Sentences with phrase «glass wall of the gallery»

Not exact matches

The glass - walled, gallery - like interiors of this luxury property take full advantage of the gorgeous views.

Designed to maximize natural light and encourage the flow of cool breezes, the villa's interiors feature wide glass doors, gallery - like white walls and clean - lined furnishings.

The hinges on the doors are made of material salvaged from a shipwreck, hand - hewn cedar posts and steel bracket evoke Native American art, glass pieces line the walls of the gallery and the roof is made of recycled metal.

From the gallery, as from the bedrooms, a wall of glass doors opens to the deep wraparound porch and vistas over the golf course and the turquoise waters on the horizon.

Walking among the Caryatides in the main section of the gallery, with its white walls and opaque glass roof, a quiet stillness pervades.

Without context, they look like minimalist heaps of glass artfully arranged on the floors and walls of the tiny gallery, as if simplified reincarnations of Robert Smithson's Map of Broken Glass (Atlantis)(1glass artfully arranged on the floors and walls of the tiny gallery, as if simplified reincarnations of Robert Smithson's Map of Broken Glass (Atlantis)(1Glass (Atlantis)(1969).

In 1974, he exhibited his iconic piece An Oak Tree (1973), which consists of a glass of water standing on a shelf high on the gallery wall.

As the artist explains,» The space will be filled with sinuous, large, sprawling structures on two opposing walls (units composed of weaving of metal grid and clear, iridescent,» edge glowing» Plexi glass), which transmit, reflect, and refract light while the painted dark walls of the gallery are enclosed with images that echo the shadows and reflections of the gleaming sculpture.

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.

In the first room of Marian Goodman's new gallery, adjacent pairs of vast grey painted - glass panels are retwinned on opposite walls, so that the space contracts a little around a huge central sculpture, 7 Panes of Glass (House of Cards)(2013), that drolly invokes both Richard Serra's cliffs of leaning steel and Caspar David Friedrich's The Sea of Ice (1glass panels are retwinned on opposite walls, so that the space contracts a little around a huge central sculpture, 7 Panes of Glass (House of Cards)(2013), that drolly invokes both Richard Serra's cliffs of leaning steel and Caspar David Friedrich's The Sea of Ice (1Glass (House of Cards)(2013), that drolly invokes both Richard Serra's cliffs of leaning steel and Caspar David Friedrich's The Sea of Ice (1824).

The gallery walls are occupied by the artist's words, found in the wall - sized, poured - glass text sculptures, and in the machine - embroidered writing on top of the artist's paintings.

For his fourth solo show at the gallery, Wynne will exhibit work across a range of mediums, including large - scale poured and mirrored glass wall abstractions, canvases of baroque imagery embroidered with text, and collaged prints of a magic act.

This exhibition marks Wynne's most ambitious gallery show featuring his now iconic glass wall sculptures in the shape of waves, vortexes, and underwater exhale bubbles and text works including a new series using black glass.

And for her exhibition «Forever,» opening in Berlin this weekend, Kruger plucked a quotation from Woolf's extended essay «A Room of One's Own,» filling an entire gallery wall with: «You know that women have served all these centuries as looking glasses possessing the magic and delicious power of reflecting the figure of man at twice its natural size.»

On the ground floor of the Snøhetta - designed expansion, visitors and passersby will find Richard Serra's monumental sculpture Sequence (2006) in the free - to - visit, glass - walled Roberts Family Gallery, made possible by Linnea and George Roberts, where Roman steps will provide an inviting space to reflect and gather.

Running the length of these galleries is a sloping sort of gangway that gradually brings the visitor into the largest exhibition spaces and, combined with glassed - in ceiling and window walls, rather gives one the feeling of being on a cruise ship — especially on an appropriately dark and stormy night like the one that witnessed the opening of Gray Matters, the maiden voyage of newly appointed Senior Curator Michael Goodson.

The first is provided by Tommy Grace and Kate Owens whose temporary «stained - glass» window transforms a section of the gallery's glass frontage with panels made of coloured plastic bags, filtering the early summer sunlight and bathing the walls in a synthetic pool of colour.

Inside the glass - walled corner of Jessica Silverman Gallery, located on the ground floor of a Mercy Housing SRO in the lively yet louche Tenderloin, visitors will never spot a red dot next to a sold artwork.

Several of Burden's other performance pieces were considered somewhat controversial at the time: another «danger piece» was Doomed (1975), in which Burden lay motionless in a gallery at the Museum of Contemporary Art, Chicago under a 5 ft × 8 ft (1.5 m × 2.4 m) slanted sheet of glass near a running wall clock.

The exhibition brings together two large works on leaded panels of glass — two naked female figures seated in profile, impassive, emitting shooting stars — a series of delicate aquatint etchings, large bronze wall reliefs and a suspended sculpture, the shadows of which transform the gallery into a barely perceptible dabbled glade, along with a stunning jacquard tapestry depicting two eagles in descent against a chalky sky.

The space mimics that of an open plan gallery, taking over a pavilion - style single storey building with a two wall facade almost fully in glass.

Two highlights of the exhibition will be a monumental sculpture comprised of seven panes of glass suspended in an aluminum framework — each pane containing words, which form an abstract radial constellation — and a large - scale site - specific wall drawing that Khan will be creating at the gallery.

The long glass wall that separates the Lobby Gallery from the New Museum Lobby is a central feature of the installation.

Though the glass doors at the entrance, one can see further sandbags in the main foyer and lower gallery spaces that are ostensibly shoring up the walls of the museum.

Wilson's «Sala Longhi» installation, which he premiered at the 2011 Venice Biennale, takes up the second gallery, with a white glass chandelier emerging from a wall - mounted picture frame surrounded by smaller frames filled with black glass out of which face - shaped circles have been cut.

Thirty - eight of Adnan's delicate, diminutive, untitled paintings from 1959 — 2010, oscillating as you approach them between landscapes and abstractions, line the walls of another gallery on the ground floor of the documenta - Halle, the glass - fronted exhibition venue down the street.

Visible through a broad wall of glass at the building's entrance, the installation is one of the central components of New - York Historical's new Robert H. and Clarice Smith New York Gallery of American History.

Much of the ground floor is near - complete: a huge Richard Serra sculpture, Sequence — two spirals of weathered steel transported to the museum on 11 flat - bed trucks — has long been in place at one glass - walled gallery entrance; a dozen people had just lifted a 26ft - wide Calder mobile to help in its suspension over the main atrium.

Works comprised of drips of Murano black glass will also be installed in the gallery, appearing to seep out of the gallery walls.

The walls of the gallery have been painted various shades of green and a glass door that leads into a back garden area is covered by a camouflage sheet and adhered with packing tape.

The former furniture factory was converted into a three floor gallery with 10,000 square feet of exhibition space, a high - ceilinged main gallery, and a glass wall facing the Hudson River.

2009 Mayer, Sally, Straight Man, Wonderland, April - May Sculptor Shows his Own Poetry in Motion, The Southland Times, March Sherwin, Skye, Exhibitionist: The Best Art Shows to See this Week, The Guardian, 18 September De Wilde, Femke, Room With a Political View, Frame, March - April Lutticken, Sven, Taped Together: On The Bijlmer Spinoza Festival by Thomas Hirschhorn, Texte Zur Kunst, September Weiner, Emily, ArtForum (Review of show at Gladstone Gallery, NYC), March ArtForum (Review of show at Galerie Susanna Kulli), April Thomas Hirschhorn to Present his First Ever Solo Exhibition in a UK Public Art Gallery, Art Daily, 8 September Indepth Art News: Anschool by Thomas Hirschhorn, Absolute Arts, April 2008 Rappott, Mark, Strange Love, Art Review, June Stroh, Frank, Thomas Hirschhorn: Hotel Democracy, Creative Europe Online, June Thomas Hirschhorn's «Hotel Democracy» at Art Basel 2008, Designboom, June Art Basel Becomes More Global, Swissinfo.com, 5 June Basel Art Blow - Out, Artnet, 30 May Art 39 Basel: El Dorado of the International Art World Set to Open in Switzerland, Art Daily Online, June Art Basel Opening, Zimbio.com, June Bowes, Elena, Thomas Hirschhorn, Indagare, June Vogel, Carol, Hotel Democracy, New York Times, 21 March Crow, Kelly Culture Clash: Soccer Fans, Art Elite Butt Heads, The Wall Street Journal, 30 May Vogel, Carol, New York Times, 21 March Harris, Gareth, Art Basel, Financial Times, 24 May Reust, Hans Rudolf, Infinite Glass: The Arts Beyond the Discipline, Parkett, No. 84 2007 Demos, T. J., On the Ground - London, Artforum, December Nesbit, Molly, Le plan d'amitie entre art et philosophie, Le Monde Diplomatique, August Kultureflash.net, no. 124, 3 August Downey, Anthony, Thomas Hirschhorn, Flash Art, July - September, p. 134 Pennell, Arden, This is Your Brain on Reality, Whitehot magazine of contemporary art, Issue 3, May Icon, issue 046, April Sam, Serman, Thomas Hirschhorn, The Brooklyn Rail, April Kulture Flash, issue 198, 28 March Jones, Jonathan, How War Made Art Better Again, Guardian Unlimited Art Blog, 26 March Thomas Hirschhorn - Substitution 2 at Stephen Friedman Gallery, www.artvehicle.com, Issue 12, 23 March Coomer, Martin, Thomas Hirschhorn, Time Out London, 20 March Hubbard, Sue, This is the father of all battles, The Independent, 14 March Westcott, James, ArtReview: blog, 13 March Hirschhorn, Thomas, Eternal Flame, Artforum, Vol.

Because they arrive on the wall of a gallery dry, neatly framed, too often trapped in glass, it is easy to forget the liquid life of paintings and photographs.

A gap between these ceiling elements and the wall creates a clerestory band of light not unlike Kahn's, and light also filters in through a glass wall at the gallery's end.

At 8:20 p.m., the body artist Chris Burden entered a large gallery of the Museum of Contemporary Art, did not look at his audience of 400 or more, set a clock for midnight, and lay down on the floor beneath a large sheet of plate glass that was angled against the wall.

The New Jeff Koons 1980 duratran, fluorescent lightbox 42 x 32 x 8 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT New Hoover Celebrity IV, New Hoover Convertible, New Shelton Wet / Dry 5 - Gallon, New Shelton Wet / Dry 10 - Gallon Doubledecker Four vacuum cleaners, 1985 plexiglas, fluorescent lights 99 x 53 1⁄2 x 28 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT Aqualung 1985 bronze Edition 1 of 3 27 x 17 1⁄2 x 17 1⁄2 inches Private collection One Ball Total Equilibrium Tank (Spalding Dr. J Silver Series) 1985 glass, steel, sodium chloride reagent, distilled water, basketball Edition 1 of 2 64 3⁄4 x 30 3⁄4 x 13 1⁄4 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT Three Balls 50/50 Tank (Wilson Aggressor, Wilson Supershot, Dr. J Silver Series) 1985 glass, steel, distilled water, three basketballs Edition 2 of 2 60 1⁄2 x 48 3⁄4 x 13 1⁄4 inches Private collection Jim Beam - J.B. Turner Train 1986 stainless steel, bourbon Artist's Proof 11 x 114 x 6 1⁄2 inches Stefan T. Edlis collection I Assume You Drink Martell 1986 oil inks on canvas Edition 1 of 2 45 x 60 inches Private collection Italian Woman 1986 stainless steel Edition 1 of 3 30 x 18 x 11 inches Courtesy Leo Castelli Gallery Rabbit 1986 stainless steel Edition 3 of 3 41 x 19 x 12 inches Sonnabend collection Buster Keaton 1988 polychromed wood Edition 2 of 3 65 3⁄4 x 50 x 26 1⁄2 inches C&M Arts Michael Jackson and Bubbles 1988 porcelain / ceramic blend Edition 2 of 3 42 x 70 1⁄2 x 32 1⁄2 inches San Francisco Museum of Modern Art, purchased through the Marian and Bernard Messenger Fund and restricted funds Pink Panther 1988 porcelain Edition 3 of 3 41 x 20 1⁄2 x 19 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT St. John the Baptist 1988 porcelain Edition 3 of 3 56 1⁄2 x 30 x 24 1⁄2 inches Courtesy Sonnabend Gallery Ushering in Banality 1988 polychromed wood Edition 2 of 3 38 x 62 x 30 inches Private collection Vase of Flowers 1988 mirror 72 1⁄2 x 53 x 1 inches Collection of Michael Crichton, courtesy of Christie's Wild Boy and Puppy 1988 porcelain Edition 1 of 3 38 x 39 1⁄2 x 23 1⁄2 inches C&M Arts Winter Bears 1988 polychromed wood Edition 2 of 3 48 x 44 x 15 1⁄2 inches Anthony d'Offay, London Woman in Tub 1988 porcelain Edition 3 of 3 23 3⁄4 x 36 x 27 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT Bourgeois Bust - Jeff and Ilona 1991 marble Artist's Proof 44 1⁄2 x 28 x 21 inches Anthony d'Offay, London Dirty - Jeff on Top 1991 oil inks silkscreened on canvas 60 x 90 inches Collection of Rachel and Jean - Pierre Lehmann Wall Relief with Bird 1991 polychromed wood Edition 2 of 3 72 x 50 x 27 inches C&M Arts Balloon Dog (Orange) 1994 - 2000 high chromium stainless steel, mirror - polished finish with transparent color coating 120 x 144 x 45 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT Bread with Egg 1995 - 1997 oil on canvas 128 x 108 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT Play - Doh 1995 - 2004 oil on canvas 131 5⁄16 x 111 1⁄16 inches Private collection Auto 2001 oil on canvas 102 x 138 inches Courtesy the Stephanie and Peter Brant Foundation, Greenwich, CT Lobster 2003 polychromed aluminum, steel, vinyl Edition 1 of 3 57 7⁄8 x 17 1⁄8 x 37 inches (plus variable length chain) Private collection, courtesy Thea Westreich Art Advisory Services Elvis 2003 oil on canvas 108 x 93 inches Stefan T. Edlis collection

In Gallery Mark Mueller, Swallowed in Space comprises five, large, entire - body, paintings, effectively distributed around a spacious gallery, the side wall of which opens through glass doors onto a couGallery Mark Mueller, Swallowed in Space comprises five, large, entire - body, paintings, effectively distributed around a spacious gallery, the side wall of which opens through glass doors onto a cougallery, the side wall of which opens through glass doors onto a courtyard.

An oversized garage door turned into a wall of gleaming glass marks the entrance and welcomes visitors, in grand SoHo fashion, into the cavernous gallery space.

Some of his best - known works include a series of installations that destabilize the solidity of gallery walls, such that they appear to be dripping, folding, oozing, or absorbing furniture; also figuring among his oeuvre are pixelated clouds based on photographs and rendered with hand - colored spheres, and sculptures made from granulated materials like crushed glass.

The Calder gallery opens through glass walls on two sides to outdoor sculpture terraces; the east terrace is one of the great spaces of the new building, with a gigantic living wall of local vegetation as backdrop and slitted urban views.

Trouvé extended his aesthetic further into slabs of cut glass titled Baroque Broken Lines (2010) that leaned in different heights against the gallery's white wall.

Anyone who has recently walked by Brussels Galerie Greta Meert has likely seen (or read) the work of Robert Barry plastering the gallery's glass storefront and lining its walls and floors.

The second section, Collecting to astonish, collecting for research, begins in three visually impressive rooms, dedicated to Venetian explorers, which narrate the history of scientific expeditions by using an intentionally «old - fashioned» style; explorers» memorabilia and artifacts are placed into imposing glass and wood cabinets in the main gallery, while a number of hunting trophies and stuffed animals are arranged onto the walls of the two adjoining rooms.

2011 Postcards from the Edge, CRG Gallery, New York, US Litos Grafere, Danish Art Center Silkeborg Bad, Silkeborg, DE; Museum of Stavanger, NO Freeriding, East / West Galleries, Woman's University, Denton, Texas, US Sculpture in So Many Words: Text Pieces 1960 - 75, Ziehersmith, New York, US Intrusions, Galerie Michèle Chomette, Paris, FR Compagni Di Viaggio - Traveling Companions, Mestna Galerija Ljubliana, SI L'Insoutenable Légéreté de L'Être, Yvon Lambert, VIP Art Fair, Online Art Fair, New York, US Box is a Box is a Box, Librairie Florence Loewy, Paris, FR Drawn / Taped / Burned Abstraction on Paper, Kotonah Museum of Art, Kotonah, New York, US As Long as it Lasts, Galerie Sonja Junkers, Munich, DE Works from the Pentti Kouri Collection, Tracy Williams Ltd, New York, US Picasso: Guitars 1912 - 1914, Museum of Modern Art (MoMA), New York, US Berlin International Film Festival, various theaters around Potsdamer Platz, Berlin, DE Observadores - Revelaҫões, Trânsitos e Distâncias, Museu Colecção Berardo, Lisbon, PT Market Art Fair, The Royal Swedish Academy of Fine Arts, Stockholm, SE Feuille à Feuille, Musée de Vence, FR TextVideo / Female: Art after 60's, PKM Gallery, Seoul, KR Topography / Topography, Brooke Alexander Editions, New York, US Bidoun Project, Mercer Street, New York, US Temporary Stedelijk 2 - Making Histories: Changing Views of the Collection, The Temporary Stedelijk at the Stedelijk Museum, Amsterdam, NL Push Pull, Rijksmuseum, Amsterdam, NL Bild / Objekt: Neuere Amerikanische Kunst aus der Sammlung, Kunstmuseum Winterthur, Winterthur, CH Tod's Art Plus Drama Party 2011, Whitechapel Gallery, London, UK Shelf Ramp Wedge Bridge, Fitzroy Gallery, New York, US CLAP, Hessel Museum of Art, Annandale - on - Hudson, New York, US 100 Briques Pour Madagascar Œuvres Contemporaines, Hotel Marcel Dassault, Paris, FR Bomb 30th Anniversary Gala and Silent Auction, Capitale, New York, US Benefit Auction from the Icelandic Wetlands, The Culture House, Reykjavik, IS Locations, Paula Cooper Gallery, New York, US As Long as it Lasts, Arratia, Beer Gallery, Berlin, DE After Hours: Murals on the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvedere.

, Tony Shafrazi Gallery, New York, US Intervention / Decoration, Foreground Projects, Frome, Somerset, UK Ambition d'Art, Institute d'Art Contemporain, Villeurbanne - Lyon, FR Redone, Kröller - Müller Museum, Otterlo, NL A Bookcase for Onestar Press by Lawrence Weiner, Christophe Daviet - Thery, Paris, FR Mes Amis, Dvir Gallery, Tel Aviv, IL Reconstruction # 3: Artists» Playground, Sudeley Castle, Winchcombe, Gloucestershire, UK Advancing the Experience: Robert Ryman & Urs Raussmüller, Hallen für Neue Kunst, Schaffhausen, CH Art Basel, Kino Mascotte, Basel, CH Cul - de-sac, curated by Lino Polrgato, Small Dead End Courts Around Venice, IT 2008: FREEDOM - American Sculpture, curated by Marie Jeanne de Rooij, Stichting Den Haag Sculptuur, Den Haag, NL Revolutions - Forms That Turn, Biennale of Sydney, Museum of Contemporary Art, Sydney, AU Slow Glass, Lisa Cooley, New York, US Thoughts On Democracy: Reinterpreting Norman Rockwell's «Four Freedoms» Poster, The Wolfsonian, Florida International University, Miami, Florida, US artCRUSH, Aspen Art Museum, Colorado, US NOLEFTOVERS, Kunsthalle Bern, CH Translocomotion 7th Shanghai Biennale, curated by Julian Heynan, Henk Slager, Shanghai, CN German Angst, Neuer Berliner Kunstverein, Berlin, DE TEXT drawings, Leo Castelli Gallery, New York, UK Drawings on Graph Paper, Leslie Tonkonow Artworks + Projects, New York, US Pleinairism, curated by Kitty Scott, i8 Gallery, Reykjavik, IS Une Grosse Caisse dans un Orchestre Symphonique, Center d'art Contemporain, Saint Restitut, FR Variation 1, Wiener Konzerthaus, Vienna, AT Wall Rockets: Contemporary Art Artists and Ed Ruscha, curated by Lisa Dennison, The FLAG Art Foundation, New York, US; Albright - Knox Art Gallery, Buffalo, New York, US XX, CAG, Vancouver, CA Wall Works, Buchmann Galerie, Lugano, CH ABC No Rio 2008 Gala & Benefit Auction, Angel Orensanz Foundation for the Arts, New York, US The Panza Collection, The Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington DC, US 2 x -LSB-(2 x 20) + (2 x 2)-RSB- + 2 = XX (DESPERATELY) TRYING TO FIGURE OUT THE WORLD, curated by Konrad Bitterli, Part I, Mai 36 Galerie, Zurich, CH, Part II, Brook Alexander Gallery, New York, US Collected Visions Modern and Contemporary Works from the JP Morgan Chase Art Collection, Pera Museum, Istanbul, TR This is the Gallery and the Gallery is Many Things, Eastside Projects, Birmingham, UK Love Love Love, Martos Gallery, New York, US Whatever Happened to Sex in Scandinavia, curated by Marta Kuzma, Office for Contemporary Art Norway, Oslo, NO Passage To The North, screening SI Annual Benefit, Swiss Institute, New York, US Posesion, curated by Montserrat and Pablo Sigg, Petra, Mexico City, MX Now You See It, Aspen Art Museum, Colorado, US Order.

2001 Words and Landscape, Art Affairs, Amsterdam, NL Conception: Conceptual Documents 1968 - 1972, Norwich School of Art and Design, Norwich, UK; The Library, Henry Moore Institute, Leeds, UK; Chisenhale Gallery, London, UK; Baskin Gallery, University of British Columbia, Vancouver, CA Rolling Stones Adorned With Starlight, Galerie Hubert Winter, Vienna, AT Words + Landscape, Art Affairs, Amsterdam, NL The Starving Artists» Cookbook Video Series, Anthology Film Archives, New York, US; Galerie Rachel, Haferkamp, Cologne, DE «Für Hanne», Galerie Ascan Crone, Hamburg, DE Yossi Breger, Douglas Gordon, Jonathan Monk, Lawrence Weiner, Dvir Gallery, Tel Aviv, IL Dead, The Roundhouse, London, UK Vette Vazen, Brutto Gusto, Rotterdam, NL AM The Record Man: Artists» Audio Projects, Art Metropole, Toronto, CA From the Marzona Collection, Kunstverein Ludwigsburg, DE Presentation of the Works, Frankfurt, DE Imago Mundi, CAPC - Musée d'Art Contemporain, Bordeaux, FR Group Exhibition, Cab Gallery, London, UK Collaborations with Parkett, Museum of Modern Art, New York, US DIN ART 4: 540 Künstlers und 1 Formular Sammlung Klaus Hömberg, 1985 bis 1997, Museum für Telekommunication, Frankfurt, DE; Museum für Kommunikation, Hamburg, DE; Museum für Kommunikation, Berlin, DE The First Ten Years: Selected Works form the Collection, Irish Museum of Modern Art, Dublin, IR Nothing, Northern Gallery for Contemporary Art, Sunderland, UK; CAC, Vilnius, LT; Rooseum, Malmö, SW Sammlung Ingo Glass, Herbergen - Museum des Münchner Stadmuseums, DE Counting Coup / Undo, The Theatre for the New City, New York, US Wall > Sculpture, Margarete Roeder Gallery, New York, US Wert Wechsel, Zum Wert des Kunstwerks, Museum für Angewandte Kunst, Cologne, DE So Oke, Benefit Auction for Infoscreen, Futuregarden Kunstverein, Vienna, AT Archilab 2001, 3rd Intern» l Architect, Conf, Ville d'Orléans, FR Drawings, Regen Projects, Los Angeles, California, US Von Edgar Degas bis Gerhard Richter: Arbeiten auf Papier aus der Sammlung des Kunstmuseum Winterthur, Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Munster, DE Markers: Outdoor Banner Event of Artists and Poets, part of 49th Venice Biennale, org.

For Serralves, Daniel Steegmann Mangrané has conceived a living landscape for the Museum's central gallery in which a glass pavilion housing a garden and mimetic creatures, a set of free standing sculptures, a wall drawing, a hologram and windows that alter the experience of viewing are brought together to create a living ecosystem of transfigurations and metamorphosis, both real and symbolic.»

Its conception, Orlofsky says, began with the artists Mark Grotjahn and Richard Serra, whose monumental «Sequence,» 2006, faces the gallery through the glass walls of SFMOMA's lobby.

Her new body of work for Timothy Taylor perfectly demonstrates this philosophy, encompassing a stained glass window intervention, a range of paintings, and a large site - specific work, which Cain will paint directly onto the gallery wall in the days leading up to the exhibition.

The vibrant luminosity of the blue text scrolls first toward, then away from the reflecting pond, bouncing off soaring walls of glass and reaching far beyond the confines of the gallery.