Sentences with phrase «limited space of an exhibition»

How can you get a palletising line one hundred meters long onto the limited space of an exhibition stand?

Not exact matches

Henry Silverman, chairman of the board at Javits, said the convention center is currently losing out on business due in part to some of its limited meeting space, which is problematic for conferences where exhibitions may not be the centerpiece of the event.

We have a limited number of exhibition spaces available.

Members shall in particular not make the Services available and accessible to third parties, e.g. to an open group of people by exposure or display of the Services in public areas, including but not limited to cinemas, theatres, exhibitions, show rooms, hotels, bars, clubs, pubs, restaurants, or other public spaces.

Specifically, the exhibition space will be fitted with a laboratory with two latest - generation 3D printers which will be producing, in real - time throughout the show, a limited series of gadgets in PLA, a biodegradable plastic, mirroring the style of the Alfa Romeo «compact supercar».

The company will make a limited number of the sets available to con - goers at specific times at both its panels and at its exhibition space in Artist Alley #M3 - M4.

With the exception of the Dining Hall, these spaces are usually off - limits to visitors, but all will be open to the public during the exhibition, which runs through April 26, 2015.

* Signing is limited to the exhibition catalogue of «Kishio Suga Intentional Scenic Space».

The gallery space will put limits on what is accepted because we are jurying an exhibition, not a list of objects.

Art Projects International is pleased to present at its new space in Tribeca, a solo exhibition of new limited edition prints and monoprints by Il Lee.

This sarcasm used is nothing but a medium of provocation to serve the purpose of extending the mental borders of the artwork beyond the limits of the exhibition space.

On the occasion of the exhibition Robert Rauschenberg: Erasing the Rules, and the performance program Limited Edition, Projects + Perspectives and Open Space invited artists Alex Escalante, Keith Hennessy, and Leyya Tawil to offer their thoughts on three iconic dance works included in the exhibition.

On the occasion of the exhibition Robert Rauschenberg: Erasing the Rules, and the performance program Limited Edition, Projects + Perspectives and Open Space invited artists Alex Escalante, Keith Hennessy, and Leyya Tawil to offer their thoughts on three iconic dance works included in the Rauschenberg show — and to link these works to three contemporary pieces.

Art Projects International 434 Greenwich Street (ground floor) New York, NY 10013 Tel: [phone] Hours: Tuesday - Saturday, 11am - 6 pm Art Projects International is pleased to present at its new space in Tribeca, a solo exhibition of new limited edition prints and monoprints by Il Lee.

This new exhibition will include the works of the series Rift and Double Rift, where Richard Serra saturates very large sheets of paper in black, leaving only very limited space to the white, which insinuates itself into the work like a rift line or a gash.

Adjacent to the main space, a section of the exhibition explores how nineteenth - century French printmaker Félix Buhot dissolved classic distinctions between figure and ground in ways that challenge the limits of the etching medium.

The Zabludowicz Collection's new virtual reality exhibition space opens with a work that tests the limits and possibilities of the technology

+ Second, Sable Elyse Smith presented a reading from Blue is Ubiquitous and Forbidden, a limited edition zine, which takes its title from the artist's current exhibition in the + / - Project Space, considering the trauma of mass incarceration by scaffolding perspectives and proximity — through image, video, voice, and text.

Born not far from Ankara, socialised within the narrow circle of her Turkish family in Germany, she explores the limits of what is physically possible in her projects — whether she wears a chador and hangs upside - down in front of an audience reading diary entries, newspaper articles and passages from the Qur «an («Permanent Words», 2009), or when she publicly kisses the walls, floor, furniture and ceiling of an exhibition space for days on end, in order to express her appreciation of all that is overlooked or only too obvious, what we have become fond of or what is intimate («Emotion in Motion», 2000).

Throughout the exhibition, artists test the limits of timeworn structures and protocols, claim space for direct experience and personal agency, and create alternate zones or worlds.

To keep up with interest and to allow entrance to beginning collectors, RJD expanded its offerings of limited edition prints and has given her prints their own exhibition space.

They include, but are never limited to: the art submitted, the rules required for submitting, the juror's sense of what the exhibition should be about, the artists» sense of what the exhibition should be about, the amount and type of exhibition space... Yep, the list goes on.

Join us for a free tour of the building to learn about the building's unique and unusual design aspects, see the gallery's exhibitions spaces and library as well as areas which are usually off limits!

After the scale of some of the other work in Feral 4 Ryan's work was small, limited to a number of small boxes containing a number of found objects, collections of words, black ink and the bits and pieces of an exhibition space, masking tape threads etc..

Organized by an in - house curatorial team led by chief curator Donna De Salvo, the gracefully installed exhibition contains many familiar pieces, as well as some previously hidden treasures that the limited spaces of the old Whitney were not able to accommodate.

Titles: Brixton Village and Loughborough House Project: Solo exhibition, Hidden In Plain Sight at Stour Space during March 2015 Giclée Limited Editions of 50 Each print is numbered and signed.

Titles: Trinity Buoy Wharf and Newham Project: Solo exhibition, Hidden In Plain Sight at Stour Space during March 2015 Giclée Limited Editions of 50 Each print is numbered and signed.

Titles: I Love Peckham and Peckham Rye Project: Solo exhibition, Hidden In Plain Sight at Stour Space during March 2015 Giclée Limited Edition of 70 (I Love Peckham) and 50 (Peckham Rye) Each print is numbered and signed.

Selected group exhibitions: Hack Space, K11 Art Foundation Pop - up Space, Hong Kong, 2015; Digging a hole in china, OCAT Contemporary Art Terminal, Shen zhen, 2015; Bentu, Chinese Artists at a Time of Turbulence and Transformation, Fondation Louis Vuitton, Paris, 2015; Cosmos - Limited and Limitless, Existence and Co-existence, Shanghai 21st Century Minsheng Art Museum, Shanghai, 2014.

The main space of the exhibition presents reader - looker - responders with an array of handwritten classroom exercises and lesson plans, scrawled on large papers with interconnecting arrows and bubbles — «WRITE ON YOUR WALLS (Right on your walls)» — instructions along with diagrams, protest posters, and a limited selection of pieces by some of the artists referenced or implicated by Stein and Miller: Anni Albers, Jasper Johns, Eduardo Paolozzi, Yves Tanguy, Bridget Riley, and a few others.

The viewer leaves this room and continues the rest of the exhibition feeling buoyant, somewhere between awake and sleeping, indeed, somewhere between the limits of the body and the space around it.

Although women historically had limited access to training and opportunity in the traditional fields of sculpture and painting, the title of the exhibition suggests «a space free from the rule of any sovereign power» where women artists are able to adapt and modify these mediums.

To present, today, an exhibition from 1969 just as it was, maintaining its original visual and formal relations and links between the works, has posed a series of questions on the complexity and very meaning of the project, which has developed through a profound debate from various perspectives: the artistic, the architectural and the curatorial.This was the challenge: how could we find and communicate a limit to a non-limit, creating a place that would reflect exactly the architectural structures of the Kunsthalle, but also an asymmetrical space with respect to our time and imbued with an energy and tension equivalent to that felt at Bern?

Recent curated exhibitions include: «City Limits: John James Anderson» at Locust Projects, Miami and «Trombly Rodriguez: The Fabric of a Space» at the Abrons Arts Center, New York.

In today's museum world, where competition for exhibition space is escalating, emptying two large rooms, painting them black, and then posting a text instructing the viewer on how to perceive a black painting is an ambitious conceptual gesture — one that becomes even more commanding in view of the fact that the exhibition's curator, Stephanie Rosenthal, limited her checklist for the show to just four American male heavyweights who made black paintings between 1945 and 1965.

Although this led to exhibitions such as a recreation of Alfred Stieglitz's «291» gallery, the size of the space was limiting and many exhibitions were forced off - campus, often shown at either Harvard University or Northeastern University's exhibition spaces.

(catalogue) Persona, The Renaissance Society at the University of Chicago, Chicago, IL; Kunsthalle Basel, Basel Switzerland 1995 It's How You Play The Game, Exit Art, New York; curated by Thelma Golden, Nancy Spector, Robert Storr, Jeanette Ingberman and Papo Colo Strung Into the Appolonian Dream... an exhibition of a private collection, Feature, NYC, NY Seven Llongish Wodden Sculptures, Feature, New York, NY 1994 The Ecstasy of Limits, Gallery 400, School of Art and Design, UIC, Chicago, IL Amenities, Frederick Layton Gallery, Milwaukee Institute of Art and Design, Milwaukee 1993 A Sequence of Forms: Sculpture by Illinois Artists, Chicago Cultural Center, Chicago, IL Mettlesome & Meddlesome: Selections from the Collection of Robert J. Shiffler, Contemporary Arts Center, Cincinnati, OH; Urbana - Champaign, IL; I Space, University of Urbana - Champaign Gallery, Chicago, IL 1992 Drawing New Conclusions, Betty Rymer Gallery, The School of the Art Institute of Chicago, Chicago, IL 1991 Office Party, (March) Feature, New York, NY Power: Its Icons, Myths and Structure in American Culture 1961 - 1991, Museum of Fine Art, Richmond VA: curated by Holliday T. Day (catalogue) 1990 Toward the Future Contemporary Art in Context, Museum of Contemporary Art, Chicago Awards in the Visual Arts, New Orleans Museum of Art, New Orleans, LA; Southeastern The Thing Itself, Feature, New York, NY (brochure) New Generations Chicago, Carnegie Mellon Art Gallery, Carnegie Mellon University, Pittsburgh, PA; curated by Elaine A. King (catalogue) Half - Truths, The Parrish Art Museum, Southhampton, NY; curated by Marge Goldwater 1989 On Kawara: Date Paintings 1966 - 1988, The Renaissance Society at the University of Chicago, Chicago, IL Signs of Life: Contemporary American Sculpture, Fundacao Calouste Gulbenkian; Fundacao Luso - Americana Para O Desenvolvimento, Lisbon, Portugal; curated by Judith Russi Kirshner.

In order not to disturb the trademark quietness of Gonzalez - Torres» oeuvre, curators Larys Frogier and Li Qi limit their own lyricism to the exhibition brochure, allowing the museum's space sole intimacy with the artist's sculptural bodies.

It's held in a gallery space, with a limited number of participants, so it feels more like the opening for a large group exhibition than a fair.

The roof becomes an extension of the urban space providing not only plunging views into alleys, courtyards, and exhibition spaces to intensify the perception of artwork but also provides views across urban layers, with limited vistas of the Creek and Gulf / / beyond.

MARK DEAN VECA: TWENTY YEARS is a deluxe oversized coffee table book which reveals the evolution of work by the respected multimedia artist — including vibrant paintings and drawings, all - immersive psychedelic exhibition spaces and limited edition pieces.

Started in 1993, do it employs an open curatorial format questioning the traditional definition of an exhibition as an event limited to a specific time and space.

The solo show at the Hashimoto Contemporary (that has hosted previous shows by artists such as Erik Jones whom you can read about in the article about his exhibition Motion and the colourful show by Scott Scheidly titled The Pinks 2) will see Hamburg based 1010 present a new body of works on paper and panels along with new indoor and outdoor murals in the greater San Francisco Bay Area that further push the limits of his eye catching and mind expanding «portals» and invites the public to explore art beyond the confines of the gallery space.

Meanwhile, in Cooper Cole's downstairs space, Daniel Rios Rodriguez's solo exhibition similarly employs a rough - edged aesthetic to thematize issues of identities that refuse to be limited by the synthetic boundaries of nation - states.

Despite the gallery's limit on space, the exhibition has attempted to cover a large cross section of Merz's works, from her Arte Povera days, to her more recent large - scale works on paper.