Sentences with phrase «exhibition space form»

Two galleries and a video darkroom exhibition space form the artistic core of the museum.

Not exact matches

Back in the 1800s, the warehouses which formed a large part of the city's commerce started to become the unlikely setting for old school dates, as they gradually got converted into restos, shops and art exhibition spaces, including the well regarded Arnolfini.

It is a brand new exhibition space that captures the forms and meets the requirements of contemporary design.

The jazz innovator Cecil Taylor; the painter and musician Lucy Dodd; the filmmaker Steve McQueen; the earth artist Michael Heizer; and the skilled manipulator of human consciousness Andrea Fraser all outdid themselves, teaching us about life, space and the exhibition as form.

Following in - depth study of the exhibition, learn to construct ideal geometric forms and combine them with recycled materials while realizing an interior space designed around your unique perspective and personality.

Ballroom Marfa is pleased to announce the opening of Immaterial, an exhibition that will focus on the physical and psychic tensions between form, color, and space across varied visual and structural mediums.

Big commodities occupied the three physical exhibition spaces, but also appeared online, in the form of installation shots and images on the sales platform Artuner.com, which hosted a digital version of the exhibition.

DeFeo's distinctive exploration of form and repetition of shape, as well as her fascination with space and depth of field, are seen throughout the exhibition.

1999 AC Project Room, New York, N.Y. Staff USA Gallery «Goldberg, Kamitaki, Beckett» New York, N.Y. Galerie Albrecht Minimal.Emotional» (Goldberg, Hofmann, Mills, Su) Munich, Germany Parsons School of Design Galleries «Drawing in The Present Tense» curated by Roger Shepherd and George Negroponte (catalogue) New York, N.Y. Zeitgeist «Monotypes» (Glenn Goldberg, Will Berry) Nashville, TN 1998 Hill Gallery Birmingham, MI 20th Century Art L.I.C., N.Y. 1997 20th Century Art L.I.C., N.Y. Galerie Albrecht Munich, Germany Rose Art Museum «Works From The Collection» Waltham, MA 1996 Knoedler & Co., New York, N.Y. Hill Gallery, Birmingham, MI 1995 Hill Gallery, Birmingham, MI The Work Space «Wacko» New York, N.Y. Galerie Albrecht «Gosewitz / Goldberg» Munich, Germany Edward Hopper House «Goldberg / Wiley» (videotape) Nyack, N.Y. 1994 Hill Gallery Birmingham, MI The Academy of Arts & Letters «46th Annual Academy Purchase Exhibition» New York, N.Y. Baxter Gallery of Art «Intimate Observation» curated by Jennifer Gross Portland, ME Castle Gallery «Toys / Art / Us» curated by Lori Friedman New Rochelle, N.Y. 1993 New York Studio School «Formative Past: Present Form» New York, N.Y. Galerie Albrecht «Baechler, Goldberg, Hofer, Roiter» Munich, Germany Robert Morrison Gallery «Goldberg, Humphrey, Koorland» New York, N.Y Castelli Gallery «Drawings: Foundation of Contemporary Performance Arts» New York, N.Y. 1992 Germans Van Eyck Gallery «Play Between Fear And Desire» curated by Jennifer Gross New York, N.Y. Rosenthal Fine Art «Glenn Goldberg - Josef Ramaseder» Chicago, IL Angles Gallery «Numbers» Santa Monica, CA David Beitzel Gallery «Paper Houses» New York, N.Y. Betsy Senior Gallery «Goldberg, Mangold, Row, T. Winters» New York, N.Y. Galerie Theuretzbacher «Against The Grain» (catalogue) Vienna, Austria 1991 Bellas Artes Gallery «Masterworks of Contemporary Painting, Sculpture and Drawing: The 1930's to the 1990's» Santa Fe, New Mexico Hill Gallery Birmingham, MI Museum of Contemporary Art «The Scott Spiegel Collection» Los Angeles, CA 1990 Wetterling Gallery (catalogue) Stockholm, Sweden Madison Art Center «Intimate Inventions / Gestural Abstractions» Madison, WI.

This exhibition draws together photographs and sculptures with a minimalist aesthetic which relate to structures, form, space and colour beyond the landscape.

For the three - paneled form of the Bulletin Board at the Center for Curatorial Studies at Bard College, Los Angeles - based artist Scott Benzel conceptualized a site - specific triptych for the atypical, yet mundane, exhibition space.

Regardless of the mode of making or the content within the form, each work in the exhibition asks us to reevaluate the way we see and experience the spaces we are in, the objects we confront, and the relationship between vision and perception.

Bad at Sports, (weekend picks, March 2013) New American Paintings (Must see painting shows March 2013) Bad at Sports, 2011 Chicago Gallery News, 2011 Chicago Life Magazine, 2011 The Café Review, Portland, Maine, 2011 The Sag Harbor Express, 2010 Art Chicago Catalogue, 2010 The Art Auction at The Museum of Contemporary Art, Chicago, Art Chicago Catalog, 2010 New American Paintings, Midwest Edition, 2010 Jaroslav Malina Paintings and Designs, Catalogue for the traveling exhibition, 2008 The Readerville Journal, January / February 2003 Ed Valentine, Elementary Principles, Selected Work 1990 - 2001 A Catalogue for Two Exhibitions in The Czech Republic, By Mila Malina, 2002 Milton Caniff Catalogue, 1998 Drawing: Space, Form and Expression, By Wayne Entice, Prentice Hall, 1995 Galleries Magazine, 1988 Happy Happy, Egret Press, 1988 Liberties en Peinture, Union de Banques a Paris, 1986 Art Forum Magazine, 1985, 1986, 1987 Flash Art, 1985, 1986, 1987 Bijutsu Techo, Japanese Art Magazine, 1985 Galleries Magazine,, French Art Magazine, 1988

Within a loft - like trussed gallery adjacent to the space containing the first American exhibition of Ross's new large - scale Hurricane prints, computer - generated renderings of complex fluid dynamics are projected onto large screens, which combine to form what the artist calls a Wave Cathedral.

Exhibiting galleries are offered ca. 40 sq m (430 sq ft) of exhibition space at the fair, and START welcomes all forms of artistic production.

Throughout the duration of the exhibition, her performers continuously enact a form of live installation in the gallery and the museum's outdoor spaces, bridging the conceptual and physical divide between performer and object, bystander and viewer, while addressing the ways in which dance and the spectacle of performance are presented in theatrical and exhibition contexts.

Formed from an 18th - century house and two new, purpose - built exhibition spaces, it offers an intriguing mix of intimate domestic rooms, stripped down but full of period detail, alongside contemporary galleries — a union of old and new that echoes the dynamic of its location on the border between the East End and the City of London.

The group exhibition allows not only for an encounter with different forms of reflection and expression, but also offers a space for spontaneous art actions and further discussion.

Tales from Water Margins will take the form a multidisciplinary «laboratory» encompassing thinking processes, spaces for reflection and creation at Ifitry, as well as exhibitions of existing and newly commissioned works in Casablanca.

Their activities have taken many forms, including an exhibition space in Düsseldorf, Germany, various publishing projects, sustained collaborations with other artists, as well as exhibitions, realized both individually and together with a loose network of artists and cultural producers.

Residents are encouraged to show artwork or research conducted during the residency in the form of an exhibition (OCAT also has exhibition spaces in Shanghai), a lecture, or a research paper.

In this exhibition, the sculpture titled Puzzle presented a towering bricolage of mirrors that forms an isolated, highly architectural space.

Carefully measured, the exhibition space was clearly demarcated by an open, grey form swept clean using a dustpan and brush — a form that mirrors exactly the concrete surfaces of the 70s - era stripmall shop at Cologne's Ebertplatz, where Bruch & Dallas exists alongside three other project spaces since 2009.

Using these works as a starting point, Herrera's exhibition at the Pace Foundation reads like a small - scale retrospective, cycling around the space in punctuated bursts of color and form.

Project residencies for national and international sound artists form the focal point of «singuhr — projects» in the next years, connected with talks and presentations and followed by a final exhibition project with a space - related sound installation.

This is why this exhibition constitutes a great space for the shared experience, to which the expansive spirit of the author contributes, as reflected in the way the organic forms of the works are projected throughout the Museum.

Collective Show presents «Collective Show Los Angeles 2011,» an artist - organized exhibition of contemporary art groups recently established in LA.This collaboratively curated «group show of group shows» features artist - run spaces & projects formed in the past 5 years.

She wanted the exhibition to point to a multiplicity of formats that create «a stunning physical installation that can put a viewer in touch with many new forms of artmaking in one space.»

2010 Art of The Eighties, Nymphius Projekte, Berlin Re-Seeing the Contemporary: Selected from the Collection, Dallas Museum of Art, Dallas Psychedelic: Optical and Visionary Art Since 1960, San Antonio Museum of Art, TX (catalogue); travelled to Memorial Art Gallery, University of Rochester, NY; Telfair Museum of Art, Savannah, GA Inside, Outside, Upstairs, Downstairs: The Addison Anew, Addison Gallery of American Art, Andover, MA Art of the Eighties, Nymphius Projekte, Berlin Color and Form, Los Angeles County Museum of Art, Los Angeles Once Removed, The Apartment, Athens Masters of Impressionism and Modern Art, Heather James Fine Art, Jackson, WY VaXiNation, Xippas Gallery, Athens Global Art Show, The Columns, Seoul Track and Traces, Galleria in Arco, Turin, Italy Abstract Vision 2010, Art + Art Gallery, Moscow The 80s Revisited: The Bischofberger Collection, Kunsthalle Bielefeld, Bielefeld, Germany (catalogue) Painting Panel Exhibition, in conjunction with the College Art Association Annual Conference, Shane Campbell Gallery, Chicago, IL Personal Structures: Time — Space — Existence, Künstlerhaus Palais Thurn and Taxis BV: BKV, Bregenz, Austria Pictures about Pictures: Discursive Painting from Albers to Zobernig, Daimler Art Collection, Museum Moderner Kunst, Vienna España / America: The Redefined Abstraction, Galeria Max Estrella, Madrid (curated by Demetrio Paparoni)

Uniting different perspectives of seeing and subverting spatial conditions of representational forms in the 20th century this exhibition does not only present rarely seen work but also narrates different layers of art historical approaches leading to the long lasting meaning of representational object and space in art.

Faena Art Center's inaugural project, Ernesto Neto's first major exhibition in Argentina, promises to bring together his key interests within the striking space of an old mill, enlivening the space with sound, color, and spatial and sensory experiences, as well as the artist's exquisitely beautiful forms.

By his mid-twenties, where this exhibition begins, a dual sense for narrative mood and pictorial space already infused his work, with geometry often concealing and imprisoning the forms underneath.

These and the other urns and bowls in the exhibition — formed from intersecting lines of steel — signal function but, with their wide open spaces, steadfastly avoid it.

Exhibitions on view at the city's renowned private collections include forthcoming shows at the Cisneros Fontanals Art Foundation (CIFO); «Force and Form» at the de la Cruz Collection Contemporary Art Space; «Pop Art: Jasper Johns, Roy Lichtenstein, Claes Oldenburg, James Rosenquist, George Segal, Andy Warhol, Tom Wesselmann» and «Sculpture, Painting, Video: David Claerbout, Federico de Francesco, Anselm Kiefer, Rosy Keyser, Imi Knoebel, Emil Lukas, Hugo McCloud, Olaf Metzel, Ernesto Neto, Diana Fonseca Quiñ ones, Sue Williams» at the Margulies Collection at the Warehouse and «Still Human and Allison Zuckerman: Stranger in Paradise» at the Rubell Family Collection.

The exhibition's earliest and biggest, «L'homme Descend du Signe» (1975), measures about 14 by 27 feet and pictures his familiar repertory of cartoonish, antically animated, biomorphic and geometric forms impulsively outlined in black and hovering in gaseous, purple - tinted space.

While Indonesia has always had a rich artistic tradition, with many artists forming collaboratives and exhibition spaces on the islands of Java and Bali in particular, it is only the last two decades that the market and audience for their work have expanded globally.

Caroline Achaintre, Sara Barker, Alice Channer is a three person exhibition forming the space of the gallery with discreet and autonomous moments of object making via careful labour.

CSM architect Brad Cloepfil returns to Denver in conjunction with the opening of the exhibition Case Work: Studies in Form, Space & Construction by Brad Cloepfil / Allied Works Architecture, on view at the Denver Art Museum January 24 — April 17, 2016.

The catalog for the exhibition followed form with its typewriter font and inexpensive stock, offering each artist plenty of space to do with as they chose.

Mingle with members of the Denver Art Museum's Design Council at our joint preview for the new exhibition Case Work: Studies in Form, Space & Construction by Brad Cloepfil / Allied Works Architecture.

The exhibition features artwork from the past three years, revealing Phillips» most recent concerns with the binaries of interior and exterior, form and space, and representation and abstraction.

With backgrounds in performance and interdisciplinary art forms, the creative duo install and design the gallery space themselves to create the perfect atmosphere for each new exhibition.

Solo Exhibitions 2017 «Dust,» Street Museum, Seoul, South Korea «Form,» Space Kaan, Seoul, South Korea «Real Illusion,» Klein Sun Gallery, New York, NY 2016 «Dust,» Christian Louboutin, Art Basel, Wan Chai, Hong Kong

His work has been exhibited around the world, including solo exhibitions Form, Space Kaan, Seoul, South Korea (2017); Civilized Landscape, Klein Sun Gallery, New York, NY (2015), Objectified Spectacle, Tang Contemporary Art, Beijing, China (2013) and In Situ, Ullens Center for Contemporary Art, Beijing, China (2008).

The works in this exhibition — the earliest made in the early 1970s and the most recent completed in 2007 — replicate, modify, and critique Modernist aesthetics, illuminating form's relationship to history, subjectivity, and social space.

Art received the International Art Critics Association (AICA - USA)'s 2010 Second Place award for «Best Project in a Public Space» for the organization's exhibition of Antony Gormley: Event Horizon, which featured 31 sculptures of the human form placed in and around Madison Square Park and on the rooftops of architectural treasures throughout New York City's Flatiron District and environs.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»

Curated by Francesco Urbano Ragazzi in collaboration with Bari's artist - run space 63rd - 77th STEPS, A Mystical Staircase is an exhibition with 22 artists in the form of an online tarot deck.

The focus of Domènec's research and critical essay is precisely the crisis of modernity and an awareness of the failures of the modern movement, which, in the context of this exhibition, is materialised in the form of sculptures, installations, photographs, videos and interventions in the public space.

The wood appears inside in the form of a sliding wall that can separate the open plan into a larger and smaller exhibition space.