Sentences with phrase «largest gallery set»

Does it matter that Matta - Clark died long before Chelsea's largest gallery set out an old van in his name?

Not exact matches

When stocks decline steeply with no related news events to set - off the price - drop — and when one of the largest individual holders, Leon Cooperman, is unloading shares — it's the market's way of signalling problems not yet recognized by the peanut gallery.

There's continually a loaded field, one often referred to as the strongest of the year, the largest purse in golf, and a venue that's iconic and sets up well for both the galleries and TV coverage.

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The majority of the city's galleries were either too established or too local, while the Kunsthaus, the only large and internationally oriented institution set its main focus on the established.

Evelyn Day Lasry, Founder Two Palms Gallery: This is a new set of 12 large - scale silkscreens by the American artist Terry Winters.

Caroline Lathan - Stiefel is an artist who creates large - scale sculptural installations consisting of fabric, pipe cleaners, wire, string, plastic, thread and fishing weights that have been shown in gallery and museum settings, outdoor spaces.

This exhibition, the first large - scale museum survey devoted to artworks Conrad presented in museum and gallery settings, is part of an ongoing reappraisal of his creative achievement.

For The Refusal of Time, the artist turns the gallery space into a theatrical set that evokes a slightly antiquated studio, with randomly placed items and large megaphones.

Presented against the gallery's intimate townhouse setting, the large paintings reveal Hantaï's systematic experimentations with how the folds are placed, the consistency of how paint is applied, the use of different layers of colour and ultimately the creation of a formal composition.

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-LSB-...] In September, Vista Tower set up a booth at EXPO Chicago, the city's large annual gathering of contemporary art galleries — Chi - Town's take on Art Basel — to spread the word, and Robin Tebbe, Magellan's chief marketing officer, says that this partnership attracted substantial buyer interest.

In a second video work, The Intimacy Package (2018), displayed on a large TV screen in the centre of the gallery, Deja has created a series of lessons, composed of five short sequences set in a variety of environments, such as a contemporary at, a computer server room or an idyllic beach at sunset, in which an electronic narrator guides the viewer through various means of achieving intimacy.

This will be an interesting chance to get a closer look at the process of a prolific abstract painter in a smaller, gallery setting, as the New Work show will be an assortment of gouache color studies, 2D drawings, and large - scale paintings.

For his exhibition at the gallery, Zinsser will present a new set of oil and enamel paintings on stretched canvas, including several ambitious large - format works.

In the spacious galleries on the ground floor the artist presents carefully staged settings of larger than life - sized sculptures, such as mock - ups of an ancient olive tree or of a fireplace with mantle, as well as large - scale paintings.

We look forward to displaying these large, color - drenched canvases in our galleries at the Lunder Center at Stone Hill, whose setting will surely encourage a dialogue between art and nature.

With Western galleries continuing to open in Greater China (by and large in Hong Kong) and Western museums attempting to introduce audiences to the development of contemporary art in the region (witness the Guggenheim Museum's current exhibition), it's no surprise that Helbling, who has been promoting contemporary art in China since he set up Shanghart in 1996, is the first port of call for advice and information.

SOFT SCULPTURES: These organic forms in stuffed fabric are set horizontally on the floor, in random fashion, to occupy large spaces (Clouds, 1982, courtesy Ota Fine Arts, Tokyo; The Moment of Regeneration, 2004, courtesy Victoria Miro Gallery, London).

«David Shrigley: Brain Activity», curated by Cliff Lauson of the Hayward Gallery, London, is the largest survey of the artist's work to date, and features groupings of drawings and paintings on paper, a variety of sculptures, several installations, sets of photographs and a selection of animations.

In her New Work exhibition, Glasgow - born and Brussels - based artist McKenzie recreates the Art Nouveau interiors of her home city's late - 19th - century architecture on large - scale canvases, erecting three - dimensional enclosures - like stage sets - within the gallery.

In a large single room of David Zwirner's 19th street gallery, she's arranged nine concrete sculptures; two discrete groups of mannequins, one arranged around a living room set; a 10 - foot tower of MDF (medium - density fiberboard) boxes and paint drips; and two more towers covered in mirror foil, like disco retreads of the old World Trade Center.

It took Zoe Pettijohn Schade as long as a year and a half to make each of the intricate large gouaches in «Shifting Sets,» a show lining the walls of Kai Matsumiya's tidy Stanton Street gallery.

He should be viewed against the largest painting of his time, not the tat - filled boutique - galleries of St Ives with their Alfred Wallis coaster sets.

A series of abstract works — from Pardo to Benglis to Zigmund share another set of formal convergences that animate the asymmetrical balance in this large gallery space.

Intended to offer an opportunity for galleries to showcase artworks and new commissions that extend beyond the traditional booth context, Platform's esteemed line - up of practitioners is set to attract large crowds.

Since opening in September 2014, Bosse and Baum have set themselves apart from other emerging galleries through their ambitiously large, vibrant and immersive site - specific shows.

In the gallery, the sculptures create imperfect angles as they play against the corners of the room; cut - out circles are set against a large glass window; steel tubes seem to mirror pre-existing light fittings.

RP: I definitely learned a lot from working in different contexts — both in a commercial gallery setting, and for a larger non-profit organization.

Stretching across the organisation's main premises on Golden Square and its smaller townhouse off Soho Square, the untitled show feels set up to be a triumphant return to the gallery world after a few years focused on large - scale installations for the British Library, St Pancras station and New York's Metropolitan Museum of Art.

Densely hung in the gallery's living room - size main space, the large paintings, which are all seven feet tall and five and a half feet across, swarm you with their edgy, jagged energy... in «Raft,»... the vertical stripes run from top to bottom, with two horizontal sets constrained within shield - like shapes on the left and right, calling to mind Walker's fascination with Aboriginal and African art.

Late last month, the collaborative filled the prestigious front room of Houston's McClain Gallery with a show of large, many - layered mixed - media works that riff on Arnold Böcklin's late 19th - century «Isle of the Dead,» substituting the Hudson River, a garbage dump and the New York skyline for the original's dreamy setting.

Large crews of men worked this past weekend at galleries like 303, Haunch of Venison, Paula Cooper and David Zwirner, which postponed shows set to open last week until January.

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.

This large Newbury Street gallery displays paintings in exquisite settings on 5 floors.

LONDON — On a recent drizzly afternoon here, Martin Creed scrambled up the stairs of the Hayward Gallery to install a large set of LED panels on a vacant terrace.

The established New York dealer Leila Heller moved into an enormous 14,000 - square - foot gallery (the largest in the UAE) and the Paris - based Jean - Paul Najar Foundation also set up shop.

In another set of interactions, works by the perennially influential Philip Guston appear across three generational shifts: a Social Realist drawing of Klansmen, dated 1930, hangs amid politically progressive paintings by Jacob Lawrence (the great War Series from 1946 - 47), prints by Louis Lozowick, Hugo Gellert and Mabel Dwight, and photographs by Dorothea Lange, Margaret Bourke - White and Walker Evans; his modestly scaled abstraction, «Dial» (1956), is installed between Mark Rothko's imposing «Four Darks in Red» (1958) and Louise Bourgeois» classically phallic «Quarantania» (1941) in the galleries devoted to Abstract Expressionism; and a large, brooding, late figurative canvas of heads, shoes and eyeballs, «Cabal» (1977), turns up beside paintings by artists twenty - five to thirty years his junior, along with one from Cy Twombly, who was two years older than Guston, born in 1911, and one by Alma Thomas, who lived from 1891 to 1978.

Hung centrally, two large scrolls are set back - to - back, unfurling onto the gallery floor, their surfaces glossed over in an intensely pigmented colour.

The collection is said to be inspired by his «Gazing Ball» series from 2014 - 2015, composed of reproduced master paintings with a large blue glass ball reflecting viewers in a gallery setting.

But in this large Chelsea gallery The Hellfire Club was set up with black walls, broken chandeliers, photocopied images, quiet sound accompaniment — and a lot of empty space, which allowed visitors to drift back and forth, tapping into their nostalgia for the British television series, while perusing Kilimnik's recent photographs and paintings, crafted with her signature loose, colorful, thrift - shop style.

Taking place in the galleries of the PMA's Perelman Building beginning in the spring of 2016, a series of installations and programs features newly commissioned works of art and performances by acclaimed living African artists - in - residence, set against the backdrop of an exhibition of historical African art drawn from the University of Pennsylvania Museum of Archaeology and Anthropology's unparalleled collection — the largest of its kind in the United States.

Every gallery is labelled by the date of the art shown in it, and just in case anyone might think the redisplay is temporary, those dates are set into the floor in large gold letters at the entrance.

The centerpiece of the exhibition presents a large - scale installation featuring the props and stage set for Three Sisters, the accompanying film playing in the side gallery.

«I think it's going to be quite different in the respect that it will be done on a larger scale, have fewer exhibitions and a combination of selling and non-selling exhibitions,» said Schimmel, who served as MOCA's chief curator from 1990 until his controversial resignation last summer and has never before worked in a commercial gallery setting.

Believing that his purity of vision could be maintained only if his work could be shown in a setting as a single body, he gifted two large groups of work to the Albright - Knox Art Gallery in Buffalo and the San Francisco Museum of Modern Art, with the restriction that the works could never travel or be shown among other artists» works.

Even more to the point is the set of white curtains that covers a large swath of the main gallery; look closely, and you'll see a clear vinyl silhouette attached to it, as well as a swarm of insects printed on the curtains themselves.

It will be a big moment for this year's Turner Prize favourite Karla Black, as she is set to have her largest yet show in Scotland (her place of birth), exhibiting a series of new sculptures at the Gallery of Modern Art.

Moving into the large, open gallery, all hell broke loose with a seemingly disparate set of counter-positions.