Sentences with phrase «form of wall text»

Not exact matches

You won't always have a choice to make, but when you do, a text bar appears and says something like: The people of Fenumia are angry about taxes and are forming a protest outside the palace walls.

At the opening of Comix Creatrix, just when I was hoping to reveal that this genre is not restricted to narrow boundaries, a large wall text tells us what we are looking at: «The art of comics is a distinct form of illustration.

Elements of the work include wall text around war, imperialism, and democracy, historical footage of US militarization contrasted with the ruins of contemporary bases, forms of labor and production in the industries of mining, fishing, and banana plantation interspersed with interviews with workers, and a lush, dreamlike, and perpetually dissolving set of landscapes set against some of Dizon's own reflections on life, death, land, return and passage.

In Mungo Thomson's solo exhibition at Kadist Art Foundation, Wall, Window, or Bar Signs, the gallery is filled with neon works that appropriate the form of Bruce Nauman's spiraling neon text piece, The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign) from 1967.

The exhibition included both freestanding sculptures and wall works combining text and image; exhibited as well were examples of «interactive sculptures» (some produced in collaboration with Esther Shalev - Gerz), pieces either re-created, presented in the form of photographic documentation, or made accessible by computer.

Finally, a series of mesmerizing video installations Order, More and Culture Plate # 7 (ALL 2003) featuring emblematic, anonymous figures in patterns, culminates in the monumental Time Left (2002), a grand opera of isolation and connection, in which row upon row of human figures forming a vast wall text in motion, endlessly march across the entire perimeter of a room to an unknowable destination.

In the exhibition wall texts, Nordström suggests these elements are drawn frequently from childhood memory; regardless, over time, they form a kind of vocabulary for a language that requires the strictures of narrative less and less.

The less than reliable curatorial voice from Powhida's future proposes an authoritative account of our present and near future through institutional forms — wall texts, videos, an exhibition catalogue, as well as fictional works of art, speculative drawings, and research - based diagrams, that point to the ways exhibitions shape and reflect histories.

In his piece, «We the People,» Ward uses old shoelaces to make the text on the gallery wall, weaving in new meaning to the phrase through this arrangement of downtrodden forms.

In his new exhibition at London's Lisson Gallery, his walks across southern England, Switzerland's Engadine valley and the glaciers of Antarctica are represented in the forms that will be familiar to anyone who has followed his 50 - year career: the stone sculpture, the mud - daubed canvases, the photographs of subtly altered landscapes, the wall - length text works.

The large wall drawing, which will be created by the artist in situ in the gallery's upper floor over a period of a month will consist of more than 120,000 lines of text, again forming a giant radial form.

Exploration of materials and striking patterned and textured works in the form of punching bags and wall hangings will incorporate text from poems, Gibson's own voice and popular song lyrics such as Stevie Wonder's «Sir Duke.»

Exploring the conventions and rhetoric of the images in the mass media, operating both on the gallery wall and the printed page in poster, book and magazine form, Burgin revels in straddling the boundaries between «visual art» and «theory», «image» and «narrative», in a way that makes reader and text interact, work together and create constant and engaged dialogue.

The «power of friendship» described by Bahouth in the wall text is still basically the personal relationship between the photographer and his individual subjects, but the implication is that the invisible network they form could transmute as quickly as the spontaneous interactions of friends or strangers that this viewing format might generate.»

Her wall installations, comics, charcoal drawings, and mixed media works on paper often take historical and mythic texts as inspiration and points of departure to complicate received ideas of iconic female forms.

Messages from this project are posted throughout the space in the form of vinyl wall text.

The reinstallation is admirably light on wall text, offering supporting information in the form of pamphlets, audio guides and a bookstore full of background material.

In the late 1960s, Dan Graham (American, born 1942) and Jeff Wall (born 1946) combined photographs with narrative texts and placed them in art galleries and publications to challenge traditional forms of display and the pristine aesthetics of the fine art print.

Wall text description for the exhibition Counterparts: Form and Emotion in Photographs, August 4 — September 12, 1982 at the Dallas Museum of Fine Arts.

, Tony Shafrazi Gallery, New York, US Intervention / Decoration, Foreground Projects, Frome, Somerset, UK Ambition d'Art, Institute d'Art Contemporain, Villeurbanne - Lyon, FR Redone, Kröller - Müller Museum, Otterlo, NL A Bookcase for Onestar Press by Lawrence Weiner, Christophe Daviet - Thery, Paris, FR Mes Amis, Dvir Gallery, Tel Aviv, IL Reconstruction # 3: Artists» Playground, Sudeley Castle, Winchcombe, Gloucestershire, UK Advancing the Experience: Robert Ryman & Urs Raussmüller, Hallen für Neue Kunst, Schaffhausen, CH Art Basel, Kino Mascotte, Basel, CH Cul - de-sac, curated by Lino Polrgato, Small Dead End Courts Around Venice, IT 2008: FREEDOM - American Sculpture, curated by Marie Jeanne de Rooij, Stichting Den Haag Sculptuur, Den Haag, NL Revolutions - Forms That Turn, Biennale of Sydney, Museum of Contemporary Art, Sydney, AU Slow Glass, Lisa Cooley, New York, US Thoughts On Democracy: Reinterpreting Norman Rockwell's «Four Freedoms» Poster, The Wolfsonian, Florida International University, Miami, Florida, US artCRUSH, Aspen Art Museum, Colorado, US NOLEFTOVERS, Kunsthalle Bern, CH Translocomotion 7th Shanghai Biennale, curated by Julian Heynan, Henk Slager, Shanghai, CN German Angst, Neuer Berliner Kunstverein, Berlin, DE TEXT drawings, Leo Castelli Gallery, New York, UK Drawings on Graph Paper, Leslie Tonkonow Artworks + Projects, New York, US Pleinairism, curated by Kitty Scott, i8 Gallery, Reykjavik, IS Une Grosse Caisse dans un Orchestre Symphonique, Center d'art Contemporain, Saint Restitut, FR Variation 1, Wiener Konzerthaus, Vienna, AT Wall Rockets: Contemporary Art Artists and Ed Ruscha, curated by Lisa Dennison, The FLAG Art Foundation, New York, US; Albright - Knox Art Gallery, Buffalo, New York, US XX, CAG, Vancouver, CA Wall Works, Buchmann Galerie, Lugano, CH ABC No Rio 2008 Gala & Benefit Auction, Angel Orensanz Foundation for the Arts, New York, US The Panza Collection, The Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington DC, US 2 x -LSB-(2 x 20) + (2 x 2)-RSB- + 2 = XX (DESPERATELY) TRYING TO FIGURE OUT THE WORLD, curated by Konrad Bitterli, Part I, Mai 36 Galerie, Zurich, CH, Part II, Brook Alexander Gallery, New York, US Collected Visions Modern and Contemporary Works from the JP Morgan Chase Art Collection, Pera Museum, Istanbul, TR This is the Gallery and the Gallery is Many Things, Eastside Projects, Birmingham, UK Love Love Love, Martos Gallery, New York, US Whatever Happened to Sex in Scandinavia, curated by Marta Kuzma, Office for Contemporary Art Norway, Oslo, NO Passage To The North, screening SI Annual Benefit, Swiss Institute, New York, US Posesion, curated by Montserrat and Pablo Sigg, Petra, Mexico City, MX Now You See It, Aspen Art Museum, Colorado, US Order.

In keeping with The Sculpted Word and with her own interest in the forms and functions of language, Huws has been developing a text piece which she will write on the gallery walls.

With his renderings of palm trees, insects, fish and his own outsized signature, Josh Smith makes a splash in the final gallery with nine, big, juicy, colorful paintings on a single wall (painted black, like Joe Bradley's at the entrance, forming a kind of bookend to the show), while Laura Owens» text - based works seem to retreat into hermeticism.

In the past, her didactic works have taken the form of audio tours, wall text, and pamphlets.

Illuminated by a single spotlight, the elevated texts of Visual Perception in Typography cast ambiguous forms across gallery walls.

Mandy Harris Williams, an artist, writer, and educator, is exhibiting a large - scale vinyl wall text that takes the form of a prayer to «a concept people call God.»

Additional linguistic components exist around and within the heaters: the artist has designed a font for the title of the work, which appears in various forms throughout the installation as wall text and as inscriptions that appear on and around the physical components themselves.

A wall of bones which form the text of a Gandhi speech - by Indian artist Jitish Kallat - and French - Algerian artist Kader Attia's room of life - sized praying figures made from aluminium foil also form part of the collection.