Sentences with phrase «main gallery viewers»

Not exact matches

This serves as a kind of prelude for the maze - like installation that dominates the main gallery, as the artist steers a viewer's attention toward a specific concept in much the same way the installation leads visitors to follow a specific path through the space.

At 18th Street's main gallery, Dizon will weave video that she has shot together with archival footage, text from philosophical, political, and literary sources, and sounds composed from field recordings, scores, and voice, into an intricate work that invites viewers to reflect upon diasporic subjectivity, postcolonial history, and the effects of global capitalism in the Philippines.

The transition into the externalized reconstruction of the viewer's own mind that fills the main gallery is signaled by Lucas Knipscher's What Nice Feet I Have # 1, a flat circle covered in newspaper that hangs from a narrow square pole just inches above its own shadow on the slick concrete floor.

To access the main gallery, the viewer must transcend a monumental collage on paper via a circle excised from its surface.

With Hot Rod 1 in the main gallery and a full - scale motorcycle, Cagiva, collaged and displayed in the center of the entrance gallery, Letscher leads the viewer into a way of reading the entire show.

At the entrance to the gallery, a massive crochet structure engulfs the main space and invites the viewer to wander through it, as the exhibition slowly unfolds beyond the knitted net.

For her New York solo show, Perry transformed the main gallery into a post-club crash pad with moody, purple lighting, a split monitor hanging from the ceiling playing a new 20 - minute single channel video and various duvets and foam mattresses for viewer seating.

The exhibition brings together a film, which is installed in the blacked - out space of the main gallery at a scale that fills the viewer's optical range, and new lightboxes, which illuminate the small back gallery with an eerie deep - blue aura.

At 18th Street's main gallery, Dizon will weave the video that she has shot together with archival footage, text from philosophical, political, and literary sources, and sounds composed from field recordings, scores, and voice, into an intricate work that invites viewers to reflect upon diasporic subjectivity, postcolonial history, and the effects of global capitalism in the Philippines.

Subtle values shifts direct viewers to the painting's main subject, according to The Grenning Gallery.

Spanning the gallery's entire space, curious sculptures emerge from the green Astroturf that covers almost every surface — upon entering, viewers are struck by two giant cubes intersecting the main axis of the space.

In the main room of the gallery she presents the new installation «Light Drawing I (Metropolis), a work who leads the viewer into two contradictory worlds within a globalized metropolis.

The sculptural ensemble marks out the difference in scale between its viewers and the space of its display: Zwirner's main gallery is expansive, with deep sawtooth skylights making it feel even taller.

Taking advantage of the Main Gallery's unique architecture and expansive space, the Center invited five artists who work in varying media, size and scope to create one - of - a-kind, site - specific art installations that will become individual micro-environments and encourage viewers to experience the space in a new way.

Her performance works [5][8] include a series of site - specific gifting performances called Limited, Limited Edition which she has presented at Socrates Sculpture Park, in Long Island City, Queens; [9] in Jamaica, Queens; at the Incheon Women Artists» Biennale in Incheon, South Korea; [10] at On Stellar Rays gallery in the Lower East Side; in three locations in Newark, New Jersey for Aljira Center for Contemporary Art, [11] in a school yard in East Harlem; on 14th Street as a part of the Art in Odd Places performance festival, and on H Street NE in Washington D.C. [12] For Bad Kanji (2015), she painted temporary kanji tattoos on viewers at the Spring / Break Art Show, held in the historic office spaces above New York City's main post office, the James A. Farley Post Office.

But, perhaps more than anything UMOCA has ever produced, do it — the newest exhibit in the Utah Museum of Contemporary Art's main gallery — calls into question everything about art: not just what art is, but the process by which it is made, who and what an artist is, and the roles of the curator and the viewer.

In contrast to the compressed energy of the block works, Clearing, a three - dimensional drawing in space is five kilometers of arcing metal rod which turns the Main Gallery into a vast energy chamber contesting the architectural definition of space and making the viewer its subject.

The main room of the Hufkens gallery for this exhibition from floor to ceiling and wall to wall will be entirely filled with a polyhedral space - frame into which the body of the viewer is invited to wander.

The new photography series installed in the gallery's main exhibition space delves further into the dynamics between artist and viewer through the opposing lens of performer and audience.

It is through the artists» performance, painting, sculpture, drawing, and installation, that they employ the corporeal foundation of the senses to question reality; their main objective is to foster an engagement between the viewer and the gallery in which this exhibition is presented.

Roger Hiorns» current solo exhibition at Luhring Augustine — the British artist's first in New York City — presents viewers with two inscrutable situations: In one, a quantity of gray powder has been deposited, apparently by hand, over a large, rectangular area occupying the better part of the main gallery; in another, a nude male model loiters about a massive, faceted stone object and a low table, the surface of which is a flat - screen TV monitor displaying video content by the Wall Street Journal.

This idea of the spectacle being reversed onto the viewer is heightened in the main room of the gallery by the chattering and laughing figures coming alive on all sides and centre.

This enclosure claims most of the space of the main gallery, reserving for the viewer only a four - foot wide corridor around the perimeter.

The magnum opus of the show, «365 Days: A Catalog of Tears,» is a selection of 36 very large C - prints from an impressive year - long photographic performance, which surround the viewer in the main gallery.

Nelson invites viewers to walk through her exhibition with stops at express at 49 Main St., in the Holiday Inn Gallery at 40 Main St., in the Mountain One Bank Gallery at 93 Main St., and the Adams Community Bank Gallery at 31 Eagle St.

In the main gallery space, an expansive installation presents vast mirror surfaces and curving forms that immerse the viewer in a disorienting environment.

Entering the main gallery, the viewer is confronted by a thicket of roughly painted raw timber lengths rooted to the floor in cement bases.

Hundreds of copies of this same image paper the walls of the main gallery, surrounding the viewer.

Upon entering the main space of the gallery, the viewer is met with a familiar smell; as if entering an old - fashioned confectioners, a definite aroma of mint pervades.