Sentences with phrase «on white gallery walls»

However, opening the website for Berlin's Galerie Max Hetzler — where the work shown in the book is being exhibited until July 18th — for which the paintings have been photographed in situe on the white gallery walls — I became excited.

He often organized his photographs in the form of a grid on white gallery walls, sometimes framed and sometimes hung with clips, tape, or pushpins.

Smell The Roses is a delightful departure from photography or art hung on white gallery walls.

He first paints a black rectangle on a white gallery wall with three straight - edged sides, allowing the paint to drip along the bottom edge.

Not exact matches

Here, a colorful collection of wall art mounted on a clean white gallery wall brings fresh pastel accents and plenty of personality to this simple nursery room.

Sofa — Home Center Gallery wall frames and big frames — Ikea Wall Shelf — Home Box Curtain — Ikea Office Desk — Ikea (but I bought it from someone on Dubizzle) Corner Shelf — Home box Mustard yellow throw pillow cover — Home Box Black and Big Black & White throw pillow cover — Ikea Smaller Striped Black & White throw pillow cover — Gift from a Client Lamp Stand — Home Box Rug — Dragon Mart White office chair and Mustard Yellow chairs — Dragon Mart Flower Vase and life plants — Ikea Fake Plants and other vases — Discount Center in Ajman White board — Day to Day White fur Rug — Ikea Wall Papers — Discount Center Sharjah (You can also find them in Day to wall frames and big frames — Ikea Wall Shelf — Home Box Curtain — Ikea Office Desk — Ikea (but I bought it from someone on Dubizzle) Corner Shelf — Home box Mustard yellow throw pillow cover — Home Box Black and Big Black & White throw pillow cover — Ikea Smaller Striped Black & White throw pillow cover — Gift from a Client Lamp Stand — Home Box Rug — Dragon Mart White office chair and Mustard Yellow chairs — Dragon Mart Flower Vase and life plants — Ikea Fake Plants and other vases — Discount Center in Ajman White board — Day to Day White fur Rug — Ikea Wall Papers — Discount Center Sharjah (You can also find them in Day to Wall Shelf — Home Box Curtain — Ikea Office Desk — Ikea (but I bought it from someone on Dubizzle) Corner Shelf — Home box Mustard yellow throw pillow cover — Home Box Black and Big Black & White throw pillow cover — Ikea Smaller Striped Black & White throw pillow cover — Gift from a Client Lamp Stand — Home Box Rug — Dragon Mart White office chair and Mustard Yellow chairs — Dragon Mart Flower Vase and life plants — Ikea Fake Plants and other vases — Discount Center in Ajman White board — Day to Day White fur Rug — Ikea Wall Papers — Discount Center Sharjah (You can also find them in Day to Wall Papers — Discount Center Sharjah (You can also find them in Day to Day)

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Gallery Wall Chanel Road Sign, Oliver Gal via Gilt Black and White «Madame Paulette Net Hat», Art.com Black and gold fashion illustration, Anum Tariq on Etsy Chanel Fashion Soup, Oliver Gal via Gilt «Dramatic» handlettering, Vasco Morelli Abstract ink pieces and high heel illustration, Anum Tariq

Here's the full list of 142 films that featured on our contributors» ballots: (Disclaimer: Luc Besson's Lucy didn't get a single vote - I just like this image of Scarlett sorting through stuff) 71 1001 Grams 12 Years a Slave 20,000 Days on Earth 22 Jump Street 52 Tuesdays A Girl at my Door A Most Violent Year A Most Wanted Man A Touch of Sin Aberdeen Alleluia American Sniper Birdman Black Coal, Thin Ice Blind Blue Ruin Boyhood Calvary Captain America: The Winter Soldier Casa Grande Chef Citizenfour Climbing to Spring Cold in July Danger 5 Dawn of the Planet of the Apes Der Samurai Duke of Burgundy Edge of Tomorrow Electric Boogaloo Enemy Fandry Force Majeure Frank Free Fall From What is Before Giovanni's Island Gone Girl Goodbye to Language Guardians of the Galaxy Haemoo Han Gong - ju Hard to be a God Horse Money Housebound Ida Inherent Vice Interstellar It Follows Jauja Jigarthanda Jodorowsky's Dune John Wick Killers Lady Maiko Les Combattants Leviathan Li'l Quinquin Life Itself Like Father Like Son Locke Love and Terror on the Howling Plains of Nowhere Magical Girl Maidan Man From Reno Melbourne Memphis Mommy National Gallery New World Nightcrawler Norte, The End of History Nymphomaniac Of Good Report Only Lovers Left Alive Over Your Dead Body Pale Moon Peaky Blinders Pride R100 Red Army Seven Weeks Sils Maria Snowpiercer Song of the Sea Sorrow and Joy Spring Stand By Me Doraemon Starred Up Starry Eyes Stray Dogs Texas Chain Saw Massacre The Act of Killing The Babadook The Dam Keeper The Double The Editor The Grand Budapest Hotel The Great Beauty The Great Passage The Guest The Hobbit The Internet's Own Boy The Kingdom of Dreams and Madness The Lego Movie The Missing Picture The One I Love The Overnighters The Penguins of Madagascar The Raid 2 The Sacrament The Second Game The Secret Life of Walter Mitty The Snow White Murder Case The Tale of the Princess Kaguya The Terror Live The Tribe The Wind Rises The Wolf of Wall Street The Wonders The World of Kanako These Final Hours They Came Together Tokyo Tribe Tusk Two Days, One Night Under the Skin Wadjda We Are The Best!

The white washed walls and signature blue studded doors resting under arabesque arches, are depicted on canvas within the many local galleries.

«07757001122» reads a string of digits in white neon hanging on the gallery wall alongside photographs of an Icelandic glacier.

In the white - walled, window - interrupted, vaulted - ceiling room that is the Renaissance Society's main gallery, 20 meticulous objects shaped by the longtime Chicagoan jut out from the walls, drop from the ceiling, rest on the floor.

High on the thirty - eighth floor of the Hancock Building, John Stezaker and I stand amidst the clean white walls of Richard Gray Gallery.

In a related exhibition uptown (at the Marian Goodman gallery), new canvases and wall paintings jostle with three older quincunxes made of white paint on yellowing newsprint.

«On the stark white walls of the pristine gallery, Yamaguchi has hung eight curiously shaped panels that resemble puffs of smoke or clouds.

At the cavernous Castello di Borghese Vineyard gallery space — an artist's dream with tons of sunlight and vast new white expanses of wall for hanging colorful canvases — I found myself riding along on a wave of blues from painting to painting as I thoroughly enjoyed the sun - drenched work of Mattituck Impressionist Patricia Feiler.

And finally, in the show's namesake, «The Velocity of Change» (2015), which appears directly on the right wall as one enters the gallery, the intervals of white space between the clearly defined, occasionally fractured sets of colored wedges simultaneously pause and accentuate the rhythmic momentum within the mural.

2016 Passman, Melissa, Art in Focus, (interview), April Boucher, Brian, «11 Booths I could hardly tear myself away from at Nada New York», artnet.com, May 6 Sutton, Benjamin, «Nada New York Gets Nasty», hyperallergic.com, May 6 Shaw, Michael, The Conversation Podcast, episode # 135, theconversationartistpodcast.podomatic.com, April 15 2015 Griffin, Jonathan, «Reviews in Brief: Max Maslansky», Modern Painters, February, p. 77 Cherry, Henry, «Escaping Monotony with Max Maslansky», Reimagine (online), February Diehl, Travis, «Critics» Picks: Max Maslansky», artforum.com, May 5 Los Angeles Review of Books, lareviewofbooks.org, (image), June 21 Hotchkiss, Sarah, «Sexy Sculpture Fills CULT's Summer Group Show», kqed.com, July 27 CCF Fellowship for Visual Artists 2015, catalog, p9 Archer, Larissa, «Review: Sexxitecture / Cult, San Francisco,» Frieze, October, pp260 - 261 2014 Hutton, Jen, «Max Maslansky», Made in L.A. 2014, catalog, Hammer Museum, Los Angeles Miranda, Carolina A., «Datebook: Boxing painters, teen idols, and John Altoon's short career», The Los Angeles Times, June 5 Zimskind, Lyle, «Channing Hansen's Quantum Paintings are Really Knit», Los Angeles Magazine Blog.com, July 17 Finkel, Jori, «Painting on Radio Canvas», The New York Times, February 7 Khadivi, Jesi, «Curated in L.A», interview with Michael Ned Holte, Kaleidoscope, Summer, pp.110 - 115 Gill, Noor, «' Made in L.A 2014» at Hammer Museum displays work by artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The Face Collector», essay for Sniff The Space Flat on Your Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City of Brea Art Gallery, Brea, CA, March 2005 The Armpit of the Mole, a drawing compilation, Fundació 30 km / s, Paris, France

Tuttle also manipulates the space in which his objects exist, placing them unnaturally high or oddly low on a wall — forcing viewers to reconsider and renegotiate the white - cube gallery space in relation to their own bodies.

In a monumental painting that spans one wall of the gallery, white text on a black background explains the different codes that cartographers employ to represent various features of the land and sea, thus highlighting the process of mapping as a symbolic act.

In this show, Lawler takes her brand of appropriation one step further, tracing black - and - white outlines of her past photographs, printing them onto vinyl, and then mounting them directly on the gallery's white - washed walls.

In the summer of 2013, Raymond Pettibon took over one of David Zwirner's gallery spaces in New York, transforming the high - ceilinged, garage - like white cube into his studio in order to prepare a show of drawings and collages within — and sometimes directly on — its walls.

The media attention attracted further attention of people stopping by the Gallery to view the 20 visual arresting black and white pictures hanging on the Gallery walls.

black - pained gallery walls and white window frames act as a canvas for the bike «drawings» etched onto the interior surroundings as though the faux - vehicle has been ridden on the walls.

The White Room Gallery teams up with C Fine Arts to present an indoor - outdoor exhibition in the exhibition «Off The Wall / On The Wall» presented from July 2, 2016 to July 17, 2016.

In the «On the Wall Section,» The White Room Gallery presents paintings by Beth Barry, Melissa Hin and Sally Breen.

Sandra Cinto presented «Piece of Silence» at the Tanya Bonakdar Gallery, an installation of a bronze flute and several white string instruments hanging on walls that were drawn with parallel lines reminiscent of musical scores.

In the Main Gallery, Untitled (Unfold), a group of 6 large white aluminum panels lean against the walls and lie on the floor.

Enjoyment certainly seemed key to the play of shadows and colored refractions on the white walls in this recent show, for which the ground - floor exhibition space at Tanya Bonakdar Gallery was entirely given over to Multiple shadow house, 2010.

Hung on the gallery's central wall, each of Incidence's panels depicts a white triangular prism hovering in flat, periwinkle - hued space.

Using the gallery's main exhibition space as her canvas, the artist masked the floor with a large foam stencil, painting over it and the surrounding walls in sprayed - on, bright acrylic paints, before lifting the stencil to create large, white, disconcerting voids upon entering the space.

Images of numerous flies and a clear plastic collared shirt are mounted on a white polysilk curtain, which takes up the entire back wall of the gallery.

Featured high up on the external wall of White Cube Gallery's booth at this year's Frieze Art Fair in London, it seemed to function as a clever and subconscious reflection on the key question for collectors at Frieze and the world's many other art fairs.

Trey Egan's second solo exhibition at Cris Worley Fine Arts includes eight large - scale abstract oil paintings on canvas that animate and transform the white walls of the gallery into a torrential color storm.

The installation Chalk Bike at Lehmann Maupin Gallery in New York comprises an accurate replica of a bicycle in white chalk and, on a black wall, several chalk drawings of bicycles, which, together with the object, suggest motion.

She's known for making wooden cubes with laser - cut mashrabiya - like patterns that cast lacy shadows on the wall — instantly transforming a white cube gallery into a dreamscape that wouldn't look out of place in the Alhambra.

WHITE ROOM GALLERY - «Off the Wall / On the Wall» has an Opening Reception on Saturday, July 2, 2016 from 6 to 8 p.m. which includes music by DJ Willie G. Co-presented by the White Room Gallery and C Fine Art, the exhibition features outdoor sculpture, indoor wall reliefs plus paintings by Sally Breen, Melissa Hin and Beth BWHITE ROOM GALLERY - «Off the Wall / On the Wall» has an Opening Reception on Saturday, July 2, 2016 from 6 to 8 p.m. which includes music by DJ Willie G. Co-presented by the White Room Gallery and C Fine Art, the exhibition features outdoor sculpture, indoor wall reliefs plus paintings by Sally Breen, Melissa Hin and BethGALLERY - «Off the Wall / On the Wall» has an Opening Reception on Saturday, July 2, 2016 from 6 to 8 p.m. which includes music by DJ Willie G. Co-presented by the White Room Gallery and C Fine Art, the exhibition features outdoor sculpture, indoor wall reliefs plus paintings by Sally Breen, Melissa Hin and Beth BaWall / On the Wall» has an Opening Reception on Saturday, July 2, 2016 from 6 to 8 p.m. which includes music by DJ Willie G. Co-presented by the White Room Gallery and C Fine Art, the exhibition features outdoor sculpture, indoor wall reliefs plus paintings by Sally Breen, Melissa Hin and Beth BarrOn the Wall» has an Opening Reception on Saturday, July 2, 2016 from 6 to 8 p.m. which includes music by DJ Willie G. Co-presented by the White Room Gallery and C Fine Art, the exhibition features outdoor sculpture, indoor wall reliefs plus paintings by Sally Breen, Melissa Hin and Beth BaWall» has an Opening Reception on Saturday, July 2, 2016 from 6 to 8 p.m. which includes music by DJ Willie G. Co-presented by the White Room Gallery and C Fine Art, the exhibition features outdoor sculpture, indoor wall reliefs plus paintings by Sally Breen, Melissa Hin and Beth Barron Saturday, July 2, 2016 from 6 to 8 p.m. which includes music by DJ Willie G. Co-presented by the White Room Gallery and C Fine Art, the exhibition features outdoor sculpture, indoor wall reliefs plus paintings by Sally Breen, Melissa Hin and Beth BWhite Room Gallery and C Fine Art, the exhibition features outdoor sculpture, indoor wall reliefs plus paintings by Sally Breen, Melissa Hin and BethGallery and C Fine Art, the exhibition features outdoor sculpture, indoor wall reliefs plus paintings by Sally Breen, Melissa Hin and Beth Bawall reliefs plus paintings by Sally Breen, Melissa Hin and Beth Barry.

Every surface is redolent of some other painted surface in the real world, from the uninflected white of the gallery walls to old frescos, peeling doors and the chipped enamel on playground railings.

Other historical highlights came from the freshly christened Lévy Gorvy gallery, whose offerings included a chilled - out 1970 installation by Enrico Castellani with his trademark white textured panels becoming walls of a room and a legendary suite of 14 haunting self - portraits that Adrian Piper made in the summer of 1971, when, as Kaelen Wilson - Goldie once succinctly put it, the artist was «holed up alone in her apartment, reading Immanuel Kant's Critique of Pure Reason (1781), practicing yoga, and subsisting on nothing but juice and water.»

Making herself up, Cindy Sherman — style, as dozens of archetypal Japanese personas, Sawada repeatedly sat for her photo - booth portrait and then rephotographed the results, multiplying nearly 400 versions of herself by four and installing the black - and - white strips on the walls of New York's Zabriskie Gallery, in grids of 100 photos each.

Ann Temkin, the Museum of Modern Art's chief curator of painting and sculpture, is changing the walls of the permanent — collection galleries, on the fourth and fifth floors, from stark white to a grayish putty color, Benjamin Moore's Big Bend Beige.

Inside Josh Lilley Gallery's stand at Frieze New York, a painting barely larger than an album cover hangs on an otherwise empty white wall.

On the other two walls of the main gallery, which are painted a customary white, there is an oil painting of blue balls on a white field, «Bloobs» (2014) by Mathew Cerletty; a loopy, oddly affecting drawing, «Untitled (shit)» (2011) by David Shrigley, of concentric circles emanating from the word «shit»; Vern Blosum's «Off The Hook» (2015), a larger - than - life - size graphite drawing of a vintage payphone with its receiver dangling, appropriately, off the hook; and Emily Mae Smith's «The Studio (Science Fiction)» (2015), which depicts the split halves of an eggshell hovering above a flying saucer / fried egg, the edge of its white perimeter forming the words «THE STUDIO» against the starry blackness of outer spacOn the other two walls of the main gallery, which are painted a customary white, there is an oil painting of blue balls on a white field, «Bloobs» (2014) by Mathew Cerletty; a loopy, oddly affecting drawing, «Untitled (shit)» (2011) by David Shrigley, of concentric circles emanating from the word «shit»; Vern Blosum's «Off The Hook» (2015), a larger - than - life - size graphite drawing of a vintage payphone with its receiver dangling, appropriately, off the hook; and Emily Mae Smith's «The Studio (Science Fiction)» (2015), which depicts the split halves of an eggshell hovering above a flying saucer / fried egg, the edge of its white perimeter forming the words «THE STUDIO» against the starry blackness of outer spacon a white field, «Bloobs» (2014) by Mathew Cerletty; a loopy, oddly affecting drawing, «Untitled (shit)» (2011) by David Shrigley, of concentric circles emanating from the word «shit»; Vern Blosum's «Off The Hook» (2015), a larger - than - life - size graphite drawing of a vintage payphone with its receiver dangling, appropriately, off the hook; and Emily Mae Smith's «The Studio (Science Fiction)» (2015), which depicts the split halves of an eggshell hovering above a flying saucer / fried egg, the edge of its white perimeter forming the words «THE STUDIO» against the starry blackness of outer space.

For Emin in particular, it's been an especially illuminating time: Since arriving at Art Basel Hong Kong, the British artist has revealed that, as of last summer, she's been married to a rock — a metaphorical message that puts her trademark love - themed texts on the walls of the White Cube and Lehmann Maupin galleries in a whole new light.

The work involves fixing simple wooden forms, coated in white wax, to the gallery's wall, and laying a length of extruded clay on each form.

These sculptures, made from stone and welding steel, are juxtaposed against gestural works hung on the stark white walls of the gallery.

The work is meant to be seen in daylight as when the sun shines through the windows, it casts evocative shadows on the walls and floor, many stemming from the slender pillars (white columns) Irwin erected in the space surrounding the chambers to emphasize the original architecture of the gallery.

«Exemplary of [The Chicago Effect: Redefining the Middle's] strengths is a brief interlude in the middle of the main gallery marked by a stripe of grey paint that hangs on the walls and floor between two halves of the white cube... Isolated Fictions: A Reenactment, as the sub-show is titled, presents a provocative case study in the generative possibilities between art schools, small galleries, art centers, and other «middle men» of the art economy.»

The gallery's back wall is a beauty, with three masters of the lean and clean: Ellsworth Kelly (a white diagonal arc cutting through black), Robert Mangold (irregularly shaped orange canvas «corrected» by pencil lines within), and Robert Ryman (white - on - white, in this case a froth of choppy sea).

Meanwhile a series of blank white canvases almost disappears on the gallery's walls.