The following year (last spring) Norton had the opportunity to collaborate with French artist Laure Prouvost — fresh from her 2013 Turner Prize win — on the artist's first solo exhibition in the United States, a sculpture, film, and video installation that carved the museum's
lobby gallery into five different sections.
The idea was to turn the museum's
lobby gallery into both a thriving marketplace, modeled on the famous La Merced in her hometown, and a performance stage that plays up the increasingly transactional nature of the art experience in our selfie - seeking, fair - driven age.
Not exact matches
The New York — based Thompson hotel group has transformed a once staid and average Sheraton
into one of the capital's hippest hotels, packing the
lobby with the requisite design books and a
gallery's worth of original art.
Extras include: international and U.S. theatrical trailers for Zombie (surprisingly, the American one is much artier); a pair of TV spots and a quartet of radio spots for the film; a Zombie - centric
gallery of
lobby cards, soundtrack covers, video covers, publicity stills (sub-divided
into three categories), and the contents of the German press book; credits for the DVD (whose worm - eye menus are actually more skin - crawling than much of Zombie); and the biased, if thorough, biography of Fulci by Tracy Taylor that graces Blue Underground's other Fulci titles.
Potential visitors get placed
into the central plaza on the board where they can then be moved
into your
lobby using a ticket, and then
into the
gallery proper using another one.
Both sections are broken
into three columns, and to be able to access any of them you need to have the correspondingly colored visitors sitting in the
lobby if your
gallery, enjoying refreshments and some light conversation.
The placement of the works purposefully reorients the visitors» awareness of areas outside the
galleries, facilitating encounters with art often where one may least expect it: from the parking lot to work sheds, from the museum
lobby to covered corridors between buildings, and out
into the city streets of downtown North Adams.
The exhibition starts dramatically in the
lobby with Jim Lambie's striped floor, all sharp lines and acute angles, continues
into the sixth - floor
lobby where a Donald Judd painted aluminum sculpture dominates, and opens
into the special exhibitions
gallery, where you are greeted by a horizontal painting, installed up high, by Marcel Duchamp.
Los Angeles - based artist Brody Albert presents three works, expanding beyond the
gallery walls of the PMCA Project Room and
into the Museum's
lobby and stairwell.
Things must generally look good in an office
lobby, such as Willem de Kooning after he settled
into pleasant cream colors or Thomas Struth at his most symmetrical, with his sly take on the Giovanni Bellini room in London's National
Gallery.
Entering the museum's main
lobby, visitors may either turn
into the first - floor
galleries, or walk through an enclosed breezeway to the museum's outdoor sculpture garden, which houses a rotating series of long - term installations and commissions.
«The prow was conceived as a civic gesture, framing the entrance and inviting people's gaze
into the
lobby and
galleries beyond,» he told Observer.
The Hammer Museum's
lobby gallery will be transformed
into Game Room from December 1, 2012 through February 17, 2013.
Another version in the small
lobby gallery transforms it
into a monument, dwarfing the model person beside it.
The
gallery noted, «Wagner responded to the Bedford Gallery's round architectural shape and seized the opportunity to grow her sculptural forms up through the large skylights and into the theater
gallery noted, «Wagner responded to the Bedford
Gallery's round architectural shape and seized the opportunity to grow her sculptural forms up through the large skylights and into the theater
Gallery's round architectural shape and seized the opportunity to grow her sculptural forms up through the large skylights and
into the theater
lobby.
The installation, which spills over from the lower - level
galleries into the Cabinet Room off the
lobby, encourages much back - and - forth between works of similar subject or virtuosity; Pontormo is paired with Michelangelo, Rubens with Rembrandt, and Goya with Daumier.
In the second
gallery, the suspense heightens within two simultaneously occurring scenes — an elaborate apartment party and the crowded
lobby leading to it — where two characters run
into each other, and someone is killed.
Bay Area connoisseurs of the products of viniculture who also enjoy the products of visual culture could spend a very pleasant afternoon on the premises where the art, on view in two expansive
galleries and in the
lobby and staircase, is interspersed with views
into rooms where wine - making activities occur.
This week, roughly 600 contemporary - art
galleries have set up wares throughout New York, taking over hotel
lobbies and Soho lofts and a pair of vast piers jutting out from Manhattan
into the Hudson River.
There, the booth of London - based Laura Bartlett
Gallery has been transformed completely
into a
lobby of a South American money exchange booth, complete with bright - colored flora, checkered tile floor, neon - teal walls, and a rickety stand with hand - painted signs advertising tarjetas prepagadas.
The Imaginary Architecture of Love flows from the museum's entrance
lobby into the main
gallery, moving through the former produce warehouse's corners and cracks while responding to structural details such as arched windows and poured - in - place columns.