Sentences with phrase «different gallery floor»

Each event will focus on a different gallery floor of the Biennial.

Not exact matches

Changing Solo Shows with works by Andy Warhol, Roy Lichtenstein, Tom Wesselmann or Mel Ramos on three floors at the Gallery Space in the Heart of Nuremberg expose different positions of our gallery pGallery Space in the Heart of Nuremberg expose different positions of our gallery pgallery program.

Changing Solo Shows with works by Andy Warhol, Keith Haring, Roy Lichtenstein, Julian Opie, James Rosenquist, Alex Katz or Mel Ramos on three floors at the Gallery Space in the Heart of Nuremberg expose different positions of our gallery pGallery Space in the Heart of Nuremberg expose different positions of our gallery pgallery program.

Changing Solo Shows on three floors at the Gallery Space in the Heart of Nuremberg expose different positions of our gallery pGallery Space in the Heart of Nuremberg expose different positions of our gallery pgallery program.

Anchored to a first floor gallery space over the course of A New Reality, these mobile units will change position and be located at different junctures throughout the building in the future.

Changing Solo Shows on two floors at the Gallery Space in the Heart of Nuremberg / Germany expose different positions of our gallery pGallery Space in the Heart of Nuremberg / Germany expose different positions of our gallery pgallery program.

Sure, its first floor boasts an urban - inspired coffee bar with contemporary furnishings that gesture toward the present day, but the galleries tell a different story of time altogether.

Swiss and Baltic Artists 21.11.2014 — 1.02.2015 5th floor, Gallery of Contemporary Art The exhibition brings together Estonian, Latvian, Lithuanian and Swiss artists with different backgrounds, who tell their stories based on their collective history and their personal narratives.

Changing Solo Shows on three floors at the Gallery Space in the Heart of Nuremberg / Germany expose different positions of our gallery pGallery Space in the Heart of Nuremberg / Germany expose different positions of our gallery pgallery program.

An installation of suitcases, in different shades of blue, are lined up across the gallery floor forming a sculpture titled «1961,» the year Ms. Leonard was born in New York.

We were fortunate to have the support of our curatorial colleagues to situate contemporary works in various public spaces and new galleries on different floors in proximity to their exhibitions.

The videos of the performances and the close - ups of the musicians as they played are projected onto the floor of the gallery in different sizes, carpeting the space with a mixture of sounds.

Entering the darkened recess of a separate chamber constructed on the gallery floor, the viewer finds a wall - sized shadow tableau of all the elements previously encountered, but here unified, like multiple different arts coming together to create an opera.

Over time and space, the works of art will in turn be removed from this densely packed exhibition space to take on different roles in the three acts that will be staged in the grand middle floor gallery of this Moscow aristocratic mansion.

In terms of the wide range of media employed, the show looks like it could have been made by several different artists: sculptures similar to the ones shown a the Whitney occupy one gallery; another room boasts huge, scribbly pencil drawings on walls that surround a replica of a hearth («the traditional focal point of the American home»); in another, stacks of mannequins wearing identical outfits and wigs create a chute through which you can walk to view floor - facing monitors screening videos featuring the real - life character the mannequins seem to be modeled after (the artist's mother).

The galleries will be paved with three different floors, two replicating proper basketball courts, and one of stock carpet depicting outer space, typically for outfitting movie theaters or children's daycares.

New exhibition space mirrors the three major floors of galleries in the original: well lit and rectangular, with opportunities for curators to rearrange partitions for different hangs.

In the Wharf Road galleries the exhibition comprises three installations - one on each floor - that the artist has conceived as a series of different experiments that explore the construction and measurement of space, mass, time, and volume through the use of materials.

Of course quality was the first selection criterion to bring these 36 artists from different countries together, but for curator Janice Whittle there was another important reason to select the artists she liked to present: she wanted to give the floor to artists who have not had many chances over the years to show their work because of the limited infrastructure of the island: Barbados — as most of the Caribbean countries — does not have a museum for modern or contemporary art; a National Gallery has been a subject for discussion for countless years, but it never got of the ground; the Queen's Park Gallery — a governmentally managed institution — was closed for years and commercial galleries came and went.

In the Wharf Road galleries, three installations run across the three floors as different experiments into the construction and measurement of space, mass, time, and volume.

Spread throughout both floors of the gallery, the numerous, and almost contrasting physical elements revisit the tale in different ways.

This song is diffused throughout Empty Gallery's two floors by a multi-channel speaker system which Gordon has used to fragment the composition into its component parts — localizing different elements of the song in specific regions of the space.

No one in their right minds would want to begin to map out a common style across the thousands of different approaches littering the white floors and gray walls of contemporary art galleries all over the world.

Installed across the three ground floor galleries of City Gallery, this exhibition's most significant weakness is that the flow between the works has had to be broken into different compartments.

Pill Clock (2011 - 2015), a ceiling - mounted timepiece that will drop over one million pills onto the gallery floor during the course of the exhibition, poses a different kind of conundrum for visitors: the installation includes a drinking fountain for those visitors who decide to take one of the pills and face its unknown effects.

A chronological installation of Abramović's work will be included in The Joan and Preston Robert Tisch Gallery on the sixth floor of the Museum, revealing different modes of representing, documenting, and exhibiting her ephemeral, time - based, and media - based works.

At a different level of finish, Glen Seator (whose astounding work «Approach» currently fills San Francisco's Capp Street Project) has duplicated full - scale an empty Whitney Museum office in the fourth floor gallery, tilting it up on one corner.

For this installation, Shechet's sculptures in ceramic, porcelain, and paper are exhibited across five galleries on two different floors of the museum, extending from the original house to the annex.

In a different gallery, Delphine (1999) consists of multiple projections on the walls, ceiling, and floor depicting dolphins at play; the existing architecture is renegotiated to align human movements in the space with the dolphins» movements and environment.