Sentences with phrase «from gallery environment»

«Daydreamers», Motel7's second solo show, affirms the ease with which she straddles the divide between urban and gallery spaces - where the traditional process of work progressing from gallery environment to museum or public commission, is reversed.

Not exact matches

The prototype ruggedized Android Tablet from Mobile Tout Terrain shown in the video below and in the gallery here is not certified for the sort of environment we're seeing in north - east Japan right now but it's certainly more rugged than your average tablet or ultra-mobile PC (UMPC.)

The Gallery Restaurant is known for its relaxed environment and «food from around the world».

The controls are well mapped having translated appropriately from the Vita to the DualShock 4 controller with the control scheme consisting of pressing triangle to produce the contents of your inventory; pressing square to examine an inventory item, a character or part of the surrounding environment; pressing X to start or continue a conversation with a nearby character, select an item, use an item or walk; pressing O to cancel the selection or usage of an item; changing the direction of the left analogue stick to move the cursor; changing the direction of the right analogue stick to pan the camera to the left or right; pressing left, right, up or down on the d - pad or alternatively changing the direction of the left analogue stick to navigate through the inventory items; pressing the share button takes you to the share feature menu; and pressing the options button to display the pause menu including immediate access to the main menu, hints, character gallery and saving.

The gallery below showcases Lara Croft within a multitude of dangerous situations and environments, from exploring an old and ominous ruin to combating against strong water currents in the midst of a fearful town flood.

Firmly ensconced in each of these environments, Harris intertwined them all — in cities across the country and abroad, in venues ranging from art galleries to night clubs.

In March 1958, Kaprow took over the whole gallery with his Untitled Environment, an installation where he hung translucent strips of plastic and rayon from the ceiling.

A small survey at George Adams Gallery in New York last spring, Joan Brown: Major Paintings from the 50s, 60s, and 70s, gave shape to Brown's enthusiastic reception of Bischoff's example, showing how she searched her immediate environment for things to paint.

2016 — Bohrer, Ashley, The Commodified Built Environment, Red Wedge, August 2015 — Derrick, Andy, Friday Feature, Matthew Woodward, ArtSquare, December Hartigan, Phillip, Seeing the Art For the Trees, Hyperallergic, August Daignault, Kristina, With Matthew Woodward, Inside the Artists» Kitchen, May 2014 — Hartigan, Phillip A, Expo Chicago Fails to Inspire, Hyperallergic, October, Obaro, Tomi, What I'm Doing This Weekend, Matthew Woodward, Chicago Magazine, October Juarez, Frank Art365, Matthew Woodward, May Hildwine, Jeriah, Matthew Woodward, Review, ArtPulse Magazine, April 2013 — Hall, Sarah Elise, Art - Rated, Matthew Woodward, Interview, November Klein, Paul, Art Letter, The Huffington Post, October Sherman, Whitney, Playing With Sketches, Rockport Publishing, October 2012 — Meuller, Rachel, Meticulous Chaos, Be Nice Art Friends, July Taskaporan, Erol, Matthew Woodward, Interview, Neo Collective, July Gumbs, Melissa, View From the Birth Day at the Chicago Cultural Center, Examiner, July Amir, Matthew Woodward's Decaying Drawings, Beautiful / Decay, May Dluzen, Robin, Catalogs of Anonymous Forms, Chicago Art Magazine, April Debat, Don, Unveiling the Unique, Chicago Sun Times, March Mutts, Lost at E Minor, New Art, January 2011 — Vora, Manish, Iconomancy: The Magic of Art, Art Log, November Pocaro, Alan, Keeping Your Balance in the Windy City, Art Critical, October Hausslein, Allison, Fanmail, Dailyserving, November Marszalek, Norbert, One Question, Neotericart, October New American Paintings, Number 95, Midwest Edition, June Cook, Greg, Contained at BCA, The New England Journal of Aesthetic Research, April James, Damian, More Than a Whisper in the Ear, Bad at Sports, January 2010 — Blau, Lilly, Love and Real Estate, The Huffington Post, November Himebauch, Adam, Matthew Woodward, Veoba Magazine, November Pitts, Johnathan, Look What They Found, Baltimore Sun, July Duquette, Laura, Featured Artist, Artery Magazine, May Duquette, Laura, How WNY Has Influenced His Work, Buffalo Rising Magazine, May Pocaro, Alan, Selections From the INDA 5, Aeqai, April Franz, Jason, International Drawing Annual 5, Manifest Gallery, March Solamo Tony, Barrington Hills Courier - Review, January Barber, John, Medium Magazine, Outside Infinity, February Avedesian, Alexi, Vellum Magazine, Spirits, January 2009 — Reed, Marliana, Invisible City Magazine, Issue 6, November Lacy, Rebecca, MuseMemo Magazine, Hauntingly Beautiful, October Abram, A, Spillspace Magazine, All the Wild Horses, September Kohn, Iliana, Lost At E Minor Magazine, Issue 244, 245, August Tremblay, Brenda, Finger - Lakes Explores Connections, Mysteries, WXXI, P.R, August Low, Stuart, Drawing Together Man and Nature, Democrat and Chronicle, August Wheeler, Dan, Upstate Artists Exhibit in Exclusive MAG Show, MPN Now, July Rafferty, Rebecca, The Elephant in the Room, City Newspaper, July 2008 — O'Sullivan, Michael, Modern or Retro?

The faded surface of «Corrupt Diptych» is haunting, like the distinct sensation of déjà vu, the dirt and gravel is metaphorical not material, moving this artwork away from hyphenated arts (art - and - environment) towards something more mysterious with its abstract lines that race past the corner of the gallery's gyprock wall; themes of time and movement that have more in common with land art than abstract painting.

One wonders if Weber and Stritzler - Levine realised just how far off the map they would go when independent institutional curator José Roca, a native of Colombia who now lives in Bogotá, agreed to take on the project.1 Inspired by a show of Andean chuspas — bags made from coca leaves — that would run simultaneously in the BGC Focus Gallery, Roca envisioned immersive environments in which the paradoxes, polarities and points of contact between diverse artistic practices are explored through the tropes of the river and weaving.2 The works themselves provide their own context as they interact with each other and viewers, who are given a minimalist illustrated pamphlet as their only guide to what they will encounter in the gallery Gallery, Roca envisioned immersive environments in which the paradoxes, polarities and points of contact between diverse artistic practices are explored through the tropes of the river and weaving.2 The works themselves provide their own context as they interact with each other and viewers, who are given a minimalist illustrated pamphlet as their only guide to what they will encounter in the gallery gallery spaces.

Comprising 10 large - scale environments from over the past decade, alongside two newly commissioned multicoloured polycarbonate sculptures in the grand entrance hall of the Manchester Art Gallery, the works in the exhibition show Darbyshire's dedication to the processes of making — and faking — it, with materials ranging from felt to wood to Perspex.

Her working environment, documented for the first time in a number of new photographs by the artist, will be recreated as installations in the gallery, down to the paint pots, brushes, books and discarded scraps of newspaper that are similarly covered in the spatters, splashes and drips that result from her obsessive painterly method.

The gallery environment will be based on shapes created by the overlapping of floor plans from her childhood home in Pico - Union, her father's house in Guadalajara, her live / work studio in Lincoln Heights, and other architectural references of personal significance.

The Lynden Sculpture Garden opened to the public in May 2010, and by choosing Inside / Outside as our inaugural theme, we hoped to initiate a dialogue between the new indoor gallery and the environment — both sculpture and nature — beyond its walls; to explore Lynden's transition from a private, domestic space to a public space; and to define Lynden's new position within the art community.

2009 Cave Painting, organized by Bob Nickas, Gresham's Ghost, New York, USA Infinitesimal Eternity, Yale University School of Art, New York, USA Transitions: Painting at the (other) end of art, Collezione Maramotti, Reggio Emilia, Italy, sponsored by Max Mara Blue, James Graham & Sons, New York, USA Every Revolution is a Roll of the Dice, curated by Bob Nickas, Paula Cooper Gallery, New York, USA Commentary, Paula Cooper Gallery, New York, USA 2008 Reflections, Rhona Hoffman Gallery, Chicago, USA Say Goodbye to... curated by Donna Harkavy and Marion Wilson, The Clifford Gallery at Colgate University, Hamilton, New York, USA White Room; Recent Acquisitions, gifts and works from various exhibitions 1985 - 2008 / from the collection of Bob Nickas, White Columns, New York, USA Empires and Environments, curated by Dominique Nahas and Margaret Evangeline, The Rose Art Museum, Brandeis University, Waltham, USA Ithaca Collects, Herbert Johnson Museum of Art, Ithaca, New York, USA Gray, Dinter Fine Art, New York, USA YOU SAID HE SAID SHE SAID, Seiler + Mosseri - Marlio Galerie, Zürich, Switzerland

As the participants walk, the sounds they produce and record from their environment will be transmitted to the gallery space and become a part of the music created by Ochiai and Hasunuma.

(5) This awareness of context and how a room (or a gallery) can be approached holistically as a distinctive experience for the viewer has been a hallmark of much modern and contemporary art — from Marcel Duchamp's Sixteen Miles of String (1942) to Yayoi Kusama's dotted and mirrored rooms to Olafur Eliasson's immersive environments — and Holtzman brings his rare sensibility to this convention.

Art from any era needs complementary furniture and decorative arts when hung in a domestic environment, rather than in the abstract surroundings of a museum or gallery.

The Ferus Gallery gave the artists the platform for the presentation of an art that drew its inspiration from multiple sources, both art historical and from the environment they inhabited.

Kapoor's geometric forms from the early 1980s, for example, rise up from the floor and appear to be made of pure pigment, while the viscous, blood - red wax sculptures from the last ten years — kinetic and self - generating — ravage their own surfaces and explode the quiet of the gallery environment.

The gallery's main space features selections from Laval's Heterotopia, a series of densely layered photographs of gardens and other manicured «natural» environments.

Chams's Sunroom Project, titled Maybe Like This, transforms the gallery into a captivating and refracted environment, which the artist describes as «a kind of personal fortress, a self - contained system of heterogeneous elements taken from my surroundings.»

Inventing Downtown opens a window onto these radical efforts with rarely seen artworks by gallery members such as Allan Kaprow, whose 1958 environments, in which the gallery itself became an object with every corner filled with materials, smells, and recorded sound from the street, are represented by photographs taken by his then - wife, Vaughan Kaprow.

Learn about Glyndor Gallery exhibitions on a tour led by Wave Hill's Curatorial Fellow.Avifauna: Birds + Habitat features artworks that delve into the relationship between birds and their habitats — from the role birds play in propagating plants to changes in how natural and built environments affect migration patterns.

Claes Oldenburg helped manage the gallery, and in the winter of 1960 he and Dine created what would become a legendary work, an immersive environment comprising the first iteration of Oldenburg's The Street (1960) and a new work by Dine called The House (1960), a phone - booth - sized house made from leftover theatrical backdrops that Dine found in the church and covered with an exuberance of found materials, drawings, and words.

From a new exhibition in Glyndor Gallery to hands - on workshops and a special weekend devoted to birds, the season will offer myriad opportunities to engage with naturalists, educators and artists and learn more about the birds with whom we share the garden environment.

Videokaffe will work on - site at the gallery, scouring and collecting from the local environment to create work by integrating found and recycled materials with ready - made components.

In placing his works within a gallery space, Versteeg separates technology from its everyday contexts and allows viewers to approach mass - media imagery in a more reflective environment.

BOLT functions as a creative and professional incubator that takes a holistic approach to the development of residents» careers by providing: Studio Work Space (well - equipped, open - plan studio work spaces); Exhibition Programming (monthly rotating exhibitions of residents» work in a dedicated gallery, including professional curating and marketing support); Professional Development (one - on - one studio visits with key arts / cultural leaders; free access to the Coalition's monthly A.B.C professional development workshops; and ongoing support from the Coalition staff); and Creative Community (monthly resident meetings, peer networking and creative environment fostering collaboration among residents).

Never a Dull Moment will transform the gallery into a cohesive environment that embraces all mediums of creativity from sixteen artists.

Ghost House is installed in the temporary exhibition galleries where, rather than following chronological criteria, it creates environments that the artist describes as «built on memory», in which works from different periods are placed in dialogue with one another and with the museum context in the conviction that meaning can be found not only in the individual works but in their relationships, considered collectively and through time, like the narrative overlappings of a story.

The modern condition and our relationship with the environment in the modern age is explored at Gallery Elena Shchukina by American artists Kimber Berry and Marie Thibeault with a sense of vibrant colour and measured skepticism, in an exhibition titled Neon Babylon that runs from April 21st to May 26th.

Our adjacent gallery façade has been renovated with floor to ceiling windows making our exhibitions more visible from the street and integrating the organisation further into the local environment.

In The Curio Shop, Ankrom will transform the gallery into a gift - shop retail environment littered with sculptures large and small from his Fetish Figurine series.

The Rehistoricizing Exhibition at the Luggage Store gallery presented the work of women artists and artists of color from varied ethnic and cultural backgrounds who worked in a» pre post — race» environment, an era in which the artist hero was almost always a white male, in particular among abstract expressionists.

A site - specific visual environment created in the first floor gallery incorporates the personal narratives of recent emigres from the Democratic Republic of Congo, Bhutan, Iraq and Cuba to create a positive, public dialogue about community, similar to the artists» previous projects in Armenia, Republic of Georgia and Romania.

In his second exhibition with the gallery, Harlan Levey Projects presents works from two of Jongeleen's projects, which share a common investigation into the impressions left behind by individuals and their environments.

Taking the form of an evolving installation in the main gallery space, Feyrer's work engages with materials and documentation from the grunt archives in the production of a new, site - specific environment.

From the gallery press release: This picaresque saga unfolds in an allegorical environment, much like the topographical constructions behind renaissance religious paintings.

«Richards selects from the V - A-C collection» sees Study for a Portrait (solely selected from Moscow's impressive V - A-C collection) as the focal point of an immersive environment crafted in the redesigned London gallery space.

A survey of light art from the 1960s to the present day at The Hayward Gallery considers the way in which we think about architectural space, environments and phenomena as artworks in themselves.

After graduating from the U.K's Slade School of Fine Art in London in 2011, she found an eager audience for her painting - meets - sculpture environments, which often feature traditional canvases hung at unusual angles like her solo show, «Turner,» at the Northern Gallery for Contemporary Art in Sunderland, where most of the works adorned the floor of the Pepto - pink colored gGallery for Contemporary Art in Sunderland, where most of the works adorned the floor of the Pepto - pink colored gallerygallery.

Extending themes from «Dead Treez», the artist turns the gallery into a garden - like environment of poisonous plants with three scenarios, in which bodies sheathed in patterned fabrics have succumbed to violence often endemic to marginalized communities.

This uncharted landscape inside the gallery would be in contrast to the well - known Lower East Side and within the sanctity of the installation, participants experience an immersive, tactile and momentarily respite from the outside urban environment.

Lang, using the orientation of the building, created an environment within the central space of the National Gallery central hall that tracked the path of the sun from sunrise until sunset, from horizon to horizon.

Attempts to record nature and all - immersive environments appear to us at the galleries of 56 Bogart, and BFP Creative treats us to the work select art handlers from the Whitney Museum in their latest show, «Temporary Storage.»

Some even tour as part of a touring exhibition, examples being: the kinetic light environments of the Groupe Recherche d'Art Visuel which toured Europe; Earth Room (1968) by Walter De Maria (b. 1935) which toured America before finding a permanent home in New York; and» 20:50» by British sculptor Richard Wilson - a room filled with sump oil, viewed from a footbridge - which was shown in London, the Royal Scottish Academy and is now permanently installed at the Saatchi Gallery, founded by Charles Saatchi.

Gathering materials from her home island of Paros, Greece, local Bay Area beaches and international travel destinations, Skandali collects, dries and crochets strands of seaweed, among other materials, to create an immersive environment within the gallery.

Hosted by Black & White Gallery / Project Space, this site - specific installation utilizes plastics and refuse that the artists have gathered from around Brooklyn to create a large - scale immersive environment mapping narratives and mythologies of creation, destruction and consumption.