Sentences with phrase «gallery rooms hangs»

Not exact matches

The Command products are easy to hang and also make it easy to swap out the items on my living room gallery wall as inspiration hits.

This colorful gallery - wrapped print is ready to hang, and adds the perfect finishing touch to a living room, bedroom, office or nursery.

You may have caught a glimpse of The Velveteen Rabbit wall hanging in my living room gallery wall that I shared last week in my Spring Home Tour.

The small images hung in Davies Street on the three walls of the single room gallery welcomes natural light and fills in the space as carefully as the works at the new Grosvenor Hill location.

Densely hung in the gallery's living room - size main space, the large paintings, which are all seven feet tall and five and a half feet across, swarm you with their edgy, jagged energy.

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.

CURRENTLY ON VIEW at the National Gallery of Art (NGA), «Into Bondage» by Aaron Douglas hangs in the rear of a three - room gallery dedicated to «masterworks» acquired from the Corcoran Gallery Gallery of Art (NGA), «Into Bondage» by Aaron Douglas hangs in the rear of a three - room gallery dedicated to «masterworks» acquired from the Corcoran Gallery gallery dedicated to «masterworks» acquired from the Corcoran Gallery Gallery of Art.

May On 28 May, Scott attended the opening of the Rothko Room at the Tate in which nine paintings presented by Rothko to the gallery were put on display on Millbank (they now hang in Tate Modern).

Currently, eight paintings from the Brooke gift are on view at Harvard, with most hanging in the Eijk and Rose - Marie van Otterloo Gallery (Room 2300).

Held at London's Saatchi Gallery, it featured several rooms devoted to food and drink: one with 1,000 oysters, another with salamis hanging from the ceiling (as styled by a «food artist»).

Pace, David Zwirner, and Barbara Mathes Gallery all showcased patchwork - colored Judds, the perfect scale for a horizontal hang in the living room.

Modifying the architecture of the biennial building, she affixed transducers to the backs of the gallery's drywall, causing the room to literally vibrate - a sensation that could be both heard and felt; a plumb bob hanging from the far wall rattled against the surface, rendering the vibrations of the wall visible.

Surprisingly, some rooms in the space have white walls hung with wall works like your average gallery, but passing through a door leads you to rural wooden spaces with angular roofs filled with a wide array of digital works like a manipulated vinyl rendering of a Fuji water bottle by Yung Jake and an abstracted digital painting of Alexandra Marzella by Giovanna Olmos.

The Drawing Center, hanging on in Soho long after gallery - goers have largely departed, is restless with its two modest rooms, its modest endowment, and its even more modest reputation.

The ingeniously designed Picture Gallery has walls composed of large «moveable planes» (like large cupboard doors) that allow it to house three times as many items as a space of this size could normally accommodate (the original hang in this room was reinstated in January 2011).

There is, first of all, a Customer — someone who comes in, buys something once... he may want to have a picture to hang in the living room... Then there is a Client — The client is someone who is a repeat customer, who comes back, who enjoys our gallery, who enjoys several of our artists, who finds it comfortable in any particular gallery.

This has not gone unnoticed by the curators, who have placed some of his pieces in a sinister, dark back room that evokes the gallery where the Black Paintings hang in Madrid.

In fact, there's currently a Turner painting hanging in Tate Modern — not a gallery in which you would expect to see a 19th century landscape picture — next to the Rothko room.

At Dulwich the prints will be hung decoratively, densely packed, more like an 18th - century «print room» than the usual sparse hang of the «white box» contemporary gallery space.

He constructed Chocolate Room, a visual and sensory experience where the visitor saw 360 pieces of paper permeated with chocolate and hung like shingles on the gallery walls.

The early - 20th - century room wraps up with a 1936 — 37 Arshile Gorky still life, which could have been hung in the modern - and - contemporary gallery with an early ho - hum Pollock and a 1946 psuedo - Surrealist painting by David Smith.

Densely hung in the gallery's living room - size main space, the large paintings, which are all seven feet tall and five and a half feet across, swarm you with their edgy, jagged energy... in «Raft,»... the vertical stripes run from top to bottom, with two horizontal sets constrained within shield - like shapes on the left and right, calling to mind Walker's fascination with Aboriginal and African art.

He constructed Chocolate Room, a visual and sensory experience where the visitor saw 360 pieces of paper permeated with chocolate and hung on the gallery walls.

They hung them in a room on their own in the first gallery that Duncan Phillips added to his house, which became America's first museum of contemporary art.

Documentation from the performance of Ceremony For Freeway Fets hangs in a central room in the second - floor galleries of the Contemporary Arts Center, where Nengudi's touring solo exhibition and first comprehensive survey «Improvisational Gestures,» curated by Elissa Auther and Nora Burnett, is currently on view.

The first mature figurative works encountered in the exhibition are drawings hung across one side of a corridor dividing the rooms holding Graham's early, scattershot experiments from a long, grand gallery displaying the more consistent and polished later paintings.

There is an absurdity about removing the very earth that supports the foundations of a building to keep it standing and here the earth seems to have percolated upwards through the gallery floor and hangs like a ghostly molecular version of Walter de Maria's Earth Room.

Curated by Adelina Vlas, the AGO's Associate Curator of Contemporary Art, Sandra Meigs: Room for Mystics (with Christopher Butterfield) will be located on the 5th Floor of the AGO's Contemporary Tower (the Vivian & David Campbell Centre for Contemporary Art) and consists of 30 large - scale paintings stationed throughout the gallery floor space, 13 fabric wall banners, a large mobile hung from the ceiling, a custom - designed sound system, and a recurrent 15 - minute musical performance by the Vox Aeris brass trio.

The work as such is not grouped thematically within the several rooms of the gallery, but rather it is hung aesthetically within a very open white - walled space such that work in differing rooms and nooks and corners can communicate effectively with one another and with the viewer depending upon one's orientation.

In the brighter upper gallery hulking forms hang from the walls, while in the dimmer downstairs room more of the pieces are propped up like metal insects.

Extending their space by placing a video in the narrow stairs outside a relatively small room, the London - based gallery presents the first of Amalia Ulman's lenticular prints outside, with another two hung side - by - side inside.

It was surely no accident, then, that Samaras's patterned fabric patchwork Reconstruction # 41, 1978 — hung on the far wall of a room adjoining the reception gallery — was the first work one noticed on entering Higgs's show.

In the gallery's rear room hangs «Untitled» (1961), which Greenan's press release recognizes as Krushenick first self - proclaimed mature painting.

At the end of the rope, on a very high bluff overlooking an awe - inducing landscape, the subject hangs the artworks on a structure resembling the storage apparatuses found in the back rooms of galleries.

1989 Fuel Added to the Flame, Galerie Daniel Templon, Paris, FR Lawrence Weiner, Ydessa Hendeles Art Foundation, Toronto, US Books do Furnish a Room — Ausstellung NR.17 / Bucher Lawrence Weiner, Portikus, Frankfurt, DE Here There & Everywhere, Marian Goodman Gallery, New York, US The Lawrence Weiner Poster Archive of the Nova Scotia College of Art and Design, University of Rhode Island, Kingston, US Posters Hanging in European Collections, Sous Sol, Ecole Supérieure d'art Visuel, Geneva, CH Assuming The Position, Stuart Regen Gallery, Los Angeles, US

The relationship between paintings and hanging sculptures in the first two rooms of the gallery shifts visually between a harmonic balance and a more dissonant struggle, escalating in the third room to a constellation of buoyant sculptures suspended in midair.

A major retrospective of his work,» Cross-Section» at UC Irvine, opens October 11, 2014 hanging in all three rooms of the University Art Gallery through December 13.

The installation of Die Frauen from 1992/2013 at MASS MoCA is similarly clean and classical, even though it looks as if an entire hospital ward had been moved into the gallery space, with twenty lead beds lining the walls, and a large photograph printed on a lead sheet hanging at the far end of the room.

It also highlights the great use of space in this exhibition; housed in the old Duke of York barracks the gallery has a number of vast rooms and the abundance of space available is perfectly exploited and handled to the benefit of the installations in a way that isn't as easily achieved in exhibitions focused on wall hangings.

On the more intimate first floor of the gallery, a group of seven small square abstract oil paintings by McDowell hang at museum height around the four walls of the room.

The front gallery features a near - full room installation of luminous red weed whacker line, tangled around water bottles descending from the crown molding via hangers and string.

The ambition of the Committee is that by the careful arrangement of the hang, each work will be properly seen and «read» in its space, and that the cumulative effect — which will have echoes of Summer Exhibitions of past years — will be to infuse the gallery with life and energy, providing a central focus to the exhibition and contrasting dramatically with other more sparsely - hung rooms.

This year the Architecture Room will be located in Gallery VI and the Architecture Members hanging this gallery, Piers Gough RA and Alan Stanton RA, are keen to receive modestly sized works in the usual media — models, drawings and high quality photoGallery VI and the Architecture Members hanging this gallery, Piers Gough RA and Alan Stanton RA, are keen to receive modestly sized works in the usual media — models, drawings and high quality photogallery, Piers Gough RA and Alan Stanton RA, are keen to receive modestly sized works in the usual media — models, drawings and high quality photographs.

The mother and daughter on horseback, their quiet faces implacably black against the blue and white of the sky; the marchioness in her chair (the walls in the gallery have been painted the same rich red as the room in this painting); and Selective Histories, a wry close - up of a wall of heavily framed paintings, hung salon - style and surrounding a tribal mask.

Also on show were two video projections by Rosalind Nashashibi, a room of Exposed Paintings by Callum Innes, sculptures and woodcuts by David Shrigley and Christine Borland's sculptural installation, L'Homme Double, while Karla Black created a new sculptural hanging piece in response to the Gallery's neo-classical Sculpture Hall.

Black lines on the gallery's left wall outline a cartoon thought bubble that houses almost 20 years worth of drawings; on the parallel wall of the narrow space, mural - scale paintings hang inside the hollow outlines of cartoon bunnies painted directly on the room's surface.

By contrast, the final room of the Lisson show presents six perfect fibreglass hemispherical monochromes, hung classically on the walls of the gallery.

In the collection galleries, you'll also find a massive new painting - installation - cum - sculpture by Phyllida Barlow that, uncannily, shares a palette with the de Kooning, Woman VI (1953) that hangs alongside it, and the sharp angles of a 1980 Ken Price cup in the next room.

A survey of work by Cornelia Parker RA is the opening show at Manchester's newly renovated Whitworth Gallery — featuring a room hung with the negatives from a poppy factory.

Seventeen canvases by Diana Horowitz, each measuring no more than 5» x 7», hang in a continuous line along the walls of the cozy smaller room at Lori Bookstein Gallery in Chelsea.