Not exact matches
Visitors to the
museum can watch the preparation
of eggs behind the
glass walls of the Paleontology Research Lab beginning on March 29.
It's been nearly ten years in the making, with four years in a cramped, temporary facility, and the newly designed
museum's transparent five - story
glass walls turn incandescent in the glow
of the rising sun.
In keeping with this tradition, the
museum in recent times commissioned the largest collection in the world
of wall drawings by Sol Lewitt, and this year unveiled a new stained
glass window by Bridget Riley.
The studio will be enclosed by a
glass wall so
museum visitors can observe studio activity, as part
of an initiative to establish a more comprehensive in - house conservation program.
Independent curator Charlotte Eyerman went through old catalogs for the annual juried shows to find paintings, prints and drawings, tracked them down and mounted them on the
walls of the
museum's mezzanine in the rotunda under a stained
glass ceiling.
Engaging with the profusive geometries
of the
museum's mill architecture, Crowner's works variously mirror or create juxtapositions with the surrounding patterns
of the brick
walls, the hardwood floors, and the grid
of the
glass block windows.
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 expansion will feature a new
glass -
walled building, to be named the Rothko Pavilion, in recognition
of the artist's legacy in Portland — his home as a youth after immigrating from Latvia — and the
Museum, where he took art classes as a teenager and where he received his first solo exhibition.
Olafur Eliasson's work also strikes a harmonious tone: Fading Self
Wall (2013) sees a large looking
glass set on one
of the plinths Bo Bardi created to display artworks inside the MASP
museum — an unparalleled
glass - and - crimson structure, and her most famous architectural work.
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.
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.
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
Giant panes
of glass form the
walls of this triangle - shaped maze at The Nelson - Atkins
Museum of Art in Kansas City by artist Robert Morris.
Sitting atop wood and steel supports behind a
wall of glass, the
museum - display atmosphere wavers somewhere between anthropological and archaeological — suggestive either way
of objects which were not born sculpture.
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.
Labels and
wall text from the exhibition Through the Looking
Glass, December 20, 1981 — February 19, 1982 at the Dallas
Museum of Fine Arts.
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.»
In keeping with the Solomon Guggenheim philosophy
of harmonizing architecture and fine art - as reflected in the design for the Guggenheim
Museum in New York by Frank Lloyd Wright (1867 - 1959)- the Bilbao museum's avant - garde Deconstructivist design employs a novel mix of materials to create an extraordinary silhouette, juxtaposing strange organic shapes with huge glass walls and regular forms finished in stone and tit
Museum in New York by Frank Lloyd Wright (1867 - 1959)- the Bilbao
museum's avant - garde Deconstructivist design employs a novel mix of materials to create an extraordinary silhouette, juxtaposing strange organic shapes with huge glass walls and regular forms finished in stone and tit
museum's avant - garde Deconstructivist design employs a novel mix
of materials to create an extraordinary silhouette, juxtaposing strange organic shapes with huge
glass walls and regular forms finished in stone and titanium.
The
museum's architect, Tadao Ando, essentially treats light as a material that is as necessary as the concrete
of the
walls, the steel supports, the granite floors, and the sheets
of glass that connect the
museum interior to the nature and city that surrounds it.
The Spanish conceptual artist Isidoro Valcarcel Medina (a defender
of the non-written subjective memory) designed a Museo de la Ruina (Ruin
Museum), a museum which would fall down in any moment, so the access should be forbidden and the building would be behind a glass
Museum), a
museum which would fall down in any moment, so the access should be forbidden and the building would be behind a glass
museum which would fall down in any moment, so the access should be forbidden and the building would be behind a
glass wall.
Harvested from «Melanctha,» a 1909 novella by Gertrude Stein, the ambiguous, thought - provoking phrase now hangs above one
of the
museum's
glass -
walled seating spaces situated at either end
of each gallery floor.
SPENCER FINCH Painting Air 2012
Glass, hardware,
wall painting Dimensions variable Installation at the Rhode Island School
of Design
Museum of Art, Providence, RI Based on Claude Monet's pond at Giverny.
Since his first solo exhibition 50 years ago, Mangold's work has been the subject
of numerous one artist and retrospective exhibitions throughout the United States and abroad, including Robert Mangold at the Guggenheim
Museum, New York (1971); Robert Mangold: Paintings 1971 — 1984, organized by the Akron Art
Museum with subsequent venues in New York, Texas and California (1984 — 86); Robert Mangold: The Oberlin Window at the Allen Memorial Art
Museum, Oberlin College (1992), which coincided with the unveiling
of a stained
glass window designed by the artist for Oberlin's historic Finney Chapel by architect Cass Gilbert, Robert Mangold: Painting as
Wall, Werke von 1964 bis 1993, organized by the Hallen für neue Kunst with subsequent venues in Paris, Münster and Lisbon (1993 — 95); Robert Mangold: X, Plus and Frame Paintings, Works from the 1980s at the Parasol Unit Foundation for Contemporary Art, London (2009); Robert Mangold, Beyond the Line: Paintings and Project 2000 — 2008 at the Albright - Knox Art Gallery, Buffalo, presented in 2009 in anticipation
of commissioned
glass windows at the Federal Courthouse Building in Buffalo, unveiled in 2012; and Robert Mangold: Continuity and Discontinuity, Cleveland Institute
of Art, Ohio (2011).
His work is represented in international public and private collections worldwide, including the Corning
Museum of Glass, Corning, NY, where his 1,000 - square - foot installation The
Glass Wall (1998) is on view.
Located in the New
Museum Building, one
of the tallest structures in the Lower Manhattan area, the Bon Jovi's duplex penthouse has ginormous
glass walls and a myriad
of terraces.