Artist Jose Parla working on
his new wall installation to be featured in Broken Language opening tomorrow Thursday, February 7th at Haunch of Venison, London.
Alongside these oeuvres, recent productions by Henrik Olai Kaarstein and Martin Soto Climent, and
a new wall installation by Sonia Kacem will be part of the show.
The exhibition presents a large - scale sculpture from the Eternity series, Xu's 1998 film Rainbow, selections from his Under Heaven paintings and
a new wall installation, Corporate --(Erected), produced this year.
On view in Gallery One, is
a new wall installation from Paine's Replicant series.
For Stellar Projects, she creates
a new wall installation exploring layered dimensions that question and celebrate gesture, in conjunction with Arcade's solo booth presentation at The Armory Show.
Ripo recently finished
this new wall installation titled «I Got Your Back» in Cologne, Germany as part of the City Leaks Festival.
GALLERY SONJA ROESCH:
New wall installations by Michael Post, through Feb. 28.
Not exact matches
All the
new installation work seems to be providing the company with some momentum on
Wall Street.
TZC will also continue
installation of exterior
wall panels at the facility and the Thruway Authority's
new maintenance building in Tarrytown.
During this planning time, I suggest you ask your
new department for any repairs and
installations you may need, such as having the
walls repainted, getting more distilled water faucets installed, or having freezers hooked up to emergency generators, for example.
The college needed practical, easily maintained flooring and
wall cladding for
new bathroom
installations.
The roots of Zhang's
new abstract strategy, which made its debut at Hauser & Wirth in Zurich in 2016, may be found in the artist's «Space Paintings,» environmental
installations in which he covers the ceilings, floors, and
walls of a gallery with abstract patterns that alter one's sense of space.
His first
installation of a temporary
wall was for his 1991 solo exhibition at Galerie Max Hetzler in Cologne, where he had a
new wall built directly in front of an existing one.
When the BMA opens at 11 a.m., four volunteers will begin spitting colored food dye onto three
walls of a gallery adjacent to the BMA's East Lobby, creating a vibrant backdrop for a
new installation of Herring's work that will be on view beginning Saturday, October 22.
1989 «Guerrilla Girls Grace
Wall Street,» outdoor
installation, sponsored by Lower Manhattan Cultural Council,
New York City, NY.
This exhibition, curated by Waqas Wajahat, will feature
new paintings, watercolors, sculptures, taxidermied hybrids and a
wall mural created specifically for this
installation.
For Freedoms, the artist - run super PAC co-founded by Hank Willis Thomas and Eric Gottesman debuted in
New York and has migrated to Chicago where works from the initiative by Rashid Johnson, Nari Ward, and Carrie Mae Weems, among others, will be displayed in Monique Meloche Gallery's «off the
wall» exhibition, a series of
installations on public bus benches throughout Wicker Park Bucktown (Sept. 1 - Nov.
The exhibition «Wind» is accompanied by an exhibition of
new wall objects under the same title at Neugerriemschneider, Berlin and coincides with the reconstruction of the historic
Installation «3 Vollellipsoide Skulpturen» of the artist from 1978 at the Museum für Moderne Kunst MMK in Frankfurt a.M.
Currently on view in
New York is Profound Approach Easy Outcome, an
installation commissioned for the curved
wall of the atrium at the Queens Museum of Art.
Adriana Varejão fills the Lower Gallery with a monumental
wall based installation, Macau Wall, while the Upper Gallery houses new individual floor and wall based w
wall based
installation, Macau
Wall, while the Upper Gallery houses new individual floor and wall based w
Wall, while the Upper Gallery houses
new individual floor and
wall based w
wall based work.
The iconic medium and style that have defined Kara Walker's career first appeared in this
wall installation, which featured in the artist's 1994
New York debut at the Drawing Center.
Known for his finger - crocheted environments that grace gallery spaces and architectural interiors, Neto presents
new sculptures and
wall - mounted works in an expansive
installation that will veil the gallery's two - floor space.
Fallen Fruit from Frisland comprises a series of
new paintings presented as part of an
installation that features a carpeted floor, rising wave - like against one
wall, and a simple wooden boat made...
This will be the artist's third solo exhibition at the gallery and features a large - scale
wall installation, «Where I Leave Off and You Begin», alongside a series of
new «floating line» -LSB-...]
Zigzags and Diagonals is the inaugural
wall painting in a
new and ongoing series of
wall - based
installations by contemporary artists in MOCA's unique and visionary architectural spaces.
Like my modular /
installation works of 1968 these
new modular shapes again use the negative background
wall space but -LSB-...]
Michael Heizer's impressive
installation at Gagosian Beverly Hills features
new paintings that deny the conventional rectangular or square confines of the canvas, alongside negative
wall sculptures, known for their size, raw materials, and ability to awe viewers.
The
installation begins with a
New England stone
wall that reads as a lumpy Carl Andre sculpture.
The first recipient of the Brian
Wall Foundation Grant for Sculptors is Chinese - Canadian artist Terence Koh, who is best known for his sculptural
installations, such as the Bee Chapel that he first created on his property in upstate
New York.
Additionally a
new video installation The Destruction quartet 2006 will be launched at this exhibition: it includes fragments of symbolic and real - life destruction acts that Jonas Mekas witnessed and filmed through the years: Nam June Paik destroying a piano; Australian based artist Danius Kesminas» fire piece in New York in 1983; the destruction of the Berlin Wall in 1990; and 9/
new video
installation The Destruction quartet 2006 will be launched at this exhibition: it includes fragments of symbolic and real - life destruction acts that Jonas Mekas witnessed and filmed through the years: Nam June Paik destroying a piano; Australian based artist Danius Kesminas» fire piece in
New York in 1983; the destruction of the Berlin Wall in 1990; and 9/
New York in 1983; the destruction of the Berlin
Wall in 1990; and 9/11.
Mural, Project
Wall, St. Louis Contemporary Art Museum, St. Louis, MO / Focus: Katherine Bernhardt, Modern Art Museum of Fort Worth, Fort Worth, TX / Commissioned
Installation, Lever House Art Collection,
New York, NY
From Chelsea to Bushwick, a strong showing of young artists fill
New York's galleries this fall, spanning fresh figurative paintings, embroidered
wall - hangings, and an
installation that imagines a robot society.
1995 Images, Masks, and Models, 11, rue Larrey at Sidney Janis Gallery,
New York (booklet) Mario Diacono Gallery, Boston, MA (booklet) Galerie Bruno Bischofberger, Zurich
Wall Installation, TZ Art, New York (installation) Exploding Cell, Edition Schellmann and Pace Prints, New York Galerie Thaddaeus Ropac, Paris (installation) Drawings 1977 — 1978, Schmidt Contemporary Art, St. Louis Drawings 1991 — 1995, Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY (catalogue); travelled to Greenberg Van Doren Gallery, St. Louis; Rhona Hoffman Gallery, Chicago; Kohn Turner Gallery, Los Angeles Paintings: 1980 — 1981, Turner, Byrne & Runyon, Dallas (catalogue) Encounters 6, Dallas Museum of Art, Dallas (installati
Installation, TZ Art,
New York (
installation) Exploding Cell, Edition Schellmann and Pace Prints, New York Galerie Thaddaeus Ropac, Paris (installation) Drawings 1977 — 1978, Schmidt Contemporary Art, St. Louis Drawings 1991 — 1995, Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY (catalogue); travelled to Greenberg Van Doren Gallery, St. Louis; Rhona Hoffman Gallery, Chicago; Kohn Turner Gallery, Los Angeles Paintings: 1980 — 1981, Turner, Byrne & Runyon, Dallas (catalogue) Encounters 6, Dallas Museum of Art, Dallas (installati
installation) Exploding Cell, Edition Schellmann and Pace Prints,
New York Galerie Thaddaeus Ropac, Paris (
installation) Drawings 1977 — 1978, Schmidt Contemporary Art, St. Louis Drawings 1991 — 1995, Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY (catalogue); travelled to Greenberg Van Doren Gallery, St. Louis; Rhona Hoffman Gallery, Chicago; Kohn Turner Gallery, Los Angeles Paintings: 1980 — 1981, Turner, Byrne & Runyon, Dallas (catalogue) Encounters 6, Dallas Museum of Art, Dallas (installati
installation) Drawings 1977 — 1978, Schmidt Contemporary Art, St. Louis Drawings 1991 — 1995, Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY (catalogue); travelled to Greenberg Van Doren Gallery, St. Louis; Rhona Hoffman Gallery, Chicago; Kohn Turner Gallery, Los Angeles Paintings: 1980 — 1981, Turner, Byrne & Runyon, Dallas (catalogue) Encounters 6, Dallas Museum of Art, Dallas (
installationinstallation, booklet)
The
installation, «WOMEN Words, Phrases and Stories», has traveled from
New York City's FLAG Art Foundation to Gavlak, hung in a carefully arranged salon - style that sprawls across the
walls.
Solo exhibits and
installations include: the Watermill Center, Watermill, NY; Salomon Contemporary Collective Design Fair,
New York, NY; Parrish Museum, Southampton, NY; Glenn Horowitz, and The Drawing Room, East Hampton, NY; Tall
Wall Gallery, Los Angeles, CA; Ibel Gallery, Columbus, OH; Dust Gallery, Las Vegas, NV; among others.
In 2005, the artist opened lesser
new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the great
new york in her Williamsburg loft, which was a response to Greater
New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the great
New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit /
installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the
walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial
wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the grea
wall, not unlike a collection of posters on the greater Berlin
Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the grea
Wall, or a lesser improvisational 9 - 11
wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the grea
wall, or, more recently, a greater Facebook
wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the grea
wall, or the lesser construction
wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the grea
wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser
new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the great
new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser
new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the great
new yorkten years later at Greater
New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the great
New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser
new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the great
new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its
new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the great
new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media
installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater
New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the great
New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.
A time - lapse video provides a glimpse into the
installation process of a
wall - sized work created for «Imitation of Life,» her
new show at the Broad in L.A.
In 2011 and 2012, Los Angeles - based artist Sharon Lockhart first exposed America and Europe to Eshkol's
wall carpets in a groundbreaking
installation entitled Sharon Lockhart / Noa Eshkol, that traveled to The Jewish Museum,
New York and LACMA, Los Angeles.
At Konrad Fischer Gallery Daniel Buren introduces
new works including large - format
wall installations based on polyangular forms and mirrors.
Curated by Brussels - based collective Bunk Club, the
installation consisted of four
new figurative
wall reliefs, cast from acrylic - modified gypsum and arranged in a narrative tableaux, reading across the gallery as a life - size frieze.
For his first gallery exhibition in
New York since 2012, Neto will present a new body of finger - crocheted immersive sculptures, installations and wall works that fill both floors of the gallery's space, inviting the viewer into an all - encompassing sensorial experien
New York since 2012, Neto will present a
new body of finger - crocheted immersive sculptures, installations and wall works that fill both floors of the gallery's space, inviting the viewer into an all - encompassing sensorial experien
new body of finger - crocheted immersive sculptures,
installations and
wall works that fill both floors of the gallery's space, inviting the viewer into an all - encompassing sensorial experience.
A
new film by artists David Blandy and Larry Achiampong combines footage of Hadrian's
Wall with computer gaming visuals to generate a
new immersive
installation that tells a fantastical tale of a land that isolated itself into near extinction.
All of the second - floor galleries were retrofitted,
new walls were constructed, and projectors were installed to create intimate viewing spaces that allow the viewer to experience each video work to the exact
installation requirements of the artists — this includes specific
wall colors, audio parameters, sound panels, other installed materials, projection angles, and screen selection.
Coney Island Visions of an American Dreamland, 1861 — 2008 WNPR, Feb. 13, Coney Island and Bushnell Park's Carousel Artistry by Mallory O'Donoghue The Boston Globe, Feb. 12, Atheneum assembles a first - rate
installation by Sebastian Smee WNPR, Feb. 12, Wadsworth Explores Coney Island, the «Microcosm of the American Experience» by Ray Hardman The Modern Art Notes (MAN) Podcast, Feb. 12, No. 171: Dennis V. Geronimus, Robin Jaffee Frank by Tyler Green WNPR, Feb. 11, Where We Live, An Arts Wheelhouse Examines Connecticut Museums The Boston Globe, Feb. 10, Coney Island comes to the Wadsworth Atheneum by Mark Feeney Apollo Magazine, Feb. 10, Five favourites from the Wadsworth Atheneum's
new galleries The New Yorker, Feb. 9, Change Artist: The works of Piero di Cosimo by Peter Schjeldahl The Art Newspaper, February 2015, Wadsworth Atheneum restores spaces it very nearly lost by Julia Halperin The Hartford Courant, Feb. 2, «Coney Island On the Silver Screen» Series at Atheneum by Susan Dunne The New York Times, Feb. 1, Wadsworth Atheneum's New Spaces for Contemporary Art by Susan Hodara The Guardian, Jan. 30, Wadsworth Atheneum: oldest public museum in US comes back from brink by Martin Pengelly The Hartford Courant, Jan. 25, Three Satellite Shows Compliment Dynamic «Coney Island» Exhibit at Wadsworth Atheneum The Hartford Courant, Jan. 18, Renovated Wadsworth Galleries Show Off Contemporary Collections by Susan Dunne The Wall Street Journal, Jan. 17, Coney Island Comes Alive in Art Show by Ellen Gamerman The Art Newspaper, January 2015, Return of Wadsworth's LeWitt Elle Decor, January / February 2015, Boardwalk Empire ARTnews, January 2015, Editors» Picks American Art Review, January 2015, Coney Island: Visions of an American Dreamland by Robin Jaffee Frank The Art Newspaper, The Year Ahead 2015, Museum Openi
new galleries The
New Yorker, Feb. 9, Change Artist: The works of Piero di Cosimo by Peter Schjeldahl The Art Newspaper, February 2015, Wadsworth Atheneum restores spaces it very nearly lost by Julia Halperin The Hartford Courant, Feb. 2, «Coney Island On the Silver Screen» Series at Atheneum by Susan Dunne The New York Times, Feb. 1, Wadsworth Atheneum's New Spaces for Contemporary Art by Susan Hodara The Guardian, Jan. 30, Wadsworth Atheneum: oldest public museum in US comes back from brink by Martin Pengelly The Hartford Courant, Jan. 25, Three Satellite Shows Compliment Dynamic «Coney Island» Exhibit at Wadsworth Atheneum The Hartford Courant, Jan. 18, Renovated Wadsworth Galleries Show Off Contemporary Collections by Susan Dunne The Wall Street Journal, Jan. 17, Coney Island Comes Alive in Art Show by Ellen Gamerman The Art Newspaper, January 2015, Return of Wadsworth's LeWitt Elle Decor, January / February 2015, Boardwalk Empire ARTnews, January 2015, Editors» Picks American Art Review, January 2015, Coney Island: Visions of an American Dreamland by Robin Jaffee Frank The Art Newspaper, The Year Ahead 2015, Museum Openi
New Yorker, Feb. 9, Change Artist: The works of Piero di Cosimo by Peter Schjeldahl The Art Newspaper, February 2015, Wadsworth Atheneum restores spaces it very nearly lost by Julia Halperin The Hartford Courant, Feb. 2, «Coney Island On the Silver Screen» Series at Atheneum by Susan Dunne The
New York Times, Feb. 1, Wadsworth Atheneum's New Spaces for Contemporary Art by Susan Hodara The Guardian, Jan. 30, Wadsworth Atheneum: oldest public museum in US comes back from brink by Martin Pengelly The Hartford Courant, Jan. 25, Three Satellite Shows Compliment Dynamic «Coney Island» Exhibit at Wadsworth Atheneum The Hartford Courant, Jan. 18, Renovated Wadsworth Galleries Show Off Contemporary Collections by Susan Dunne The Wall Street Journal, Jan. 17, Coney Island Comes Alive in Art Show by Ellen Gamerman The Art Newspaper, January 2015, Return of Wadsworth's LeWitt Elle Decor, January / February 2015, Boardwalk Empire ARTnews, January 2015, Editors» Picks American Art Review, January 2015, Coney Island: Visions of an American Dreamland by Robin Jaffee Frank The Art Newspaper, The Year Ahead 2015, Museum Openi
New York Times, Feb. 1, Wadsworth Atheneum's
New Spaces for Contemporary Art by Susan Hodara The Guardian, Jan. 30, Wadsworth Atheneum: oldest public museum in US comes back from brink by Martin Pengelly The Hartford Courant, Jan. 25, Three Satellite Shows Compliment Dynamic «Coney Island» Exhibit at Wadsworth Atheneum The Hartford Courant, Jan. 18, Renovated Wadsworth Galleries Show Off Contemporary Collections by Susan Dunne The Wall Street Journal, Jan. 17, Coney Island Comes Alive in Art Show by Ellen Gamerman The Art Newspaper, January 2015, Return of Wadsworth's LeWitt Elle Decor, January / February 2015, Boardwalk Empire ARTnews, January 2015, Editors» Picks American Art Review, January 2015, Coney Island: Visions of an American Dreamland by Robin Jaffee Frank The Art Newspaper, The Year Ahead 2015, Museum Openi
New Spaces for Contemporary Art by Susan Hodara The Guardian, Jan. 30, Wadsworth Atheneum: oldest public museum in US comes back from brink by Martin Pengelly The Hartford Courant, Jan. 25, Three Satellite Shows Compliment Dynamic «Coney Island» Exhibit at Wadsworth Atheneum The Hartford Courant, Jan. 18, Renovated Wadsworth Galleries Show Off Contemporary Collections by Susan Dunne The
Wall Street Journal, Jan. 17, Coney Island Comes Alive in Art Show by Ellen Gamerman The Art Newspaper, January 2015, Return of Wadsworth's LeWitt Elle Decor, January / February 2015, Boardwalk Empire ARTnews, January 2015, Editors» Picks American Art Review, January 2015, Coney Island: Visions of an American Dreamland by Robin Jaffee Frank The Art Newspaper, The Year Ahead 2015, Museum Openings
Celebrated for his full - scale
installations and
wall - mounted sculptures, Drew uses a variety of materials such as wood, iron, cotton, paper and mud to re-work in the building of
new and lively forms.
Exhibitionism: 5 Art Shows Not to Miss» Highlight Reel: Art Basel Miami Beach» Frank Stella in 3D» Outdoor Public Art to See Now» Ai Weiwei at Alcatraz» The David Bowie Exhibit Comes to Chicago» A Local's Take on Prospect
New Orleans
Installation You Belong Here» Off the
Wall: The Suspended Sculptures of Louise Bourgeois»
For No borders in a wok that can't be crossed, Marten has created a group of works which interweave the diversity of her work in terms of media — from sculptures to
wall pieces and floor works — in a comprehensive
installation including many
new works created specifically for the CCS Bard exhibition.
To raise political consciousness, she turned to ephemeral
wall drawings, performances, experimental theater, and video
installations ---- art forms
new to India at the time — and has brought this experimental approach to her acclaimed large - scale video / shadow plays.
Presented as a series of room - size
installations — site - specific
wall paintings, painted environments, monumental stacked canvases, and anthropomorphic painting «machines» — Ain't Painting a Pain presents major works never before seen in the United States, including a sculpture that was conceived early in his career but never built and a major
new work to be completed in 2012.
Lordy Rodriguez
Wall Installation, n.d. ink on paper 10 x 14 inches (each) Courtesy of artist and Hosfelt Gallery,
New York,
New York © Lordy Rodriguez.