Sentences with word «gallerygoers»

For unlike, say, Marina Abramovic, who once spent 12 days living on a series of high platforms in a Chelsea gallery, showering, napping and standing about in what Roberta Smith in The New York Times called «full - tilt endurance - art mode,» above the heads of gallerygoers in nearly every way, Ms. Kasper is a boots - on - the ground sort of person.

★ Doug Wheeler (through April 5) Two years ago, Mr. Wheeler mesmerized gallerygoers with an «infinity environment» at David Zwirner; stepping into this all - white, light - and - space installation was akin to moving through a dense cloud.

Chung King Road was a buffet of openings Saturday night, with a variety of gallerygoers overflowing into the street.

As illustrated by New York Police Cap, 2010 — the larger - than - life model affixed to a wall at head level, inviting gallerygoers to step beneath it — the human experience often necessitates a proverbial wearing of many hats, requiring us to adopt various modes and postures in order to adjust appropriately.

As for photographs of Robert Smithson's Spiral Jetty (1970) and Michael Heizer's Double Negative (1970), two Earthworks that Dwan sponsored, not many institutions can call attention to these pieces near a window through which gallerygoers can view Heizer's Levitated Mass (2012), which is permanently installed just outside, on LACMA's grounds.

★ Doug Wheeler (closes on Saturday) Two years ago, Mr. Wheeler mesmerized gallerygoers with an «infinity environment» at David Zwirner; stepping into this all - white, light - and - space installation was akin to moving through a dense cloud.

In her latest show of work, Lachowicz references not the plaques of Carl Andre or boxes of Donald Judd, readily recognized by gallerygoers, but a particular film from early in Clint Eastwood's career, High Plains Drifter (1973).

The artist herself — who famously stared down gallerygoers at MoMA in 2010 — stars in the production alongside actor Willem Dafoe.

Across the plaza at Charlie James, the crowded but hushed gallerygoers took in the intensely moving A Place Called Home, where Nery G. Lemus» mix of watercolors, sculptures, and electronic media poignantly tackled the subject of immigration.

On the occasions I visited Ameringer - Howard, gallerygoers entering the exhibition literally caught their breath upon encountering the paintings.

But as the years progressed and gallerygoers became accustomed to stumbling upon plexiglass boxes and stacks of red bricks by his colleagues, Mr. Stella went in the opposite direction.

Continuing down the long wall of the front gallery: Creighton Michael; Vera Vasek and Stephen Westfall, visible behind gallerygoers; Lynn Umlauf, Don Voisine, Richard Timperio

Eley opened the Gallery to attract a new, untapped audience for contemporary art and to provide regular gallerygoers with a fresh, alternative way to enjoy art.

They encourage gallerygoers to spend time moving around them to see how the other works are reflected in their facets.

Chrysanne Stathacos» Wish Machine offers gallerygoers an artist's multiple that stimulates the sense of smell, inspires reflection on basic human desires such as love and health, and seemingly offers the possibility of transformation.

Wallis's book had an indelible effect on those who were either disinclined to embrace the blatant corniness of the Neue Bilde and transavanguardia (the other movements claiming the attention of young gallerygoers) from first exposure to their theatrical tantrums or whose minds were quickly changed.

I Know What You Did Last Summer helped launch the careers of Jennifer Love Hewitt and Freddie Prinze Jr. «I Know Whom You Showed Last Summer» (the title of Oehlen's exhibition) won't launch anyone's career, but it may lead Miami gallerygoers to take a closer look at two artists, Albert Oehlen and Malcolm Morley — or at least that's Clearwater's plan.

Neither fire nor wind nor rain can keep the intrepid gallerygoer from diving into a new exhibition season.

Since founding her eponymous conceptual gallery five years ago, Silverman has taken emerging artists» work to major art fairs in London, Paris, Dallas, New York, and Cologne and has introduced San Francisco gallerygoers to on - the - cusp artists hailing from Tel Aviv, Istanbul, and Berlin.

A good third of the gallery has been given over to bamboo and rattan mats gathered from across Thailand, on which gallerygoers can chill out for a spell; just make sure to take off your shoes first.

The most popular work seemed to be some wacky tennis tables by Wang Jianwei, which despite the fact the one of them is shaped like a concertina, were in use by gallerygoers.

The artist Josephine Pryde has decommissioned a choo - choo train that gallerygoers in San Francisco, Berlin and Bristol were allowed to ride on.

There has never been a gallery that could satisfy any gallerygoer all the time, and even those who have been dismayed by the spectacles engineered by Dan Colen, Damien Hirst, and Mike Kelley at Gagosian in recent years will point out that Gagosian has also mounted beautiful exhibitions of the sculpture of David Smith, and shows of paintings by Picasso and Monet that are routinely and quite accurately described as «museum quality.»

His pieces and their corresponding titles poke fun at race - related stereotypes, suggesting to the gallerygoer that perhaps we need not take this art thing so seriously.

And understanding what has happened is an urgent matter, not only for the painters whose work still dominates many of the contemporary galleries but also for the gallerygoers and museumgoers who still look to their work.

What has been referred to as the confusion or chaos of MoMA's Polke show is so much a matter of spectacular dissonances and layerings that it produces no real disquietude in a gallerygoer, but rather what might be called a pompier disquietude — a confusion that is an academic rerun of the old Dadaist confusions.

For museumgoers or gallerygoers, who were more accustomed to keeping their distance from artworks and to observing sculptures on pedestals, the effect of walking on a work of art was challenging.

Some gallerygoers even penciled obscenities on the canvases.

After perusing Bushwick's art offerings, gallerygoers can unwind at the afterparty, which kicks off at the Vazquez from 10 pm.

Meanwhile in New York, gallerygoers are the beneficiaries of a competition between two blue - chip galleries, each appealing to collectors interested in buying or selling Picassos.

Each work is installed in a wooden floater frame, slightly below eye level, inviting the gallerygoer to step inside the richly hued pictorial spaces.