Sentences with phrase «new imaginary spaces»

Scully explains, «I try to hybridize disparate elements while also discovering new imaginary spaces that reference an archetypal entrance into the subconscious.

Not exact matches

2012 Hue & Cry, Space S2, Sotheby's, New York, NY News from Chicago and New York City, Fiebach Minninger, Cologne, Germany Raw, Ille Arts, Amagansett, NY Idealizing the Imaginary: Invention and Illusion in Contemporary Painting, Oakland University Art Gallery, Rochester, MI

Since Ritchie exhibited «The Universal Adversary» at Andrea Rosen Gallery in 2006, his work has been included in numerous exhibitions including: the Venice Architecture Biennale; the Seville Biennale; the Havana Bienal; «Matthew Ritchie, The Iron City,» St. Louis Art Museum; «Wunderkammern» Museum of Modern Art, New York; «The Guggenheim Collection,» Guggenheim Bilbao, Spain; «Not For Sale» PS1, New York; «Confines,» IVAM, Valencia, Spain; «The Shapes of Space,» Guggenheim Museum, New York; «Between Art and Life,» San Francisco Museum of Modern Art; «The Kaleidoscopic Eye,» Mori Art Museum, Tokyo; «In the Beginning: Artists Respond to Genesis,» Contemporary Jewish Museum, San Francisco; «Experimental Marathon Reykjavik, Reykjavik Art Museum; «The Last Scattering, Phase Two,» London, «To the Milky Way by Bicycle,» Staatliche Kunstsammlungen Dresden, Germany; «The Architectural Imaginary in Contemporary Art,» Museum of Contemporary Art, San Diego.

The New Davonhaime project is an imaginary town - cum - safe space named after a linguistic amalgamation of the five American cities with the highest density of African - American residents, and its previous iterations have been exhibited throughout the US.

Mullen's work transcends the flat space of the canvas and invites the viewer into a new realm which is not explicit, creating access into a wider spectrum of the possible, and the imaginary.

2018 Grey Area, The Harrison Center for The Arts, Indianapolis, IN 2017 Color Correction, Jonathan Ferrara Gallery, New Orleans, LA 2016 Shifting Perspectives, Gallery 924, Indianapolis, IN Wherever and Ever, The Rose Gallery, Jackson, WY 2015 untitled solo exhibition, Frost Todd Brown, 19th Floor, Indianapolis, IN 2015 Usual Places, Unusual Spaces, Jonathan Ferrara Gallery, New Orleans, LA 2014 Searching the Imaginary, Harrison Center for The Arts!

By synthesising traditional art - making techniques with new technology, she examines the boundary between the hyper - real and the imaginary, between perceptual and embodied space.

This new Hatje Cantz publication emphasizes the influence of Arte Povera on Rhode's aesthetic, whose creative dialogue also formed during his meeting with the gallery Tucci Russo and his early collaborative efforts with photographer Paolo Mussat Sartor, in which he transformed urban landscapes and interior spaces into imaginary worlds, as two - dimensional renderings become the subject of three - dimensional interactions by a sole protagonist (usually played by the artist or by an actor inhabiting the role of artist).

Exploring «reality» and «virtual space,» the exhibition will present a group of works by artists who employ both traditional materials and / or digital media to create new, imaginary landscapes.

In his newest body of work, this imagery hangs in the air, suggesting an imaginary space, or a void.

Each artist presents meditations on new and ever - changing cultural imaginaries that co-exist within the modern nation state in both its cities and rural spaces.

Select group exhibitions featuring his work include Creature, The Broad, Los Angeles (2016); America Is Hard to See, Whitney Museum of American Art, New York (2015); Disembodied, Cleveland Museum of Art, Cleveland, OH (2013); Mike Kelley, Centre Georges Pompidou, Paris (2013); The Royal Family, Hayward Gallery Project Space, London (2012); Off the Wall: Part 1 — Thirty Performative Actions, Whitney Museum of American Art, New York (2010); Spazio: The Scene and the Imaginary, Museo Nazionale delle arti del XXI Secolo, Rome (2010); Looking at Music, The Museum of Modern Art, New York (2008); and California Video, J. Paul Getty Museum, Los Angeles (2008).

He began his new series Imaginary Landscapes he retained his usage of a «pseudo-language,» but added the new element of space.

The first installation, «pass age», is a new work in Shiraishi's ongoing «Imaginary Architectural Project» which includes previous works: «Space Elevator Tea House», «Confession Box» and «Ancient Egyptian Tomb».

They drew a plan based on St Patrick's Cathedral, and laid it over the plan of space and made new, imaginary rooms.

Ellis King have put on a string of large group shows that address the nature of exhibition organising in itself, like putting a plan of a Cathedral over the plan of the space and making new imaginary rooms, or hosting 32 works in show, Cookie Gate that all think about their own consumption.

In the 1950s he began his new series Imaginary Landscapes he retained his usage of a «pseudo-language,» but added the new element of space.