Sentences with phrase «encountered by a visitor»

Yet the first thing encountered by a visitor to the exhibition is not any of these well - known works.

Not exact matches

Seven of their twelve encounters in Bolton were won by the visitors, the Trotters prevailing on just one occasion, a 1 - 0 win back in 2007.

Exhaustion set in by Friday, but the determination to do everything overruled, none faulted the excess, and everyone I encountered had a highpoint; one young collector went around Untitled urging visitors to borrow a surfboard from Thomas Vu's 14 - surfboard piece and head to the water — «the roughened wood surface won't take you far out, but the experience of riding a piece of art will»; another couldn't get over the metaphor of Bernardaud's $ 9,000 porcelain edition of Jeff Koons balloon dog popping out of its display case and shattering at her feet.

The exhibition visitor will first encounter a signature work by each artist in Out Our Way, providing a starting point from which to explore the pivotal moment each artist experienced at UC Davis.

This photo gallery shows just a handful of works by African American artists that visitors can encounter in the galleries during Black History Month and beyond!

Amid curvilinear beds of American plants and arcing pathways, visitors encounter such works as Spider by Louise Bourgeois, House I by Roy Lichtenstein, Thinker on a Rock by Barry Flanagan, and Graft by Roxy Paine.

This new incarnation, from different organisers, seems to have the quality and mix of exhibitors just right, allowing visitors to encounter in Somerset House's elegant rooms everything from vintage 19th - century salt prints by Gustav Le Gray to mid-century masters like Diane Arbus (below) and contemporary stars such as Candida Höfer.

In each of the 11 rooms, the visitor encounters different situations of live art pieces, presented by performers and players who have been instructed by 11 different artists.

Ordinary / Extra / Ordinary, curated by David Thorp, has its origins in the idea that The Public is a place where visitors can encounter contemporary art that is accessible and which resonates with the familiar but extends and challenges perception at the same time.

Created as hybrids and varying in size, from that of a bus shelter to a fashion runway, the pavilions operate as quasi-functional spaces that are activated by the presence of the viewer, as visitors are encouraged to walk through the sculpture and encounter reflections of themselves, others and the space around them.

Today, visitors to group shows are as likely to encounter spaces in which objects are to be read and understood by human subjects, as they are to walk into spaces in which their presence (as just another object among other objects) is negligible.

By wandering around its rooms and encountering the works of art, visitors come to embody both poetic structural elements such as stanzas, and some of the topoi of poetry, like the descent to the underworld.

In Hong Kong during the fair, visitors will have an opportunity to see elements from another early work by Tehching Hsieh in a group exhibition at Para / Site Art Space, Taiping Tianguo, A History of Possible Encounters.

Comprising music, lights, field recordings and video elements activated by free events, South Tank invites audiences to explore both Tillmans» practice and Tate Modern's industrial setting throughout it's installation: they can come and go at any point, meaning that every visitor has an individual and unique encounter with the work.

Placed throughout the maze are works by six artists in the Margulies Collection, to be encountered as the visitor moves through the space.

Meanwhile Zoom Pavilion by Rafael Lozano - Hemmer and Krzysztof Wodiczko gave visitors a disorientating encounter with mass surveillance, with 12 robotic cameras capturing the audience, and rendering the footage on the gallery walls in real time.

Throughout this journey, visitors encounter different works by Hein, including new pieces fabricated for this exhibition.

Climbing to the top of the building visitors will encounter a new work by Siobhan Davies created with Catherine Bennett, Matteo Fargion, Henry Montes, Deborah Saxon and Matthias Sperling.

Visitors to the space encounter the remnants of a performance which incorporates the mannered Minimalism and Punk aesthetic carried on by the generation following Steven Parrino.

By encouraging visitors to navigate spontaneous encounters through out the Museum, this approach will activate every space in the Museum, from the galleries and bookstore to elevators and stairwells with artist inventions.

Visitors will also enjoy a vicarious encounter with Matisse by way of Diebenkorn's personal library, which makes clear that his experience of the older artist wasn't limited to things he'd seen firsthand in exhibitions.

Curators Janet Bishop (of SFMOMA) and Katy Rothkopf (of The Baltimore Museum of Art) have carefully structured the exhibition as a series of encounters, which occur not only in real time, as visitors come upon the works, but also by way of time traveling, as they vicariously encounter Matisse through Diebenkorn's eyes.

Face - to - face with headless, caramel - coloured mannequins, posed mid-action and dressed in vivid Dutch wax - printed fabric - this dramatic encounter awaits visitors to the first show here by well known British - Nigerian artist Yinka Shonibare.

These sounds, lights and above all a neon text that wrapped frieze - like around the entire exhibition space, drew visitors around the building in a choreographed promenade, punctuated by encounters with objects and unexpected vistas.

Walking through the new art venue, visitors were created by Aurora Robson's dangling plastic installations that conjured suspended jellyfish or deep - sea creatures and then encountered Tempest by Wade Kavanaugh and Stephen B. Nguyen, which was an oversized paper installation that conjured a Moby Dick - sized wave and directly inspired (and made for) the Hamptons.

from a planter inset into the mattress of a charred, wooden - framed hospital bed is the first work visitors encounter when entering «Epiphany is Not a Blazing Light,» a show of new works by Romy Aura Maloon, on view through June 20 at Beep Beep Gallery.

Selected by Clare Lilley (Director of Programme, Yorkshire Sculpture Park) and with free public access, the Frieze Sculpture Park gives visitors to The Regent's Park a rare opportunity to encounter exceptional sculpture and installation art by international artists in the open air.

Dedicated to presenting large - scale sculpture and installation works by leading artists from around the world, Encounters provides visitors with the opportunity to see works that transcend the traditional art fair stands, presented in prominent locations throughout the exhibition halls.

In addition to Farmanfarmaian's mirrored sculptures, visitors will encounter Montana artist Andrea Fraser's poignant pyramid of cast off Brazilian Carnival costumes, British artist Hew Locke's symbol - laden parade mural made from black Mardi Gras beads and Jamaican artist Ebony G. Patterson's glitter - coated collages inspired by Caribbean dance clubs.

While the project's punch line is a bit simplistic, it is ideally suited for this small corner of the market, where unsuspecting market visitors will be drawn in by the bright green astroturf and enjoy an unexpected (and possibly frustrating) encounter with contemporary art.

Entering the space, visitors are first encountered by a series of large - scale text works by Glenn Ligon, hung over the Pavilion entrance and continuing his work investigating the textual variants of musician Steve Reich's classic tape - based composition Come Out.

By allowing familiar paintings to be encountered and contemplated from a new angle, visitors will be encouraged to rethink their perception of the selected paintings and explore wider conversations about how we experience art and the affinities that exist between music and painting.

In Ozbolt's «Brave New World», the visitor is sent on a journey in which they encounter a variety of landscapes populated by myriad characters and rituals, passing from one zone to the next as though on a quest for divine inspiration.

Visitors to the Georgian Revival - style Glyndor Gallery, another former home at Wave Hill, will encounter an intriguing assortment by 16 artists ranging in age from their 20s to their 80s.

Büchel created an immersive experience by installing a labyrinth of rooms and spaces that simulate hotel rooms, shops, bedrooms, kitchens, warehouses, and repair shops that the visitor encounters by walking through corridors, crawling through holes and climbing stairs up and down.

The visitor encounters the empty exhibitions now in 2009, exactly 40 years after «When Attitude Become Form» organised by Harald Szeeman when director of the Kunsthalle Bern.

Level four will be dominated by works by the late Louise Bourgeois, while elsewhere visitors may encounter a four - tonne cube of pink glass by Roni Horn, or a bubble fountain by the kinetic art pioneer David Medalla.

Visitors to the English Gardens can also encounter an over-sized snake ring in polished concrete by Kathleen Ryan (François Ghebaly, Los Angeles); a large marble form by Tony Cragg (Lisson Gallery, London); an anthropomorphic bronze by William Turnbull (Offer Waterman, London); a work from the «Signal» series by Takis (Axel Vervoordt, Antwerp); Dominique Stroobant's elegant geometric composition (Axel Vervoordt, Antwerp); a new solar - powered light and sound piece by Haroon Mirza (Lisson Gallery, London), developing from his intervention at the Museum Tinguely, Basel, earlier this year; a large painted and lacquered metal piece by Gary Webb (The Approach, London); an oversized beaten steel shoe by Aaron Angel (Rob Tufnell, London); a new ceramic «totem pole» by Jesse Wine (Limoncello, London); a colony of rabbits made from plastic bags by Leo Fitzmaurice (The Sunday Painter, London) and Seung - taek Lee's monumental balloon model of the earth, which will gradually deflate across the course of the fair (Gallery Hyundai, Seoul).

It is also important to keep in mind that all visitors entering the U.S. are required to undergo a security screening by U.S. Customs and Border Patrol (CBP), and because they want to be confident in the fact that travelers won't leave behind hefty bill for U.S. tax payers to have to cover upon their return to their home country, the question of whether you are protected by a travel insurance policy or not may arise, especially for elderly citizens who are more likely to encounter a medical emergency during the duration of their stay.