Sentences with phrase «gallery wall between»

5:30 - 7:30 pm Performance Tania El Khoury: As Far As My Fingertips Take Me MDC Live Arts presents a conversation through a gallery wall between an audience member and a refugee.

Not exact matches

With the aim to bring art outside gallery and museum walls and make inclusive works that blur the lines between creating and enjoying art, I definitely recommend stopping by!

The hotel gave me major decor inspiration between the marble accents and gallery walls to the plush velvet couches.

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!).

The difference between a collage and a symmetrical grid gallery wall is that there appears to be no real order to where the frames are placed.

An exhibition, either solo or shared has been the most profitable experience in galleries but I found that it was too long between drinks just having a few pieces on their walls surrounded by many other works, often made up of pieces that had been created to fit in with that years interior design colour schemes and priced accordingly.

site specific installation directly on the gallery walls; a further three large scale works and a number of smaller scale works, enjoy learning more about the collaboration between artist, curator, and institution as well as the artist's vision, process, and creativity.

Her works, which playfully dot the gallery walls, strike a balance between levity and precision.

From mid gallery looking to the back: There's a better view of the Anuszkiewicz at left, and Bill Kommodore on the wall between the windows.

David Zwirner's own architecture provides an obvious example in the so - called reveal created by a narrow gap between the galleries» white walls and their concrete floor, which creates a sharp contour emphasizing the boundaries of the room.

New work from New York, Syracuse University Art Galleries, Syracuse, NY Art on Paper 2010: The 41st Exhibition, Weatherspoon Art Museum, Greensboro, NC The Silk Road, Saatchi Gallery, London and Lille, France Paper, Frederic Snitzer Gallery, Miami, FL Does the Angle Between Two Walls Have a Happy Ending, curated by Ishmael Randall Weeks, Federica Schiavo Gallery, Rome, Italy

Robert Therrien brings up to date the distinction between size and scale, while David Altmejd and his angels burst right through gallery walls.

If, in contrast to the satellite fairs where works priced between $ 20,000 (# 13,286) and $ 40,000 were flying off walls, main fair buyers were taking their time, making notes, and smart - phone researching comparable gallery and auction sales, it was but to validate such hefty purchases as a 1954, $ 15m Francis Bacon, a 1971, $ 10.5 m Picasso, two multimillion - dollar Warhol Mao paintings and a $ 2m Jasper Johns Savarin coffee can monotype!

His new works — created for his solo exhibition Penumbra at Goodman Gallery Johannesburg — explore interconnections between drawing and sculpture and consist mainly of wire wall hangings that resemble overblown lace or crochet work.

As with the spectral uniting of the gallery walls, he is finding within the fragmented a means to a unity, a reciprocal and harmonious relationship between seemingly disparate entities and concepts.

And on the atrium wall between the main exhibition galleries, artist studios and courtyard, Katya Tepper's playful

AT THE REAR OF RYAN LEE GALLERY in New York, a 1966 painting by Emma Amos casually sits on the floor leaning against the wall between works by other gallery aGALLERY in New York, a 1966 painting by Emma Amos casually sits on the floor leaning against the wall between works by other gallery agallery artists.

«Untitled» (Placebo - Landscape for Roni), from 1993, is composed of a long stream of gold - foil - wrapped hard candies lining the seam between the gallery's floor and wall; two stacks of paper («Untitled,» 1989/90)-- one printed with the words «Somewhere better than this place,» the other «Nowhere better than this place» — lie side by side on the floor.

A founding member of the seminal Park Place Gallery in Soho and perhaps best known for The Wall, located on the side of a building not far from the gallery, Myers was part of an emerging downtown scene that ignored traditional boundaries between disciplines and between aesthetics and fuGallery in Soho and perhaps best known for The Wall, located on the side of a building not far from the gallery, Myers was part of an emerging downtown scene that ignored traditional boundaries between disciplines and between aesthetics and fugallery, Myers was part of an emerging downtown scene that ignored traditional boundaries between disciplines and between aesthetics and function.

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.

And finally, in the show's namesake, «The Velocity of Change» (2015), which appears directly on the right wall as one enters the gallery, the intervals of white space between the clearly defined, occasionally fractured sets of colored wedges simultaneously pause and accentuate the rhythmic momentum within the mural.

A member of the so - called Mission School in San Francisco together with such artists as Barry McGee and Chris Johanson, Alicia McCarthy makes paintings that blur the line between street art and gallery work, using found wood as canvases and often imprinting them with the same intricate rainbow motif that she graffitis on her city's walls.

«My aim for the gallery has always been to be firmly established in Accra whilst working globally with a programme that expands outside of the gallery walls focused around artists who are currently bridging the gap between local and international practices.

Entering the galleries, visitors are invited to explore connections between a kaleidoscope of seemingly disparate objects such as Bentley's snowflake photographs, Shaker spirit drawings, Tibetan mandalas, Kabbalistic diagrams, and a wall - hanging by Iranian artist Monir Shahroudy Farmanfarmaian called First Family — Hexagon (2010) that uses six - sided forms.

Richard Meier says the walls he designed for the Glass Gallery «make the space divided but also fluid... as you move around the space, you see the different relationships between the art shown here... It's a phenomenal exhibition space.

Diaz - Perera will stage his own absence by occupying a liminal space between gallery walls during the three - week duration of his solo exhibition.

Alejandro Figueredo Diaz - Perera will stage his own absence by occupying a liminal space between gallery walls during the three - week duration of his solo exhibition.

Also included is a work from 1969 in which lengths of braided stainless steel wire form a horizontal sequence of five subtly - reflective squares, mounted flat against the wall; and Untitled (Eight - part Vertical Construction), 1992, a composition of black, gray, white, and red lengths of yarn stretched vertically between floor and ceiling in perpendicular and parallel configurations that relate to the surrounding walls of the gallery.

Streams of numbers feed in to a central vortex between two opposing gallery walls.

Her voice reverberates between the speakers mounted on the gallery walls and the chairs as they jump from source to source, suggesting a collective experience.

In our upcoming intervention, (ƒ) utility projects (a collaborative comprised of Paola Cabal, Michael Genge, and Chris Grieshaber) seek to elevate the natural elements of the back yard of the Riverside Art Center to «Art Object» status by selectively positioning white «gallery walls» between and around the landscaping and trees already located there.

Through projections and light on a main wall and throughout the campus, the work aims to explore connections between the individual identities of the galleries and artists at Bergamot Art Center as a unified space.

«By taking her work off the gallery walls and putting it in the hands of the public, Schnitger playfully explores the line between art and protest.»

The brick walls and main window of this storefront - turned - gallery are converted into a shrine devoted to what the artists describe as an investigation into the relationship between «ecclesiastic and secular «iconophilia» (the worshipping of images).»

Displayed at different gallery branches, Man Fung Yi's brass replicas of personal garments and William Tsang's rather straightforward installation, in which anonymous photographers in a mixed - media relief are spying on a nude woman, depicted in charcoal on paper on an opposite wall, contemplate voyeurism and the boundary between self and other.

Wall, the first boomer to appear upstairs, also belongs to the generation that cracked the division between photography galleries and art galleries.

The panels echo the walls of the gallery space that contain the work, creating a dialog between the «exploded box» and the enclosed cube of the gallery.

Wedged in at a right - angle between 3rd Street and Howard Street, the Snøhetta addition includes 170,000 square feet of extra indoor and outdoor gallery space, the largest living green wall in the Bay Area, three restaurants, two museum shops, a state - of - the - art conservation studio, a theater, gender - neutral bathrooms and a lower level filled with art that is free and open to the public.

Lights of Soho, London's leading light - art gallery, is delighted to announce «I Love This Motherf *** er», a one - man show by artist Graeme Messer that takes an irreverent, witty and revealing look at that meeting place between our real and idealised selves — the mirror on the wall.

The larger space has also allowed the gallery to present larger works with plenty of wall space between them so each piece resonates on its own.

Nor has he given up geometry: the glass enclosure runs parallel to the gallery's white cube, and one can take its measure by circulating the narrow space between walls.

Misshapen circles and enigmatic forms expand across the gallery walls in a grid, creating tension between their exuberant colors and rigid organization.

Continuing our interest in the relation between liveness and images, Gallery TPW presents Your Timing is Perfect and other wall works, a new work by Toronto choreographer Jenn Goodwin.

Blinn Jacobs is represented by Fred Giampietro Gallery, New Haven, CT Blinn Jacobs describes her work in a recent statement as being a dialogue between polygonal «shaped» wall sculptu...

To mark the public launch, The New York Public Library hosts a discussion between Béatrice Gross, Editor of the Sol LeWitt Wall Drawings Catalogue Raisonné; Lindsay Aveilhé, Director of Research; Christopher Vacchio, Research Associate; and John Hogan, the Mary Jo and Ted Shen Sol LeWitt Wall Drawings Installation Director and Archivist, Yale University Art Gallery.

«Liminal Spaces» at Jason Vass gallery, which opened Saturday night, occupies a position of cool, whether the boundary is mixed - media wall art, free - standing sculpture, or something in between.

Blinn Jacobs is represented by Fred Giampietro Gallery, New Haven, CT Blinn Jacobs describes her work in a recent statement as being a dialogue between polygonal «shaped» wall sculptur...

Between the second and third floors of these galleries, the walls that define the staircase are transformed into parapets, opening the last two flights of stairs to the natural light from the skylight above.

«It looks,» he wrote online, «like the sacrosanct wall between museums, galleries, and private collectors in the art world is about to come down.»

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.