Sentences with phrase «final room of the exhibition»

Paintings of Caroline hang together in the formidable final room of this exhibition, her features worked over in tough spiderwebs of intent drawing and suspended in brown and grey washes.

Anxious publicity officers and curators heroically smiled on as an altercation between a broadcaster and photographer broke out in the final room of the exhibition.

Paired together in the final room of the exhibition are two profound and iconic works that scrutinise the intensely personal bond between mother and child.

In the final room of the exhibition, coming full circle to the first room in fact, a self - portrait hangs, at the age of eighty.

Richter has continued to respond to significant moments in history throughout his career; the final room of the exhibition includes September 2005, a painting of the terrorist attacks on the World Trade Center in New York in 2001.

The final rooms of the exhibition fall flat.

The final room of the exhibition, which made a considerable impact, was given over to major works by the abstract expressionists.

Works from this period occupy the final room of the exhibition at Hauser & Wirth.

By contrast Rednecks, hung in the final room of the exhibition, shows runic forms painted in a deep red and gathered in the center of an all white, horizontally - oriented canvas.

«Many of the works, particularly in the final room of the exhibition, explore themes that had preoccupied Louise Bourgeois for years: birth, reproduction, motherhood, sexuality and human relationships,» the gallery's senior director, Alice Workman, told T. «It's fascinating that even at this time of her life, Bourgeois still reflected on both the experience of being a child herself and also of giving birth to her own children.»

Franco's fascination with the subject leads to the final room of the exhibition.

And something similar happens in the final room of the exhibition, which is hung like a typical gallery in a permanent collection.

In the final room of the exhibition, Still's PH - 235, also known as 1944 - N - No.

In the final room of the exhibition, visitors will see works from César's Human Imprints series — casts of body parts that resonate with the hyperrealism of neighboring works by American artists John de Andrea and George Segal.

Working through themes of the body, the body politic, and resistance, the final room of the exhibition focuses again on the body, though in more playful, sexual ways.

The final room of the exhibition features artworks by Jorge Pardo and George Segal, both of whose works make use of light and the space they occupy as formal elements.

Throughout his career Hockney experimented with and championed new forms of technology in his art production, creating images with the now defunct fax machine, and later embracing the ipad as a mechanism for draughtmanship, the results of which can be seen in the final room of the exhibition.