Not exact matches
Bayley is still hanging up on the
wall just in time for Sasha Banks to enter the Elimination Chamber — Mandy Rose goes head
first into an
empty chamber pod, and Sonya's attempts at saving her teammate earns her double knees to the face.
When I
first thought about an exhibition at Night Gallery my instinct was to tear down all the
walls, which I thought created difficult triangular areas and didn't offer long distance viewing of the work that would be possible in an
emptier space.
The distressing Neither, from 2004 and now at the Brazilian art institution Inhotim, is a room that at
first appears to be an
empty white cube, but on closer inspection the white plaster
walls are revealed to contain steel mesh fencing.
The
first room was
empty except for some blue lettering on the
wall that gave the dimensions of the space, its network facilities, person capacity, etc. — in other words, the specifications given to help an artist plan a show there.
Placed in the otherwise
empty room for which it was conceived, Take Over
first manifests as a contained architectural structure consisting of a central
wall with angled glass panels.
One of his
first works, at the San Francisco Art Institute in 1969, involved simply rearranging the institute's movable interior
walls that were used for exhibitions but leaving the
walls empty, to make evident to visitors that while the
walls «appear to be architectural surfaces,» as he wrote, «they are really planar objects.»
First up, we
emptied the area then I freshened up the
walls with paint to give the space more light and a bigger neutral vibe.
BUT, the old shower is gone, they rebuilt that
wall (pushing it back to make room for the larger bath and flipped around the shower head to
empty into the tub), and you get the
first look at how I'm laying out the tile in a herringbone pattern on the
walls to compliment the large hexagons that will go on the floor.
Once the room was
empty, I filled all the holes in the
walls and got to work painting the ceiling
first, then the
walls.