Sentences with phrase «gallery wall surfaces»

Arsham's work is almost universally devoid of color or complexity and instead relies solely on the physical manipulation of basic materials to accomplish each new idea, a process that often involves altering of gallery wall surfaces to encase, suspend, or shroud his sculptures.

Not exact matches

In her third solo show at the gallery, Castrillo Diaz debuts a series of three - dimensional wall works that continue parallel dialogues with light and shadow, visibility, surface and materials.

As if floating on the gallery walls, Tom Henderson's works are composed of coloured Plexiglas panels, partially covered with oil paint, each supported by an aluminium armature which projects through the surface.

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.

The paintings are hung salon style on the gallery walls and the only clue that they are made by anyone other than a child is their surface.

Installed throughout the gallery, these freestanding, translucent screens multiply the reflective surfaces of the gallery's glass walls and deliberately incite a choreography of movement.

The frames, lined along one wall of the gallery, are positioned to show either the matte surface of the aluminum or the highly reflective silver - and - copper - toned photograms.

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.

The revelation can be architectural - as in his 1973 work at the Galleria Toselli in Milan, where he had layers of paint stripped from the walls to expose the original plaster surface - or functional, as in his piece for the Claire Copley Gallery in Los Angeles, in which he made public the business operation of the gallery by removing the wall dividing the exhibition area from the office and storageGallery in Los Angeles, in which he made public the business operation of the gallery by removing the wall dividing the exhibition area from the office and storagegallery by removing the wall dividing the exhibition area from the office and storage space.

In Constellation in Red (2002 - 2003), thirty - six small canvases map the surface of the gallery wall.

The Middle Passage is a performance art series curated by George Del Barrio and Kate Ladenheim using a focused camera obscura with multiple projections of the world outside the gallery to create surface - mapped stages upside - down and backwards on the gallery walls.

German artist Katharina Grosse is best known for her spray - painted installations that cover gallery walls, furniture and hanging plastic orbs with a surface of lustrous, vivid color that strongly alludes to the body used to create it.

Displayed in the downstairs gallery is a series of new unique monochrome works, The Named Series, the surfaces of which consist of white wall paint carefully removed from prominent museums and public galleries by professional conservators, using techniques employed to restore frescoes and murals.

It becomes a thin colored line bordering the portals that connect the different sections of the exhibition, it interacts with the building surfaces — highlighting the description texts printed on the gallery walls, creating video - projections, reflecting the window frames in a visual dialogue which poetically emphasize their role in architecture.

Every surface is redolent of some other painted surface in the real world, from the uninflected white of the gallery walls to old frescos, peeling doors and the chipped enamel on playground railings.

The works utilize space and surface, luminescence and reflectivity, the wall and the floor, to charge the gallery space with a quiet buzz and an underlying perceptual humor.

For her Wattis Institute exhibition, Owens takes the gallery spaces as her point of departure and has extended the height of some of the walls to create a continuous surface for hand - printed wallpaper installations.

Through the careful application of surface treatments on walls, calculative placement of thin, angular, wood sculptures and the addition of signature painted fragments, Amm constructs a visual picture plane from the tangible gallery space.

Between 1985 and 1992, Pfaff created large - scale, multi-media works that bridge, both conceptually and physically, the surface of the wall and the space of the gallery.

In the main gallery, Kiwanga brings together architectural elements from historical and contemporary versions of these spaces including wall sections, lighting fixtures, and surface treatments to propose a spatial collage that escapes the sum of its fragments.

Her expansive piece «The Privilege of Conveyance» (2016, mixed media on paper) wrapped around the main surface of the gallery wall to inhabit the wall's side as two dimensions turned into three, both on the surface of her paper and in space.

Utilitarian Kraft paper transforms the gallery walls into undulating surfaces of intertwining light and shadow and immeasurable pages in suspended motion.

Most of the objects here on view, mounted to the gallery walls or resting on its floor, were constructed of unassuming materials — household hinges, wooden dowels, Plexiglas sheets, plywood bits — whose acrylic painted surfaces occasionally gleamed with gold, copper, or aluminum leaf.

This curtain hangs from the rafters of the fifth - floor gallery, the crown of the institution, and conceals the gallery wall by foregrounding its own secondary surface.

Barker places these bulbous cauldrons precariously atop wafer - thin slivers of wood, with polished surfaces and natural undersides, and sets them loose across the gallery: accompanied by press - moulded leaves mounted on the wall, the effect is of clusters of inverted landscapes carving through the exhibition space, shimmering under streams of daylight.

Printing directly onto the gallery walls and found materials, Wylie scrapes, folds and makes incisions as her printed imagery accumulates on the surface.

Entering the sparse ground - floor gallery space, which was carpeted in a dingy, low - shag, wall - to - wall industrial chartreuse, one immediately noticed the imprint of the sole of a single shoe or slipper seamlessly inlaid into the carpet's surface.

2017 Builders, Circuit 12, Dallas, TX Fantastic Facade, LVL3, Chicago, IL Deconstructed, Terrault Contemporary, Baltimore, MD 2016 Helter Skelter, Launch F18, New York, NY Water Work, Soho House curated by Patrick Muhundro and Andrea Bergart, New York, NY Transaction, Knockdown Center curated by Elijah Wheat Showroom, Queens, NY Knife Hits, Spring / Break Art Show, New York, NY Faulted Valley Fog, Transmitter, Brooklyn, NY Painting Reassembled, SUNY Westchester Community College curated by Erika Mahr, Westchester, NY 2015 Surface Matters, Knockdown Center curated by Holly Shen and Sam Katz, Queens, NY Handmade Abstract, BRIC, Brooklyn, NY Object» hood, Lesley Heller Workspace curated by Inna Babaeva and Gelah Penn, New York, NY 2014 Ultra Deep Field, Rockford University Art Gallery, Rockford, IL Site Lab, Old Morton Hotel, Grand Rapids, MI BRIC Biennial, BRIC Arts in partnership with LIU University, Brooklyn, NY Insider Joke, Hockney Gallery, Royal College of Art, London, UK 2013 Rushgrove House, Rushgrove House in conjunction with the Royal College of Art, London, UK Limber: Spatial Painting Practices, Herbert Read Gallery, Canterbury UK and the Grandes Galleries de L'Erba, Rouen, France Material, Storefront Bushwick, curated by Liz Dimmitt, Brooklyn, NY Middle Zone, Projekt 722, curated by Corydon Cowansage, Brooklyn, NY No Longer Preseidents But Prophets, Delicious Spectacle, Washington DC Inside Voices, Parallel Art Space, Brooklyn, NY Contemporary Drawing Today, Fort Worth Drawing Center, Fort Worth, TX Paint Things, DeCordova Museum and Sculpture Park, Lincoln, MA 2012 Bleach Blue, FJORD Gallery, Philadelphia, PA Primary, Nudashank, Baltimore, MD Masculinisms, Garden Party / ARTS, Brooklyn, NY Rockford Midwestern Biennial, Rockford Art Museum, Rockford, IL Fakin It, Meyer Gallery, University of Cincinnati, OH 2011 Living Arrangements, PLUG Projects, Kansas City, MO Off the Wall, Visceglia Gallery at Caldwell College, Caldwell, NJ Small Crowd, Mixed Greens, New York, NY Out of Practice, Art Blog Art Blog curated by Nudashank, New York, NY RISD Graduate Thesis Exhibition, Rhode Island Convention Center, Providence, RI New Insights, Art Chicago with NEXT cuarted by Suzanne Ghetz, Renaissance Society, Chicago, IL 2010 Interriuer / Exterieur, Dubois Galerie, Pont - Aven School of Contemporary Art, France Boston Young Contemporaries, 808 Gallery, Boston University Totemic, The Gelman Gallery, RISD Museum, Providence, RI

In the other direction from the door, the wooden rod rises along the same angle and kinks twice in midair before shooting up to the ceiling, where it nearly — but not precisely — traces the contour of the corner window embankment before skidding along the top of the long wall, dipping and rising slightly as it runs above the double doors that texture the otherwise smooth surface of the gallery.

Rafferty has created a theatrical event in the upstairs and downstairs of the still - new Uffner galleries with floor - to - ceiling curtains dotted with pink - and - purple flies; blob - like paintings (of people, a wall, a noose) and inkjet prints layered on top of each other, flattened behind plexi to give the appearance of multi-dimensional depth; all adorned with the tiniest of hardware, like screws, that have been attached to the surface of her works.

Roger Hiorns» current solo exhibition at Luhring Augustine — the British artist's first in New York City — presents viewers with two inscrutable situations: In one, a quantity of gray powder has been deposited, apparently by hand, over a large, rectangular area occupying the better part of the main gallery; in another, a nude male model loiters about a massive, faceted stone object and a low table, the surface of which is a flat - screen TV monitor displaying video content by the Wall Street Journal.

Lines, marks and gestures over a mirrored plexiglass surface explode off the wall and spill over the corner of the gallery in Maurice Clifford's exuberant «Love and Fear,» impelling the viewer into the drawing as do Frank Stella's later three - dimensional abstractions.

Six black paintings in various sizes lined up along one of the gallery's long walls showed delicate regular golden grids on their surfaces,

In this room, the yellow introduced as light in the first gallery is the actual color of the surfaces, covering the three walls and all the columns in the room.

Not that I would know... On the gallery walls are a number of paintings on polished stainless steel where a haze of highlighter - coloured spray - paint with jaunty lettering (made using masking tape) exposes the mirrored surface beneath spelling out statements like Crushingly Hopeless and Dead Ur Lovers.

SELECT EXHIBITIONS — SOLO (S) GROUP (G) 2015 Context Art Miami, 532 Gallery Thomas Jaeckel, New York (G) 2014 Context Art Miami, 532 Gallery Thomas Jaeckel, New York (G) 2014 Ian Hughes Paintings 532 Gallery Thomas Jaeckel New York, NY 2013 Ten Artists Adelson Galleries Boston, MA 2012 Untitled Art Fair, South Beach, 532 Gallery Thomas Jaeckel, New York (S) 2012 Context Art Miami, 532 Gallery Thomas Jaeckel, New York (G) 2012 Ian Hughes Paintings, 532 Gallery Thomas Jaeckel, New York (S) 2012 Art Wynwood, Miami, 532 Gallery Thomas Jaeckel, New York (G) 2011 Aqua Art Miami, 532 Gallery Thomas Jaeckel, New York (G) 2010 Inside Out, Ian Hughes Paintings, 532 Gallery Thomas Jaeckel, New York (S) 2010 Aqua, Miami, 532 Gallery Thomas Jaeckel, New York (G) 2009 Paper in the Wind, curated by David Gibson, 532 Gallery Thomas Jaeckel, New York, NY (G) 2003 New Works on Paper, Victoria Munroe Fine Art, Boston, MA 2002 25th Anniversary Exhibition, The Drawing Center, New York, NY Watercolor: In the Abstract, conceived by Melissa Meyers, curated by Pamela Auchincloss and Alex Muse 2002 Michael C Rockefeller Arts Center Gallery, SUNY College, Fredonia, NY (G) 2002 Butler Institute of America, Youngstown, OH (G) 2002 Ben Shahn Gallery, William Patterson University, Wayne, NJ (G) 2002 Sarah Moody Gallery of Art, University of Alabama, Tuscaloosa, AL (G) 2001 Hyde Collection Art Museum, Glens Falls, N.Y. (G) Nina Freudenheim Gallery, Buffalo, NY 1999 Surfing the Surface, DFN Gallery, New York, NY 1998 Abstraction in Process, Artists Space, New York, NY; (G) curated by Irving Sandler and Claudia Gould 1991 White Room: Paintings, White Columns Gallery, New York, NY 1991, White Columns Gallery, New York, NY 1990 Hall Walls, Albright Knox Museum, Buffalo, NY 1989 Climate «89, Condeso / Lawler Gallery, New York, NY 1988 Drawings, Massachusetts College of Art, Boston, MA 1985 Selections 31, The Drawing Center, New York, NY

The ceiling represents the counterpart of the floor (the genesis of the drop cloth works), and the realized paintings are in turn hung on the gallery walls in order to connect the two surfaces.

The surfaces of Orozco's paintings are fairly uninflected, paint here is read as a given or found term; it works within the context of a gallery space where a formal play between the paintings can be read inside the limits of walls, floor and ceiling.

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.

That probably describes most works of art, but when expressed with an elaborate environment that takes over interior surfaces of a brownstone gallery — that's walls, ceiling and floors on two and a half floors, including stairs and hallways — and dazzles at every turn, it gains force.

Brandes, like Maher, employs a variety of styles and materials, from small paintings and collages, to vast highly detailed drawings on unexpected surfaces (like used floor vinyl or straight onto the gallery wall) such as Hotel Amnesia.

Sit on a chair facing a gallery wall, don headphones and listen to a woman's hypnotic voice directing you to focus on the pebbled, white surface and think exclusively about what you see.

When the curved walls of the antechamber slide open, visitors enter a black - and - white effects gallery where direct ambient and grazing light is demonstrated on eight different textured and smooth vertical surfaces.

Surface View offers a vast and varied collection of wall murals, including the National Gallery collection which is full of beautiful paintings from one of the world's greatest art archives.