Sentences with phrase «individual installations like»

To take action, however, individual installations like USCG Sandy Hook will need more detailed analysis and resources to implement solutions.

To take action, however, individual installations like NAS Key West will need more detailed analysis and resources to implement solutions.

Not exact matches

Arranging disparate objects like lighters, plastic pipes, fabric, bath mats, and Snuggies in individual works and installations, the exhibition questions ideas of public and private in the pseudo domestic space of a hotel.

The office - like generic setting of the installation challenges the severeness of topics discussed by a group of individuals from an expansive array of backgrounds.

The installation features more than 35 individual objects that work in concert with each other, like people, each asserting their individuality.

«Bind» is a floor installation composed of 116 books taken apart with pages folded in on themselves, rather like the paper a diamond dealer uses to hold stones, or the paper a cocaine dealer might use for individual wraps.

Finch's talk at the New School will focus on the artist's various public and large - scale installations like A Certain Slant of Light (2014 - 15), a site - specific installation at the Morgan Library inspired by its collection of medieval Books of Hours; Trying to Remember the Color of the Sky on That September Morning (2014), a commission for the National September 11 Memorialand Museum composed of 2,983 individual watercolors representing the artist's recollection of the sky on September 11, 2001; Painting Air (2012), an installation of more than 100 panels of suspended glass inspired by the colors of Claude Monet's garden at Giverny; and The River That Flows Both Ways (2009), a permanent installation on New York's High Line featuring an existing series of windows which Finch transformed with 700 individual panes of glass representing the water conditions on the Hudson River over 700 minutes in a single day.

While one of the show's main elements consists of a large grid - like installation encompassing individual works from each artist, there are also collaborative works, including a sculptural installation, a series of wall paintings, and a back - room installation consisting of a generative video work projected on the grid of a garage door and several palm fronds strewn about the floor.

Art critic Minoru Shimizu observes of Caivano's work as follows: «Her art is an endless collage, composed of varied brushstrokes and unpainted white areas, individual works and the walls of the exhibition space, and the overall installation and position of the viewer... Caivano's installations are like paintings, the individual works performing in the same way as separate strokes of the brush, and her paintings are like installations composed of discrete touches of paint.

While signaling a liberation from modernist doctrines of autonomy and specificity that held firm almost until the end of the past century, exhibitions like The Waning of Justice also make clear the ambivalences and pitfalls within this turn — here most clearly evident in the gallery's untenable claim that the five individual works remain autonomous despite their syncing, shared components, and unified installation.

What I must say was a bit disconcerting about this show, however, was the stark change of context that has occurred — the difference between a coherent and exuberantly experimental Alan Shields installation in a funky downtown space, and a sterile collection of individual works hung like artifacts in retrospective reverence.

Largely an outgrowth of the conceptual art practices of the 1960s and 1970s, works of institutional critique like Prina's often involve installations of (sometimes disparate) elements rather than individual, purportedly autonomous objects.5

In other works, however, the themes feel like an abstract frame forced upon individual positions, for instance, in Monika Sosnowska's Façade (2013), a hanging steel sculpture of a crumpled architectural grid, or Oscar Murillo's unnecessary monumental installation Condiciones aún por titular (Conditions yet not known), 2014 — 17, taking over the courtyard of Bait Al Serkal with excavations, sawn canvases, paintings and steel structures inspired by morgue tables, picturing the process of a personal archaeology.