Sentences with phrase «lit galleries built»

The Grade - II listed building, which has housed studios and classrooms since being taken over by Goldsmiths in 1999, will now be extended to accommodate a series of top - lit galleries built around the historic water tanks.

Not exact matches

Built above the Wine Gallery, Villa Two is saturated with natural light and comprises two levels that flow seamlessly outdoors onto private terraces with sea views.

I love collaborating with our volunteers, assistants and instructors to build our programs; I love seeing our campers» eyes light up when they meet our Futalognkosaurus; I love buying craft materials for campers to turn into gallery - themed masterpieces... but the part of my job that I treasure most is holding the door at the end of the day during Summer Club.

Like those other films, Gallery is divided into a series of segments highlighting different aspects of the institution: the tour guides explaining a work or an artist; the craftsmen and women building frames, gallery spaces, designing and testing lighting; restorers at work fixing paintings damaged by time; and administrators debating the best ways to persevere the museums brand and grow its auGallery is divided into a series of segments highlighting different aspects of the institution: the tour guides explaining a work or an artist; the craftsmen and women building frames, gallery spaces, designing and testing lighting; restorers at work fixing paintings damaged by time; and administrators debating the best ways to persevere the museums brand and grow its augallery spaces, designing and testing lighting; restorers at work fixing paintings damaged by time; and administrators debating the best ways to persevere the museums brand and grow its audience.

As in Louis Kahn's original building, the galleries receive controlled natural light that illuminates the art in a masterly way.

The Queen Suite has a large bathroom, built in wardrobe and dressing table, lovely porcelain bed with beautiful linen, reading lights, fresh flowers, robes, scuffs, French perfume and opens onto gallery / library, tea / coffee, TV, «fridge and deck with seperate entrance.

My background is in building gallery and studio spaces, so all I did was build large, light, blank spaces and then we just watched as people filled them with incredible things.

Visitors will enter the new space through Building 5, the signature gallery for MASS MoCA's large - scale installations, which will feature Nick Cave's Until through Labor Day 2017, or through Building 8, where a light - based work by Spencer Finch has been on view since February 4.

Tabor Robak's 20XX (2013)(Team Gallery) features a lush, unthreatening cityscape overrun by neon and Klieg lights and advertisements for media and game brands on the fantasy buildings.

Gallery style lighting along with abundant natural light, combined with reinforced soundproof walls enables both choir or painter, ensemble or photographer to make things happen within this secluded yet wonderfully situated building.

I associate her mature work with its gorgeous tapestry of light brown and with the smell of a hair salon in the Fuller Building, where she had a gallery at her death in 1983, when I was just learning about modern art.

The quality of light, not just in the galleries but in the entire building as a whole, is the essential characteristic of the museum, even more defining than the 4,000 cubic yards of textured concrete that Cloepfil cast into the earth.

The entire body of the museum building is a source of light for his work — the fractured exterior surface de-materializes in light and shadow, the lobby presses darkness to the earth — then above, the liquid, heavy light of the galleries: light that holds and awakens the work.»

The 2012 Whitney Biennial participant has prepared an intriguing site - specific work by removing all fluorescent lights from the ceiling of the main gallery and redirected all electricity into custom - designed flexible copper heating circuits thereby reorganizing the transfer of energy within the building's existing electrical infrastructure.

Including: «Bell / Irwin / Wheeler,» Tate Gallery, London, England (1970); «Fractured Light — Partial Scrim — Eye Level,» Museum of Modern Art, New York (1970 - 1971); «Black Line Room Division + Extended Forms,» Whitney Museum of American Art, New York (1977/2013); «48 Shadow Planes,» Old Post Office, Washington DC (1983); «Two Running Violet V Forms,» Stuart Collection, UCSD, California (1983); «Ascending,» Musee d' Art Moderne deVille Paris, France (1994); «Double Diamond,» Musée d'Art Contemporain, Lyon, France (1997 - 1998); «1º 2º 3º 4º,» Museum of Contemporary Art San Diego (1997); «The Central Garden,» J Paul Getty, Los Angeles (1998); «Architecture and Grounds,» DIA Art Foundation, Beacon, New York (2003); «Primaries and Secondaries,» Museum of Contemporary Art San Diego (2007 - 2008); «Black on White,» J. Paul Getty Museum, Los Angeles (2011 - 2012); «Niagara,» Albright - Knox Art Gallery, Buffalo, NY (2012); «Hedge Wedge,» San Diego Federal Courthouse Building, San Diego (2012); «Double Blind,» Vienna Secession, Vienna (2013); «Miracle Mile,» Los Angeles County Museum of Art, Los Angeles (2013); «Primordial Palm Garden,» Los Angeles County Museum of Art (2010 - 2013).

This group tackles many challenges including, project management, title - wall construction and installation, signature panel fabrication and install, patching and painting walls, modular wall set up, blocking the walls for art installations, shipping and receiving of artworks, condition reporting, conservation of artworks, art installation, gallery seating building and placement, lighting, labels, and a host of other details to make the galleries shine and complement the artworks.

Photo: Jonathan Muzikar, © Isa Genzken; Isa Genzken, Rot - gelb - schwarzes Doppelellipsoid «Zwilling» (Red - yellow - black Double Ellipsoid «Twin»), 1982, lacquered wood, two parts, Collection of the artist, Courtesy the artist and Galerie Buchholz, Cologne / Berlin, © Isa Genzken; Isa Genzken, MLR, 1992, lacquer on canvas, Lonti Ebers, New York, Courtesy the artist and Galerie Buchholz, Cologne / Berlin, © Isa Genzken; Isa Genzken, Hospital (Ground Zero), 2008, metal tray dolly, plastic flowers in spray - painted vase, ribbon, metal, mirror foil, synthetic polymer paint on fabric, shot glasses, fiberboard, and casters, Collection Charles Asprey, Courtesy the artist and Galerie Buchholz, Cologne / Berlin, © Isa Genzken; Isa Genzken, New Buildings for Berlin, 2004, glass and silicone on wood pedestal, four parts, Kravis Collection, Courtesy David Zwirner Gallery, New York / London, © Isa Genzken; Isa Genzken, Fuck the Bauhaus # 4, 2000, plywood, Plexiglas, plastic slinky, clipboards, aluminum light shade, flower petals, tape, printed paper, shells, and model tree, Private Collection, Turin, Courtesy AC Project Room, New York, © Isa Genzken

Later in the year, these new, day - lit galleries will play host to an altogether different sensibility with a look at the buildings of Renzo Piano.

With an expanse of light rose liquid stretching across the entire architecture, the gallery was transformed into a pool, viewable only from a narrow doorway, built with the experience of exclusivity in mind (with space only for a few bodies to experience the principle vantage point at a time).

Downstairs at Grey Gallery, Interior # 2 by Tom Wesselmann is an installation (an unheard term at the time) or a sculpture in relief, of an urban kitchen, with a working clock (set at the right time), a fluorescent light, a bottle of soda, an operating fan, and a window painted to have a view of buildings outside.

Opened in 1993 under the direction of Masami Shiraishi and situated in a former bathhouse building located in a charming neighborhood of Ueno Park in Tokyo's Yanaka district, SCAI The Bathhouse gallery features simple white walls combined with excellent natural light which turn it into a bright and airy space.

Scrim veil — Black rectangle — Natural light, Whitney Museum of American Art, New York (1977), by California Light and Space artist Robert Irwin, is a large - scale installation that uniquely engages the Whitney's iconic Breuer building and the natural light that emanates from the large window in the fourth floor gallery slight, Whitney Museum of American Art, New York (1977), by California Light and Space artist Robert Irwin, is a large - scale installation that uniquely engages the Whitney's iconic Breuer building and the natural light that emanates from the large window in the fourth floor gallery sLight and Space artist Robert Irwin, is a large - scale installation that uniquely engages the Whitney's iconic Breuer building and the natural light that emanates from the large window in the fourth floor gallery slight that emanates from the large window in the fourth floor gallery space.

In 41 Cooper Square, the 41 Cooper Gallery and the Lubalin Center Gallery feature large windows offering views from the building's entrance and an abundance of natural light.

To renovate the building artist Robert Irwin collaborated with the architecture firm OpenOffice, working with the building's original design, emphasizing natural light, and essentially converting the space into a white - walled, hardwood floored (I was wearing wooden heels and each step echoed through the spacious galleries) heaven of a museum.

1933 The name of the Museum was changed from the Free Public Art Gallery of Dallas to the Dallas Museum of Fine Arts (DMFA) on January 13, 1933, and subsequently moved to the ninth floor of the Dallas Power and Light Company building.

PICA's offices and gallery were located in the Wieden + Kennedy building, a historic cold - storage facility that Cloepfil renovated with extraordinary attention to material presence (reclaimed fir beams, bamboo, concrete, stainless - steel mesh) and natural light.

Key exhibitions throughout Hayward Gallery's history have included early shows by Henri Matisse, Anthony Caro and Bridget Riley, as well as more recent monographic exhibitions featuring Martin Creed, Jeremy Deller, Tracey Emin, Antony Gormley, Anish Kapoor, and David Shrigley, as well as influential group exhibitions such as Psycho Buildings, Walking in My Mind, and Light Show.

Walking into the building, the central staircase and, upstairs, the feng shui of the galleries provide continuity with the old Whitney, while the river views, the comfortable terraces, and the natural light are all welcome improvements.

The Whitney presents Scrim veil — Black rectangle — Natural light, Whitney Museum of American Art, New York (1977), a large - scale installation by Robert Irwin that uniquely engages the Whitney's iconic Breuer building and the natural light that emanates from the large window in the fourth floor gallery space.

In addition to light and airy gallery spaces, the building comprises of studios, a restaurant, and a bookshop.

Mr. Malouf's mushroom paintings also appear in a moody, tightly organized exhibition of six promising artists in the back galleries of Greene Naftali, though they are not quite as dominant a force there, given the presence of two laser lights by Sam Pulitzer (who has a nearly invisible co-authored piece in the Feuer show, runs a vitriolic blog with Mr. Malouf and others, and is also a dealer, again with Mr. Malouf, operating the William gallery out of a garbage can in a Chinatown building).

The three interconnected buildings which form the museum's complex — whose shapes resemble those of giant sails — are all clad in timber and covered by a huge curved glass roof aimed to provide day - lighting to the galleries underneath it; an array of footbridges interconnects the three constructions.

British superstar architect David Adjaye has designed a new home to replace the 1914 bank building it has occupied for nearly a quarter - century; the renovation will offer substantially more space for education program, more natural light in the galleries, and a café.

CA Spectral Hues, curated by Sharon Bliss, Palo Alto Art Center, Palo Alto, CA Art Market, with Chandra Cerrito Contemporary, San Francisco, CA Building the Art House, curated by Katherine Connell and Emma Spertus, Rosenberg Library, City College of San Francisco, San Francisco, CA Big Idea, curated by Sue Collier, Leslie Ford, Jack McWhorter and JoAnn Rothschild, The Painting Center, New York, NY Along the Lines, Harrington Gallery, curated by Julie Finegan, Pleasanton, CA 2016 Plus +1, Trestle Contemporary Art Gallery, Brooklyn, NY Group show, November - December 2016, Galleri Urbane, Dallas, TX Palette, curated by Kelly Inouye, Theodora Mauro and Lisa Solomon, ampersand international arts, San Francisco, CA Small Works, Trestle Gallery, Brooklyn, NY Art Market, with Chandra Cerrito Contemporary, San Francisco, CA 2015 Therely Bare Redux, Zeitgeist Gallery, Nashville, TN Therely Bare Redux, Clara M Eagle Gallery, University of Tennessee, Murray Territory of Abstraction, Pentimenti Gallery, Philadelphia, PA Out of Storage, Studio 110 Projects, Sausalito, CA Art Market San Francisco, (with Chandra Cerrito Contemporary), San Francisco, CA The Airplane Show, B Sakata Garo, Sacramento, CA 2014 un.bound.ed, curated by Brent Hallard and Don Voisine, Root Division, San Francisco, CA (edition) DOPPLER SHIFT, curated by Mary Birmingham, Visual Arts Center, Summit, NJ (catalogue) The Intuitionists, curated by Heather Hart, Steffani Jemison & Jina Valentine, The Drawing Center, New York, NY (catalogue) First / Last, curated by Heather Phillips, Park Life, San Francisco, CA 2013 DOPPLER, Parallel Art Space, Brooklyn, NY (catalogue) Generations IX: The Red / Pink Show, A.I.R. Gallery, Brooklyn, NY Made In Paint: 2012 Artists in Residence, The Sam & Adele Golden Gallery, New Berlin, NY Rituals of Exhibition II, Light Space Project, H Gallery, Chiang Mai, Thailand Rituals of Exhibition, curated by Giles Ryder and Gilbert Hsiao, Don't Be Selfish, Phayao, Thailand POSTE CONCRET II, curated by Richard van der Aa, ParisCONCRET, Paris, FR 2012 Soft Luminosity, curated by Guido Winkler and Iemke van Dijk, IS Projects, Leiden, NL (edition) Art On Paper 2012, The Weatherspoon Museum of Art, Greensboro, NC (brochure) Islands of Order in a Sea of Chaos, curated by Ruth van Veenen, de Vishal, Haarlem, NL Doppler Stop, Amsterdams Grafisch Atelier, Amsterdam, NL (catalogue) Doppler Stop, Kunst & Complex, Rotterdam, NL Doppler Stop, Fluctuating Images / General Public, Berlin, DE Doppler Stop, trenutak.39 / Museum of Contemporary Art, Zagreb, HR Trade - O - Mat, curated by Kathryn Kenworth, Kala Art Institute, Berkeley, CA 2011 A Romance of Many Dimensions, curated by Brent Hallard, Brooklyn Artists Gym, Brooklyn, NY POSTE CONCRET I, curated by Richard van der Aa, ParisCONCRET, Paris, FR BYO, IS Projects, Leiden, NL Stop & Go Rides Again, touring exhibition curated by Sarah Klein, Z Space, San Francisco, US; Kunst & Complex, Rotterdam, NL; Fluctuating Images / General Public, Berlin, DE; Fluctuating Images / Interventionstraum, Stuttgart, DE An Exchange with Sol Lewitt, Massachussetts Museum of Contemporary Art, North Adams, MA (catalogue) ReTrace, Cesar Chavez Art Gallery, San Francisco State University, San Francisco, CA 2010 TOUCH, curated by Brent Hallard, ParisCONCRET, Paris, FR (catalogue) Factor XX, curated by Jenny Balisle, Los Gatos Museum, Los Gatos, CA (catalogue) The Rule of Typical Things, Gregory Lind Gallery, San Francisco, CA 2009 TRANS: form color, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they aren't.

Director of the National Gallery, Dr Gabriele Finaldi, says: «Monet's sensibility to the pull of light across buildings, bridges, and water continues to astound today's audiences.

Walking through Piano's just - completed Whitney building recently, I thought not only of the Kimbell's travertine stairs, which lead from the east entrance to the main floor and are washed with soft light from the galleries» vaults, but also of Kahn's Yale University Art Gallery and Yale Center for British Art, where natural light illuminates the stairwells, marking important transitional passages in the architecture.

Enjoy light refreshments and view over 200 works of art from the gallery as well as the building's open studios.

The purpose - built gallery displays the works in the natural light in which they were created.

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.

According to Gomez and Buden, Steinberg was initially supportive of galleries in the building, helping to build Parallel's walls and hang Harbor's lights.

The glass containers that cap the three gallery pavilions of the Museum's building will be filled with blue light.

In front of a window of a gallery in the Breuer building, Fred Eversley had planned to install a 72 - inch pink acrylic disc, that when refracting light and images from inside the space and the outside world, would fill the galleries with pink, effervescent light.

Selected recent solo and group exhibitions include «Certain Lights», Churner and Churner, New York; «Double Take,» Youme Haus, Brooklyn; and «As If You Were Bringing Back Dust from the Moon,» Papakura Art Gallery, Auckland (all 2014); «Dead in August,» Site95 / NYCAMS, New York (2013); «New.New York,» Essl Museum, Vienna (2012 — 13); «Best of 2012,» Soloway, Brooklyn; «More Songs about Buildings and Food,» Newman Popiashivili Gallery, New York; and «Written by Snakes,» Churner and Churner, New York (all 2012); and «Nauscopy,» Chashama 461 Gallery (2011).

The building is an architectural feat, designed by Tai Soo Kim to have no right angles and with skylights flooding the galleries with light.

The renovation retained the industrial character of the original building, while it introduced a completely new array of naturally - lit exhibition galleries for both permanent and temporary exhibitions, as well as a reception, a reference library, and administration offices.

The Architecture of Francis Kéré: Building for Community May 14 — September 25, 2016 Collab Gallery and the Skylit Atrium A site - specific environment designed by acclaimed Burkinabe architect Francis Kéré, this exhibition sheds light on Kéré's inventive approach to building, which views local expertise and materials as well as collective input as invaluable reBuilding for Community May 14 — September 25, 2016 Collab Gallery and the Skylit Atrium A site - specific environment designed by acclaimed Burkinabe architect Francis Kéré, this exhibition sheds light on Kéré's inventive approach to building, which views local expertise and materials as well as collective input as invaluable rebuilding, which views local expertise and materials as well as collective input as invaluable resources.

The Joan and Irwin Jacobs Building (formerly the Santa Fe Depot baggage building built in 1915 - 16) features light - filled galleries and large spaces suitable for the presentation of large - scale installations and site - specifiBuilding (formerly the Santa Fe Depot baggage building built in 1915 - 16) features light - filled galleries and large spaces suitable for the presentation of large - scale installations and site - specifibuilding built in 1915 - 16) features light - filled galleries and large spaces suitable for the presentation of large - scale installations and site - specific works.

Traveled to Grazer Kunstverein, Austria and The Studio Museum, New York Tenth Anniversary Exhibition, 100 Drawings and Photographs, Matthew Marks Gallery, New York (catalogue) 2000 Made in California: Art, Image and Identity, 1900 - 2000, Section 5, 1980 - 2000, Los Angeles County Museum of Art (catalogue) 1999 Through the Looking Glass, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, NY 1995 In a Different Light, (co-curator), University of California, Berkeley Art Museum (catalogue) Into a New Museum - Recent Gifts and Acquisitions of Contemporary Art, San Francisco Museum of Modern Art 1994 Body and Soul, (with Cindy Sherman, General Idea and Ronald Jones), Baltimore Museum of Art Outside the Frame: Performance and the Object, Cleveland Center for Contemporary Art Don't Leave Me This Way: Art in the Age of AIDS, National Gallery of Australia, Canberra (catalogue) Black Male, Whitney Museum of American Art, New York (catalogue) 1993 Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston I Love You More Than My Own Death, Venice Biennale 1992 Translation, Center for Contemporary Art, Ujazdowski Castle, Warsaw California: North and South, Aspen Art Museum, CO Recent Narrative Sculpture, Milwaukee Art Museum, WI Facing the Finish, Art Center College of Design, Pasadena, CA (catalogue) Nayland Blake, Richmond Burton, Peter Cain, Gary Hume, Matthew Marks Gallery, New York Effected Desire, Carnegie Museum of Art, Pittsburgh Dissent, Difference and the Body Politic, Portland Art Museum, OR The Auto Erotic Object, Hunter College Art Gallery, New York 1991 Third Newport Biennial: Mapping Histories, Newport Harbor Art Museum, CA (catalogue) Facing the Finish, San Francisco Museum of Modern Art Louder, Gallery 400, University of Illinois, Chicago The Interrupted Life: On Death and Dying, New Museum of Contemporary Art, New York Anni Novanta, Galleria Comunale d'Arte Moderna, Bologna.

2017 Showroom, Saint - Gaudens National Historic Site, Cornish, NH 2016 Stage Presents, Penn State, State College, PA Backsplash, Locust Projects, Miami, FL Construct, Harper College, Chicago, IL 2014 Waver, Korn Gallery, Drew University, Madison, NJ Face Off, Space Gallery, Portland, ME Skewer Shower, Brooklyn Academy of Music, Peter Jay Sharp Building, Brooklyn, NY Light Weight, Mixed Greens, New York, NY 2013 Shades, John C. Hutcheson Gallery, Lipscomb University, Nashville, TN 2012 Familiar Grounds, Backspace, Peoria, IL Day Dusting, Okay Mountain Gallery, Austin, TX

2011 Bill Viola Collected Works: 1977 - 80, Georgia Art Museum, Athens, Georgia, US Bill Viola: The Fall Into Paradise, Gardibaldi Building, Capodimonte, TR Selected Works 1976 - 81, Amore e Morte, Gucci Museum, Florence, IT The Value of Water, The Cathedral Church of St. John the Divine, New York, US Bill Viola: The Crossing, SCAD Museum of Art, Savannah, Georgia, US Bill Viola: Transformations, Gallery Koyanagi, Tokyo, JP Bill Viola, The Dick Institute, Kilmarnock, UK Déserts (1994), Yong Siew Toh Conservatory of Music Orchestra, Esplanade - The Recital Studio, SG Bill Viola: The Raft, Presented in association with the Melbourne International Arts Festival and Australian Centre for the Moving Image (ACMI), Melbourne, AU Bill Viola, Blackbox, Leeum, Samsung Museum of Art, Seoul, KR Ocean Without a Shore, Pennsylvania Academy of the Fine Arts, Philadelphia, US (ongoing) Bill Viola: Sodium Vapore (Including Constellation and Oracle) Flint Institute of the Arts, Flint, US Bill Viola: Isolde's Ascension (The Shape of Light in Space After Death), Stella Art Foundation, Moscow, RU Two Women (2008), Art Basel 42, Basel, CH