Sentences with phrase «framed wall works»

The six sculptures on view in the exhibition are presented here alongside framed wall works that lie on the border between collage, painting, and sculpture.

Not exact matches

If you are looking for some inexpensive art work for your clothesline themed laundry room, here is a clothesline poem and a set of clothesline rules that would look great printed out and placed in a simple wall frame.

There are two basic mechanisms to install safety gates: those that work by pressure and those that are hardware mounted to a wall or door frame.

Inspiration could come from anything really, but for me surrounding my working space with books (this means having all my favourite fashion, street style, foodie and photography books on my desk), gorgeous smelling candles, decor pieces I love (photo frames, pretty mugs & statement pieces), pretty stationary, as well as my walls filled with inspiring prints & pictures is essential.

Tapestries are a terrific choice for dorm rooms and other spaces where you can't mount framed works of art to the wall.

And like a gallery wall, you can do a mix of photography prints, abstracts, and typographic art... If the thought of accumulating enough framed pieces to pull off the look scares you, just take it one piece at a time (like the last photo), start out symmetrically (like the first photo) and work your way ledges and large groupings (all the photos in between!).

Hang Wall Art — I've been sent some adorable prints to use in his room already and snagged some black matted frames when we were at IKEA last, so hopefully those will all work out on his walls!

The walls are still a work in progress, and I can't wait to get my hands on a stack of Ikea Ribba frames (we don't have an Ikea here so they're on my shopping list for our next trip to Atlanta or Charlotte).

The clean, simple design of our Dylan Frames gives them a contemporary look that works well on an art wall.

Featuring 2 gorgeous abstract works of art, encased in handsome black frames lined in silver, the Set of 2 Trajectory Framed Wall Art from Uttermost will bring sophisticated beauty to any room of your home.

As we began our work in the house, we encountered several obstacles: lead paint, asbestos, a crumbling crawlspace wall, makeshift framing, sloping floors, leaky roofs, and improper electrical and plumbing.

A 2 - 4 lesson project (depending on levels of ability) which guides students through various functions on Microsoft Word - with them working towards an end product of a framed poem / quote for their wall (or as a gift to somebody in their family).

When I go too long without working on my creative writing, I look at my degree, framed and hanging on my wall, and I remember that I spent three years immersed in my subject matter.

Once the foundations were laid we could start with the wooden frame for the walls and roof, and then add the roof sheets so that work on the interior could start.

The living room is spacious with incredible views of the ocean and is adorned in neutrals, dark grays and splashes of color from exquisite accent pieces and features a working fireplace and 56 - inch HD LCD TV framed in walls of white stone.

His design for Cullen Sculpture Garden is a modern approach to the traditional idea of a garden — framed by concrete walls ranging in height, the works of sculpture within it are set among broken curves and abrupt angles.

2004 Open House: Working in Brooklyn, Brooklyn Museum of Art, Brooklyn, NY Beginning Here: 101 Ways, Curated by Jerry Saltz, Visual Arts Gallery, New York, NY Tokyo - Chicago - New York, Tokyo National University of Fine Art and Music, Japan Sympathetic Nerve, Capsule Gallery, New York, New York The Truck Stops Here, Plus Ultra Gallery, Brooklyn, New York Six Outdoor Projects, Long Island University, NY Slice and Dice, Visual Arts Gallery, New York, NY Transmotion, Lower Manhattan Cultural Council, NY 1800 Frames 2004, City Without Walls, Newark, NJ

Painted on every conceivable kind of surface, from aluminum foil and corrugated cardboard boxes to cotton batting and artichoke leaves, these small works honor artists ranging from Alfred Jensen, who shares Martin's interest in numerology («Good Morning Alfred Jensen, Good Morning,» reads a 2005 - 07 painting whose rainbow of stripes frames, in Jensen-esque colors, a bikini - clad calendar model) to Dash Snow (a messy little canvas of 2006 - 07 titled Dash Snow Bombing, in which the late enfant terrible appears in a tiny blurry photo by Ryan McGinley, spray - painting a wall).

In one of the rooms, two gallerists competed to sell a work by Tino Seghal; Dominique Gonzales - Foerster's room was empty save for a patterned carpet and a small blue - framed mirror on the wall; and Jordan Wolfson's witchy female robot was back in action after her debut at David Zwirner in New York earlier this spring.

Each work has its own multiplicity, much as the gates have both diagonals within the frame and the diagonals of frames against the wall.

Womack, too, works some of the same territory as Leslie Hewitt, who dismembers flooring, leans slabs against the walls, or adds thick frames to displace the gallery into memory.

Hammons made off - the - cuff pieces in the East Third Street house, like a series of so - called invisible paintings by tracing the frames of artworks that were already hanging on Cannon's walls, then removing those works from the walls altogether, leaving behind only thin outlines, or, more recently, having Cannon read a poem into an empty beer bottle and then sealing it up and placing it in the freezer.

For those unfamiliar with their work, the exhibition at Maureen Paley's is typical of their mode of presentation in being more of an environment or a set — vividly coloured wall paintings with strong formal and graphic elements unite and frame the various sculptural and pictorial components into an integrated whole.

Highlights from Michelle Grabner's crowd - pleasing selection include Dawoud Bey's presidential portrait photography (Barack Obama, 2008), Karl Haendel's Theme Time Drawings, pencil drawings of various subjects arranged in shaped frames across a massive section of wall, and works by Donelle Woolford, the fictional young black female artist «created» by Joe Scanlan and played by various actors whose Joke Painting (detumescence)(2013) investigates the notion of authenticity.

Warren's heightened appreciation of the framing, placement and context of her works, combined with an exploration of materials» hidden meanings can also be found in her wall - mounted vitrines.

The Painting Center is pleased to present «Wall Works,» an exhibition of painting, drawing and installation engaging the gallery's walls as the primary support and framing device.

A total of 14 black and white photographic works, framed in white and unmatted, and hung against cream colored walls in the main gallery space, the smaller side room, and the entry area.

Bringing together a selection of recent cut - out paper figures, mixed media works on paper, collage paintings in beehive frames, a large - scale painted sailcloth and hand - painted texts on the gallery wall, the exhibition will showcase Anna Boghiguian's raw and expressionistic oeuvre that explores economics, philosophy, literature and myth.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greaWall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

Forty - two of the works in the Koenig show were the Rosendale monotypes, each in 28 1/2 x 23 - inch frames (though the prints themselves vary slightly in size), ranked in double file along three walls.

The exhibiton will feature works from Donovan's latest series, Compositions (Cards), wall - mounted framed works in various sizes that explore stratification as both a sculptural technique and a means to construct a two - dimensional picture plane.

These works, silkscreened on board with specially designed Mylar and wood frames, will be installed on the wall as if they were traditional drawings.

On a bedroom wall, a series of ten pieces by Gedi Sibony is initially perplexing as they appear to be blank works showing tape and other elements that one would find behind an artwork in a frame.

Below: A small framed painting on paper relates to the large work on the far wall.

For a new series of wall - based works, enlarged scans of halftone book reproductions are printed onto sheets of aluminum that are then cut into shapes — arcs, sticks, curves — and layered in informal compositions within deep - set frames.

Spanning three years — a frame that seems arbitrary — the exhibition includes nine wall - mounted works along with six drawings.

Take Rosy Keyser's Big Sugar Sea Wall (2012), a large work in which sheets of corrugated steel and polycarbonate have been hammered onto and behind a wooden frame.

With the brushstroke as the artist's signature, here the acrylic sheets form the point of departure for a larger installational whole framed by a raised gangway along the walls of the exhibition space from which the audience can look at the work from above.

They are the work of Edson Chagas, a 34 - year - old Luanda - based photographer who created the spare compositions by walking around his city in search of derelict objects (a broken chair, a shoe) and artfully framing ones that caught his eye against the wanly colored walls of the street.

His talent to express a clear message in other mediums is proved by work titled Oh What a Feeling, Fuck It I want a Trillion that alludes to Donald Judd's framed series of Stacks with iron boxes installed one above the other on the wall, from floor to the ceiling.

Of Soane's drawings of his own designs (many are by his assistants and pupils, most notably Joseph Gandy), covering his entire career, most are bound in 37 volumes, 97 are framed on the museum walls, and the rest are 601 covering the Bank of England, 6,266 of his other works, and 1,080 prepared for the Royal Academy lectures.

Galerie Lelong is pleased to present Stretching Painting, an exhibition featuring the work of ten artists who engage «supporting» elements of painting, such as the frame, the wall, stretchers and hanging devices, as critical components of their work.

The work (which hangs like paintings on walls) consists of repurposed wood frames taken from the Dorcester buildings.

Along with complimentary gray walls and plinths, the setting works as a perfect foil for the first 400 years of gilt - framed and white - marbled works.

Her New Museum exhibition brings together a selection of recent cutout paper figures, mixed - media works on paper, collaged paintings in beehive frames, a large - scale painted sailcloth, and hand - painted texts on the gallery walls.

Known for her commitment to process, Donovan has earned acclaim for her ability to discover the inherent physical characteristics of an object and transform it into art.Extending upon the artist's core interest in investigating aggregative procedures using a singular material, the recent series is comprised of wall - mounted framed works in various sizes that explore stratification as both a sculptural technique and a means to construct a two - dimensional picture plane.

Installation view April 28 — May 21, 2011 The Painting Center is pleased to present «Wall Works,» an exhibition of painting, drawing and installation engaging the gallery's walls as the primary support and framing device.

Extending upon the artist's core interest in investigating aggregative procedures using a singular material, the new series is comprised of wall - mounted framed works in various sizes that explore stratification as both a sculptural technique and a means to construct a two - dimensional picture plane.

On one wall are hang 52 small framed works displayed in a grid.

These images have taken on a spectacular and seductive presence in his installations, enlarged into enormous inkjet prints, pinned to the wall or framed, like the works of a latter - day abstract expressionist.