traveled to: Kunst - und Kunstgewerbeverein Pforzheim, Germany (April / May 2001) The Art
of the Screen Saver, Stanford Art Museum / Cantor Art
Center, Stanford, CA Traveled to: ICA, London, England (Feb - March 2002) Steamroller, performance festival organized by Galerie MXM, Prague, Czech Republic (Catalog available) Soma, Soma, Soma, The Sculpture
Center, New York Performance Festival, Kunstpanorama, Lucern and USINE, Geneva The Standard Projection: 24/7, Standard Hotel, Los Angeles Deja vu, Art Miami 2000, Miami Beach Convention
Center, Miami Beach Galerie Fons Welters (two person exhibition with Atelier van Lieshout), Amsterdam ID / y2k, Identity At The Millennium, Castle
Gallery, College
of New Rochelle, NY 1999 - 2000 Illusion Delusion Denial, 450 Broadway
Gallery, New York Mug Shots,
Center for Visual Art and Culture, University
of Connecticut, Storrs, CT. 1999 IDENDITAT, hat man doch zu viel, Ort halle fur kunst, Feldstr.
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.
The
gallery will be installed with images
of color photographs
of great lushness and black & white photographs
of frozen desolation, while the
center of the space will be occupied by a
wall - mounted aluminum plaque with the original Russian text
of Brodsky's A Part
of Speech, a poem about the memory
of his lost homeland.
Recent group exhibitions include «Fifty Years
of Bay Area Art: The SECA Awards» at the San Francisco Museum
of Modern Art, San Francisco, CA; «Drawing the Line» at The Boston
Center for the Arts, Boston, MA; «Exonome» at the Consulate General
of Mexico, San Francisco, CA; «Selections from the Collection,» BAM / PFA, Berkeley Art Museum and Pacific Film Archive, Berkeley, CA; «Regarding Truth, An Exhibition
of Work by Artadia Award Winners» at the California College
of the Arts, San Francisco, CA; «Hair Rising» at the San Jose Institute
of Contemporary Art, San Jose, CA; «2004 SECA Art Award» at the San Francisco Museum
of Modern Art, San Francisco, CA; «
Wall - to -
Wall» at The Drawing
Center, New York, NY; «In My Empire Life is Sweet» at DCKT Contemporary, New York, NY; «Next New» at the San Jose Institute
of Contemporary Art, San Jose, CA; «Commission» 04» at the San Francisco Arts Commission, San Francisco, CA; «Warped Space» at CCA Wattis Institute
of Contemporary Arts, San Francisco, CA; «Cream» at ArtsBenicia, Benicia, CA; «Comers... up and 2» at Jay Jay
Gallery, Sacramento, CA; «M.F.A. Exhibition» at Mills College Art Museum, Oakland, CA; «Graduating Student Exhibition» at S.M.F.A., Boston, MA; «Post-Baccalaureate Class Exhibition» at S.M.F.A., Boston, MA; «S.M.F.A. Annual Juried Exhibition» at S.M.F.A., Boston, MA; «Post-Bac» at S.M.F.A., Boston, MA; «B.F.A. Honors Student Exhibition» at the Cleveland Institute
of Art, Cleveland, OH; «Graduating Students Exhibition» at the Cleveland Institute
of Art, Cleveland, OH; «Collective Sculpture Exhibition» at Universidad Complutense, Madrid, Spain; and «Collective Drawing Exhibition,» Leon, Spain.
2000 Luci in Galleria, da Warhol al 2000, Galleria Gian Enzo Sperone, Turin, Italy Grant Selwyn Fine Art, New York Peter Halley / Alex Katz / Sherrie Levine, Galerie Wilma Tolksdorf, Frankfurt am Main Glee: Painting Now, Palm Beach Institute
of Contemporary Art, Lake Worth, FL; Aldrich Museum
of Contemporary Art, Ridgefield, CT (catalogue) Around 1984: A Look at Art in the Eighties, MoMA P.S. 1, Long Island City, NY (catalogue) New Prints 2000, International Print
Center, New York Flights
of the Málaga Collection, Fundacion la Caixa, Málaga, Spain Hard Pressed: 600 Years
of Prints and Process, AXA
Gallery, New York (catalogue) Universal Abstraction 2000, Jan Weiner
Gallery, Kansas City, MO Perfidy: Surviving Modernism, Kettle's Yard, Cambridge, UK
Wall Works, Edition Schellmann, Munich From Albers to Paik: Works
of the DaimlerChrysler Collection, Kunst Zürich, Zurich Age
of Influence: Reflections in the Mirror
of American Culture, Museum
of Contemporary Art, Chicago Collectors: The Collection
of Fondation Cartier for Contemporary Art, Palazzo Delle Papesse, Siena, Italy Bit by Bit: Painting & Digital Culture, Numark
Gallery, Washington, DC American Art: The Last Decade, Loggetta Lombardesca, Ravenna, Italy (catalogue) Out
of Order: Mapping Social Space, CU Art Galleries, University
of Colorado at Boulder, Boulder, CO; travelled to Carleton College Art
Gallery, Northfield, MN; Pittsburgh
Center for the Arts, PA; Atlanta Contemporary Art
Center, GA; Santa Barbara Contemporary Art Forum, CA (catalogue) Inka Essenhigh / Peter Halley, Mary Boone
Gallery, New York Architecture & Memory, Lawrence Rubin, Greenberg Van Doren Fine Art, New York Sandra Gering
Gallery, New York
The
Wall Street Journal, January 2013 Insider's Guide to Washington «The King Street area has some
of the best stores and
galleries in the [DC] region, from Patrick's, a one - stop home shop, to the Torpedo Factory Art
Center.»
1995 Images, Masks, and Models, 11, rue Larrey at Sidney Janis
Gallery, New York (booklet) Mario Diacono
Gallery, Boston, MA (booklet) Galerie Bruno Bischofberger, Zurich
Wall Installation, TZ Art, New York (installation) Exploding Cell, Edition Schellmann and Pace Prints, New York Galerie Thaddaeus Ropac, Paris (installation) Drawings 1977 — 1978, Schmidt Contemporary Art, St. Louis Drawings 1991 — 1995, Frances Lehman Loeb Art
Center, Vassar College, Poughkeepsie, NY (catalogue); travelled to Greenberg Van Doren
Gallery, St. Louis; Rhona Hoffman
Gallery, Chicago; Kohn Turner
Gallery, Los Angeles Paintings: 1980 — 1981, Turner, Byrne & Runyon, Dallas (catalogue) Encounters 6, Dallas Museum
of Art, Dallas (installation, booklet)
(Tokyo Opera Art City
Gallery, 2000), Counter Pieces (Galerie der Stadt Stuttgart, Germany, 2000), Count
of Life (Art Sonje
Center, Seoul and Art Sonje Museum, Gyeongju, Korea, 2002), Tatsuo Miyajima (Museo d'Arte Contemporanea Roma, Rome, 2004), Beyond the Death (Contemporary Art Museum, Kumamoto, Japan, 2005), Counter Voice (Contemporary Art Centre
of South Australia, Adelaide, Australia, 2005), Art in You (Art Tower Mito, Japan, 2008), Time Train (Kunsthalle Recklinghausen, Germany, 2008), 38 (Mongin Art
Center, Seoul, 2008), Time Train (Six, Osaka, Japan, 2010), Ashes to Ashes, Dust to Dust (Ullens
Center for Contemporary Art, Beijing, 2011), Three Time Train / Counter voice on the
Wall (Kunstmuseum St. Gallen, Switzerland, 2011), House Lives with Time (Han Family's House, Gahoe - dong, Seoul, 2012), LIFE I - model (SCAI THE BATHHOUSE, Tokyo, 2012), I - Model (Lisson
Gallery, London, 2013), Life (Rhizome)(Buchmann Galerie, Berlin, 2013), KU (Lisson
Gallery, Milan, Italy, 2014).
Continuing our tour
of the front
gallery: Karolak, Rob De Oude on the left
wall; Don Voisine on near facing
wall,
center right; Cordy Ryman; a glimpse
of Elise Ferguson, right
In our upcoming intervention, (ƒ) utility projects (a collaborative comprised
of Paola Cabal, Michael Genge, and Chris Grieshaber) seek to elevate the natural elements
of the back yard
of the Riverside Art
Center to «Art Object» status by selectively positioning white «
gallery walls» between and around the landscaping and trees already located there.
Of my writings published online on this blog and The Huffington Post since last April 2010, the ones that have in any small way gone viral, very relatively speaking, were those in which I wrote fast enough about current hot news items or ones relating or engaging with artworld celebrities: as one example, «My Whole Street is A Mosque,» written within 24 hours of the news cycle surrounding the proposal for a Islamic cultural center near Ground Zero, was picked up by various web aggregators; «Looking for Art to Love, MoMA: A Tale of Two Egos» also did very well because of my speculation about how or whether Marina Abramovic peed during her performance «The Artist is Present» at MoMA, a subject of much prurient curiosity (interesting speculation was illustrated online at New York Magazine and resolution of the mystery came in the Wall Street Journal's blog, «Speakeasy»); «Anselm Kiefer@Larry Gagosian: Last Century in Berlin,» where I tucked a critical response to Kiefer's recent show into a bit of reporting about how Gagosian Gallery was using the NYPD as its private police force, also created a spike on my Google analytics; more recently I could perceive a noticeable uptick in my readership as well as in the number and enthusiasm of my Facebook friends» comments for «Should we trust anyone under 3
Of my writings published online on this blog and The Huffington Post since last April 2010, the ones that have in any small way gone viral, very relatively speaking, were those in which I wrote fast enough about current hot news items or ones relating or engaging with artworld celebrities: as one example, «My Whole Street is A Mosque,» written within 24 hours
of the news cycle surrounding the proposal for a Islamic cultural center near Ground Zero, was picked up by various web aggregators; «Looking for Art to Love, MoMA: A Tale of Two Egos» also did very well because of my speculation about how or whether Marina Abramovic peed during her performance «The Artist is Present» at MoMA, a subject of much prurient curiosity (interesting speculation was illustrated online at New York Magazine and resolution of the mystery came in the Wall Street Journal's blog, «Speakeasy»); «Anselm Kiefer@Larry Gagosian: Last Century in Berlin,» where I tucked a critical response to Kiefer's recent show into a bit of reporting about how Gagosian Gallery was using the NYPD as its private police force, also created a spike on my Google analytics; more recently I could perceive a noticeable uptick in my readership as well as in the number and enthusiasm of my Facebook friends» comments for «Should we trust anyone under 3
of the news cycle surrounding the proposal for a Islamic cultural
center near Ground Zero, was picked up by various web aggregators; «Looking for Art to Love, MoMA: A Tale
of Two Egos» also did very well because of my speculation about how or whether Marina Abramovic peed during her performance «The Artist is Present» at MoMA, a subject of much prurient curiosity (interesting speculation was illustrated online at New York Magazine and resolution of the mystery came in the Wall Street Journal's blog, «Speakeasy»); «Anselm Kiefer@Larry Gagosian: Last Century in Berlin,» where I tucked a critical response to Kiefer's recent show into a bit of reporting about how Gagosian Gallery was using the NYPD as its private police force, also created a spike on my Google analytics; more recently I could perceive a noticeable uptick in my readership as well as in the number and enthusiasm of my Facebook friends» comments for «Should we trust anyone under 3
of Two Egos» also did very well because
of my speculation about how or whether Marina Abramovic peed during her performance «The Artist is Present» at MoMA, a subject of much prurient curiosity (interesting speculation was illustrated online at New York Magazine and resolution of the mystery came in the Wall Street Journal's blog, «Speakeasy»); «Anselm Kiefer@Larry Gagosian: Last Century in Berlin,» where I tucked a critical response to Kiefer's recent show into a bit of reporting about how Gagosian Gallery was using the NYPD as its private police force, also created a spike on my Google analytics; more recently I could perceive a noticeable uptick in my readership as well as in the number and enthusiasm of my Facebook friends» comments for «Should we trust anyone under 3
of my speculation about how or whether Marina Abramovic peed during her performance «The Artist is Present» at MoMA, a subject
of much prurient curiosity (interesting speculation was illustrated online at New York Magazine and resolution of the mystery came in the Wall Street Journal's blog, «Speakeasy»); «Anselm Kiefer@Larry Gagosian: Last Century in Berlin,» where I tucked a critical response to Kiefer's recent show into a bit of reporting about how Gagosian Gallery was using the NYPD as its private police force, also created a spike on my Google analytics; more recently I could perceive a noticeable uptick in my readership as well as in the number and enthusiasm of my Facebook friends» comments for «Should we trust anyone under 3
of much prurient curiosity (interesting speculation was illustrated online at New York Magazine and resolution
of the mystery came in the Wall Street Journal's blog, «Speakeasy»); «Anselm Kiefer@Larry Gagosian: Last Century in Berlin,» where I tucked a critical response to Kiefer's recent show into a bit of reporting about how Gagosian Gallery was using the NYPD as its private police force, also created a spike on my Google analytics; more recently I could perceive a noticeable uptick in my readership as well as in the number and enthusiasm of my Facebook friends» comments for «Should we trust anyone under 3
of the mystery came in the
Wall Street Journal's blog, «Speakeasy»); «Anselm Kiefer@Larry Gagosian: Last Century in Berlin,» where I tucked a critical response to Kiefer's recent show into a bit
of reporting about how Gagosian Gallery was using the NYPD as its private police force, also created a spike on my Google analytics; more recently I could perceive a noticeable uptick in my readership as well as in the number and enthusiasm of my Facebook friends» comments for «Should we trust anyone under 3
of reporting about how Gagosian
Gallery was using the NYPD as its private police force, also created a spike on my Google analytics; more recently I could perceive a noticeable uptick in my readership as well as in the number and enthusiasm
of my Facebook friends» comments for «Should we trust anyone under 3
of my Facebook friends» comments for «Should we trust anyone under 30?
Brody's animations have been included in programs at The National
Gallery of Art in Washington, MoMA, The Reina Sofia Museum, and the Centre Pomidou, and he has made
wall drawing installations for the Brooklyn Museum and the Drawing
Center.
Through projections and light on a main
wall and throughout the campus, the work aims to explore connections between the individual identities
of the
galleries and artists at Bergamot Art
Center as a unified space.
1990 Dedication Exhibition, James E. Lewis Museum
of Art, Morgan State University, Baltimore, MD A Force
of Repetition, New Jersey State Museum, Trenton, NJ PMW at CWW, City Without
Walls Gallery, Newark, NJ Prints by African Americans from The Printmaker's Workshop, Mid-Hudson Arts and Science
Center, Poughkeepsie, NY
The
center piece
of the exhibition is a large 5 ft. x 4 ft.
wall drawing created on site especially for the
gallery.
2000 Bernard Jacobson
Gallery, London Ameringer Howard
Gallery, New York «Circles» 2001 Southern Vermont Art
Center, Manchester, VT. «Noland's Nolands» 2001 Pace Prints, Kenneth Noland «New Editions» Bernard Jacobson
Gallery, London 2002 Farnsworth Museum, Maine / Naples Museum
of Art, Florida «Kenneth Noland: Themes and Variations» 2003 Chac - Mool
Gallery, Los Angeles, CA Ameringer / Yohe
Gallery, New York 2004 Museum
of Fine Art, Houston, Houston Texas 2005 Fumagalli
Gallery, Bergamo, Italy 2006 Ameringer / Yohe
Gallery, New York «360 Degrees on the
Wall» SELECTED GROUP EXHIBITIONS (incomplete) 1964 «Painting and Sculpture
of a Decade, 1954 - 1964,» The Tate
Gallery, London, April 22 - June 28 «XXXII Biennale,» Venice, June 20 - October 18 1965 «The Responsive Eye,» Museum
of Modern Art, New York, February 23 - April 25.
Selected exhibitions include: Atomic Sunshine at The Okinawa Prefectural Art Museum, Japan (2009);
Wall Rockets: Contemporary Artists and Ed Ruscha, curated by Lisa Dennison at The Albright - Knox Art
Gallery, Buffalo, NY (2009); Making a Home at The Japan Society, New York (2008); Second Lives at The Museum
of Arts & Design, New York (2008);
Wall Rockets, Curated by Lisa Dennison at The FLAG Art Foundation, New York (2008); Free Fish at the Asia Society, New York (2007); Thermocline
of Art - New Asian Waves at ZKM, Karlsruhe, Germany (2007); Attention to Detail at The FLAG Art Foundation, New York (2007); The Shapes
of Space at the Guggenheim Museum, New York (2007); Greater New York at P.S. 1 Contemporary Art
Center, Queens, NY (2005); Yokohama International Triennial, Yokohama, Japan (2005); and Fuchu Biennale at the Fuchu Art Museum, Tokyo, Japan (2004).
His work has been the topic
of several solo exhibitions including Walking on The
Wall, Nahum Tevet Small Sculptures, 1980 — 2012, Tel Aviv University Art
Gallery, 2012; Nahum Tevet, Museo d'Arte Contemporanea Roma (MACRO), 2008; Nahum Tevet: Works, 1994 — 2006, The Israel Museum, Jerusalem, 2007; Nahum Tevet: Take Two, Le Quartier,
Center for Contemporary Art, Quimper, France, 2005; and Opening Moves, Nahum Tevet Sculptures, Museum
of Modern Art, Ludwig Foundation, Vienna, 1997.
With a similar color palette, but with a more subdued and
centered energy, Zuisouhen occupied the left and remaining
wall of the
gallery.
It's one thing to encounter a LeWitt
wall drawing in a public space like Christie's Rockefeller
Center lobby, the New School's 13th Street lobby, or the Museum
of Modern Art's fourth - floor Dannheisser
Gallery.
On Aug. 2, an exhibition
of Abstract Expressionist painting and sculpture from the National
Gallery of Art in Washington will open in the Clark Center's other galleries, which are below grade but get some natural light from large window wells (though the larger gallery is marred by a diagonal
Gallery of Art in Washington will open in the Clark
Center's other
galleries, which are below grade but get some natural light from large window wells (though the larger
gallery is marred by a diagonal
gallery is marred by a diagonal
wall).
The
Gallery at Sulfur Studios is a 720sq ft. white box space with a
center feature
wall and 142ft
of running
wall space.
The
Center Gallery is approximately 100 square feet, totaling 30 linear feet
of wall space.
It spans two Chelsea
galleries, Marlborough and Marianne Boesky — with a portrait
of Boesky's grandfather, in a family better known for a chain
of delis, some topless bars, and Ivan Boesky, the
center of a
Wall Street trading scandal.
2004 Hidden Histories, New Art
Gallery Walsall, West Midlands, UK; curated by Michael Petry Whitney Biennale, Whitney Museum
of American Art, New York, USA Shelly Hirsch & Jim Hodges, Roulette at Location One, New York, USA Treble, Sculpture
Center, Long Island City, New York, USA Drawing Modern: Works from the Agnes Gund Collection, The Cleveland Museum
of Art, Cleveland, Ohio, USA Off the
Wall: Works from the JP Morgan Chase Collection, Bruce Museum
of Arts and Sciences, Greenwich, Connecticut, USA Mad About the Boy, The New
Gallery, Walsall, England
2008
Wall Rockets: Contemporary Artists and Ed Ruscha, The FLAG Art Foundation, New York, USA New Prints 2008 / Spring, International Print
Center, New York School
of Interior Design
Gallery, New York, USA
Recent group exhibitions include; «Study from the Human Body», Stephen Friedman
Gallery, London, England (2014); «Lifelike», Museum
of Contemporary Art San Diego, San Diego, USA (2010); «Seismic Shifts», The National Academy Museum, Manhattan, New York, USA (2013); «Now Here is also Nowhere: Part 1», Henry Art
Gallery, Seattle, Washington, USA (2013 - 2012); «Invisible Art: About the Unseen, 1957 - 2012», The Hayward
Gallery, London (2012); «Floor Corner
Wall», Fort Worth Contemporary Arts, Fort Worth, Texas (2010); «Slash: Paper Under the Knife», Museum
of Arts and Design, New York (2010); «Chasing Napoleon», Palais de Tokyo, Paris (2009); «The Shapes
of Space», Solomon R. Guggenheim Museum, New York (2007); «Art in America», Now, MOCA Shanghai, Shanghai (2007); «Mapping the Self», Museum
of Contemporary Art Chicago (2007); «Into me / Out
of me», P.S. 1 Contemporary Art
Center, Long Island (2006).
Installation view April 28 — May 21, 2011 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.
A
walled - off installation, housed within a purpose - built space at the
center of the
gallery, contains different objects that glide momentarily past on a moving conveyor belt.
Raven is a contributing editor to BOMB magazine, and her writing has appeared in publications such as Rachel Harrison: Museum With
Walls (
Center for Curatorial Studies, Bard College / Whitechapel
Gallery / Portikus, 2010); Deborah Stratman: Tactical Uses
of a Belief in the Unseen, (Gahlberg
Gallery, 2010); and Inge Morath: The Road to Reno (Steidl, 2006).
In 2018, Gray's work was included in Public Fiction: the Conscientious Objector at the MAK
Center for Art & Architecture in Los Angeles where he directed a new durational performance delivered by professional actors, and upcoming, a number
of Gray's works are included in the major summer group exhibition Michael Jackson: On the
Wall at London's National Portrait
Gallery, travelling to the Grand Palais Paris, and the Kunstmusem Bonn through 2019.
City Without
Walls Gallery, Gateway
Center, Newark, NJ Hiestand Galleries, Miami University, Oxford, OH
Gallery of Contemporary Art, Univ.
of Col, Colorado Springs, CO
Gallery III (solo), Nat» l Inst.
Inside, a minimalistic configuration
of white pedestals and a partition
wall convey a curious sense
of vacancy, while several pairs
of binoculars at the
center of the
gallery inquisitively suggest closer looking.