Sentences with phrase «installations as their stages»

Choreographer Merce Cunningham saw the sculptures at the opening and asked Warhol if he could use the floating installation as stage décor for his piece

Choreographer Merce Cunningham saw the sculptures at the opening and asked Warhol if he could use the floating installation as stage décor for his piece Rainforest (1968).

Not exact matches

Baby safety installation on stair banister At many stages in the first 2 years or so of their lives babies are perfectly able to roll, sit, crawl and walk around your home as soon as you turn your back on them.

As of this month, there are 6,459 MW of proposed utility - scale PV installations in the development or planning stages and 1,841 MW of proposed thermal solar plants, the agency said.

Manifesto was previously staged as an art installation, and in many ways it feels like its true home is the gallery rather than the movie theater.

At the core of the PX plan is the «World Stage,» a large, flexible venue space that will serve as an open platform for an ever - changing array of indoor and outdoor public programs, including art installations, concerts, performances, lectures, classes, workshops, conferences, and more.

Comprised of two separate videos, «Ringtone» and «Geisha Song,» the installation features the artist's signature style of using inanimate objects, such as ventriloquist dummies, paper dolls and finger puppets in staged photographs and film to objectify people and express a blend of psychological, political and conceptual ideas.

He also initiated the purchase and installation of Tony Smith's Gracehoper on the grounds of the DIA, organized trips to New York for collectors and friends of the museum, supported counterculture events, such as the staging of the play Hair, and particularly championed the work of Gordon Newton.

Declaring Our Presence is the second installation of I Am Conscious, I Am Love, a two - part series of site - responsive and site - specific installations staged publicly as a space for discovery, conversation, and collective strengthening.

He additionally stages work outside the gallery context, which is performed to be documented and later exhibited as video installations and photographs.

Dividing and subdividing the gallery, this installation both tackles and expands upon two central themes: an architectural play with transparency and concealment as well as an encounter between an intimate and private exhibition space and a strikingly public stage, which places «on view» the visitor's every movement.

The exhibition has been conceived as an expansion of the research for a feature film, staged through four rooms that include archival displays, a sound installation and four films.

Recently her installations have staged domestic environments, such as a series of bedrooms produced over the past year featuring beds that have been transformed into sound sculptures through the insertion of speakers.

The Cunningham dancers warm up and then perform in various situations — as Cunningham called the galleries and the especially constructed stages for each «Event» — including Richard Serra's steel sculptures, Dan Flavin's neon light installations, Sol LeWitt's Minimalist white boxes and the vast Drill Hall of the Park Avenue Armory.

Her voice undulates across the staged installation — a reminder that history is inalienable from the present, as is the projected self inalienable from the imagined.

Throughout the year, individuals and groups from the Schools at various stages of their training will take over the space, using it as a testing ground for innovative works and thought - provoking installations.

Hancock's mythology has also been translated through performance, even onto the stage in an original ballet, Cult of Color: Call to Color, commissioned by Ballet Austin (2008, 2013), and through site - specific murals for the Welcome Center at the University of Houston, TX (2015), Houston Children's Hospital, TX (2011), Olympic Sculpture Park, Seattle Art Museum, Seattle, WA (2010), Dallas Cowboys Stadium in Dallas, TX (2009), and a permanent multimedia installation as part of the centennial celebrations at Hermann Park in Houston, TX (2012).

The installation Black Righteous Space dominated the back room: patterns derived from the confederate flag in the Black Panther Party colors of red, black and green fall apart and reconstitute themselves over again as a backdrop for a stage area with a microphone, for visitors to have their voices amplified.

The kitchen (the gallery space used to be a tobacco store with adjoining apartment) serves as project space within the exhibition space: It has hosted a kitchen specific sound installation by Justin Bennett, and has been turned into a sports bar to set the stage for the video «Live from the Aquarium» by Dina Danish.

The artist's challenge to what passes as news continues with Until, Until, Until... (2015 — 17), a multimedia video installation and live - action play that he wrote, staged, and directed.

Their work is rooted in sculpture, used as material across installation, video, print and performance, subjecting forms and figures to varying stages of virtual and material transformation.

Until, Until, Until... (2015 — 17) is a multi-media video installation as well as a live action play — written, staged, and directed by Arceneaux — that revisits a controversial performance by Ben Vereen at Ronald Reagan's inauguration.

Consequently, McKenzie's work often walks a thin line between those categories of inspiration — for instance, her large - scale painting installations depict hyper - realistic interiors so as to ultimately double as décor and stage sets.

Anthea Hamilton is a UK - based artist who creates multi-media installations that resemble theatrical stages or film sets and incorporate arrangements of prop - like objects, references to modernist paintings, and appropriated images of pop culture icons such as blow - ups of John Travolta in John Travolta, Bust - like, 2012.

Using the rapt audience of a TED Talk as subject, «I Want to Hold You Close» is an immersive installation centered on a large - scale oil painting of a crowd, effectively placing the viewer on stage.

However, whereas Long's installations were a resolution of a walking - as - art practice that considered the natural landscape as its medium, MPA's take on the landscape is of its performance as a post-apocalyptic stage.

The handmade props and stage sets for her performances subsequently have an afterlife as sculpture and installation work, imbued with the values of her performances.

Early and late works are displayed alongside one another, reflecting Jonas's practice of revisiting her own past, as can be seen in Juniper Tree an installation created in 1994 that evolved from performances staged in 1976 and 1978.

For the exhibition Gates designs and creates 50 original plank - shaped clay plates that function both as dinner plates for a previously staged and video taped sit - down dinner, as well as sculptural pieces hung on the wall for the exhibition's installation.

This ambitious site - specific installation functions as a stage set for an unrealised drama, presenting a highly - choreographed environment of a grand domestic setting.

Mother's Reflection is the first installation of I Am Conscious, I Am Love, a two - part series of site - responsive and site - specific installations staged publicly as a space for discovery, conversation, and collective strengthening.

Jannis Kounellis» works — painting and collages, as well as the the staging of installations, «environments,» performances, and theatrical shows — express the tensions and alienation of contemporary society, and the multiplicity, obscurity, and fragmentation of its language.

This comes after the recent Monumenta 2014 installation, by Ilia and Emilia Kabakov, was deferred from 2013 for budgetary reasons, although staging Monumenta in years when the Lyon Biennial is not on, rather than finances, have been given as the main reason for the change.

However, while Leduc's installation begins as a stage for Brace, it is soon revealed as the director, only to transform yet again into the instrument and, eventually, partner.

This career survey, spanning four decades of work, is probably best summed up by the exhibition's subtitle, as the conceptual artist will stage several off - site installations, including at the Broadway - Lafayette subway station and in Times Square, where he'll present a newly commissioned augmented - reality piece.

Over the next couple of years, he staged a series of memorably class - conscious shows in London: «The Cleaners» Late Summer Party With Comme des Garçons,» at the Serpentine, in which fellow janitors danced with the art world; a show turning a gallery into a yoga studio; an installation at the South London Gallery «with canvasses on the floor, very much works in progress, sculptures for corn and grinders for corn,» as the curator Margot Heller puts it, raising the question «What is waste and what is commodity?»

This major new commission by London - based artist Uriel Orlow looks to the botanical world as a stage for politics at large through film, photography, installation and sound.

Presented as a raised floor built from the original 24 - packs, the installation evokes at once a stage, an archaeological dig, and an interior mall plaza — completely subsuming the gallery floor and casting a phosphorescent blue light on the white - cube space.

In the tradition of Ana Mendieta and Joseph Beuys, these «live installations» were staged against the stark, urban backdrop of New York City, or in galleries, as part of sculptural ensembles with both natural and industrially fabricated components.

The exhibition will be composed of felt, knitted and ceramic sculptures (both as object and costume), corn dolly masks and wall prints, presented as an installation around a centrally constructed stage.

Oscillating between «previous» and «current» show, and functioning as a layered afterimage of the former, the photograph documents a performance staged in Chambaud's installation, one pregnant with art - historical implications.

Identifying as a bisexual mermaid, her strategies in photography, video, and installation respond to and expand upon emergent qualities found in nature and culture through staged fantasy.

Throughout the project's chapters, which take shape as performances, theatrical / cartographic works, sound - and text - based installations - as - stage - sets, as well as writings and conversations, the «alien» turns into a discursive tool that allows for the setting up of alternative archives from which to read and locate corporate and state - sponsored forms of violence and their enabling legal apparatuses.

About the Work For Syracuse 2010 TRT: 1:24:00 LED curtain video Holzer created For Syracuse as a site - specific installation that streams across the façade of Syracuse Stage on an LED curtain.

The experience was a bit bewildering at first, since the studio is a laboratory where the artist has more than a dozen «experiments» going simultaneously: a giant firefly contraption takes up a swing - set zone; materials for an upcoming performance are laid out on every surface of the seating and sofa zone; fish tanks surround a computer zone and provide the staging ground for an oceanic corral project; dozens of human arm forms, cast in a Black Power salute and cast in gold, are lined up along a wall, in preparation for a huge installation in Washington, D.C. this fall; a 3 - D printer is on pause as it creates Lilliputian figures for who - knows - what; and everywhere are various staging grounds of plastic models which will eventually be sprayed in gold and mounted on pins, to create Kaino's now - signature six - foot - tall, glittering gold pin drawings that suggest atomized worlds.

The transition in Searle's focus from the work made as a masters student (Searle received her M.F.A. in 1995)- resin sculptures encasing found objects - started with her piece for the 2nd Johannesburg Biennale show in 1997, «Life's Little Necessities», staged at the The Cape Town Castle, when Searle introduced the pentagram shape of the Castle laid out in spices as part of her installation.

André Guedes (b. 1971, Portugal) advances in his work a social and political critique, exploring subjects (upon researching historic and literary themes) and information (Guedes often incorporates documentation in his artwork) as his artistic media, leading to installations, performances, stage sets and urban interventions.

Margaret Lee's installations of artistic arrangements, as well as her painted photographs of sinks and drains, stage a process of styled refinement.

Performances and events will take place at the Museum on Friday evenings throughout the course of the show — these will take place in the Lower Gallery as well in the Lobby Gallery where Martin Kersels is creating a sculptural installation that also functions as a stage for curatorial programs involving artists, writers, musicians, choreographers and DJs.

The Showroom presents a major new commission by London - based artist Uriel Orlow, which looks to the botanical world as a stage for politics at large through film, photography, installation and sound.