Sentences with phrase «out of the gallery wall»

This attention to detail elevated the mere simple boxes that jutted out of the gallery wall into sublime works of art.

Works comprised of drips of Murano black glass will also be installed in the gallery, appearing to seep out of the gallery walls.

Leonardo Drew @ Vigo Gallery These abstract forms made from wood and other organic and inorganic materials «grow» out of the gallery walls to form schematics that seem familiar yet unrecognisable.

Not exact matches

They built the front desk out of plywood and Ikea furniture and modeled the studio's dark tile and gleaming white walls after London's White Cube art gallery, honing the look as «inviting but still sexy, cool but still tribal,» Rice remembers.

Staring from the walls of a photo gallery are the visages of Max Planck, Fritz Haber, Robert Koch, and 26 other Nobel Prize winners with ties to the university — nearly all of whom carried out their prizewinning work before World War II.

So, if you're having trouble figuring out placement of your gallery wall or what to include, I've included below 10 of my favorites.

And like a gallery wall, you can do a mix of photography prints, abstracts, and typographic art... If the thought of accumulating enough framed pieces to pull off the look scares you, just take it one piece at a time (like the last photo), start out symmetrically (like the first photo) and work your way ledges and large groupings (all the photos in between!).

His two exhibits, Mario Testino: British Royal Portraits and Mario Testino: In Your Face, are currently gracing the gallery walls of Boston's Museum of Fine Arts, and frankly, I can't figure out what took me so long to get there.

What a great feature — one of the scariest parts about putting together a gallery wall is figuring out the layout!

The gallery accompanying the article picks out some key areas of the headquarters, including the staff «Down Time» space, and its «Wall of Love» — a hallway decorated with stories of happy couples who met on the site.

50 % commission is standard out here, and we have heard rumours of 70 % commission rates — or even worse — the «vanity gallery» route — «you pay me lots of money to display your work on the wall, and if you are lucky, well I might be able to sell it for you.»

They were stacked in clusters against the gallery walls, back - to - back and face - to - face and sometimes separated by sheets of cardboard or covered by plastic, suggesting they were on their way in or out of storage and weren't yet meant for public viewing.

My goal was a sense of compression by hanging several paintings close together on one wall, while the rest of the gallery was relatively spaced out.

The new galleries also incorporate more wall text, or «didactics,» to explain the groupings, and that too is another welcome nugget of innovation squeezed out by the glacial forces of change at the gallery.

Sarah Crowner: Wall (Hot Blue Terra Cotta) Sarah Crowner's gorgeous 10 x 20 foot tile mural Wall (Hot Blue Terra Cotta)(2014 - 2016)-- fabricated for her recent MASS MoCA exhibition Beetle in the Leaves — now guides visitors in and out of the museum's new gallery spaces, along with a companion work, Tile Painting (Terra Cotta)(2016).

Last weekend's reopening of the European art galleries at the Wadsworth Atheneum Museum of Art attracted lines out the door, wall - to - wall audiences in every gallery and an ambient buzz the likes of which hasn't been seen in years.

Out of the three rooms their installations will occupy at the event at PACE in London, the largest will include six works and feature Universe of Water Particles, Transcending Boundaries, a virtual waterfall that extends beyond the gallery wall onto the floor, flowing through the space and around the feet of the viewer.

The Wright wall - painting is part of an exhibition curated by Polly Staple, director of the Chisenhale Gallery in east London, in the gallery space carved out of a previously disused wing of the Gallery in east London, in the gallery space carved out of a previously disused wing of the gallery space carved out of a previously disused wing of the castle.

In further conversation with the architecture of the gallery and wall painting, she will unveil a site - specific floor piece made out of carpet based on the original designs of the Visual Arts Building.

As the wall label pointed out, many of the paintings, which were pulled entirely from MOMA's collection, were exhibited in art galleries that used to be right around the corner from the museum itself.

Here, Burgin continued his reorientation of photography from floor to wall, but rather than transform his pictures into precious prints, matted and framed, Burgin fixed his images to the gallery as a series of posters, pasting them straight to the wall (although not, as with Possession, out in the streets).

/ On The Wall, Monique Meloche, Chicago, IL, June 23 — August 15, 2015 Womanhouse, Eric Firestone Gallery, East Hampton, NY, May 23 — June 14, 2015 Africa's Out, Barbara Gladstone, New York, NY, June 9, 2015 Manifest Justice, Los Angeles, CA Visualizing Our Americana - Color Polemics, Newark, NJ, April 30, 2015 8 Painters, Danese Corey Gallery, New York, NY, February 13 — March 14, 2015 Empire of the Senseless, Friedman Benda, New York, NY, February 26 — March 28, 2015

Bringing together a selection of recent cut - out paper figures, mixed media works on paper, collage paintings in beehive frames, a large - scale painted sailcloth and hand - painted texts on the gallery wall, the exhibition will showcase Anna Boghiguian's raw and expressionistic oeuvre that explores economics, philosophy, literature and myth.

2000 Luci in Galleria, da Warhol al 2000, Galleria Gian Enzo Sperone, Turin, Italy Grant Selwyn Fine Art, New York Peter Halley / Alex Katz / Sherrie Levine, Galerie Wilma Tolksdorf, Frankfurt am Main Glee: Painting Now, Palm Beach Institute of Contemporary Art, Lake Worth, FL; Aldrich Museum of Contemporary Art, Ridgefield, CT (catalogue) Around 1984: A Look at Art in the Eighties, MoMA P.S. 1, Long Island City, NY (catalogue) New Prints 2000, International Print Center, New York Flights of the Málaga Collection, Fundacion la Caixa, Málaga, Spain Hard Pressed: 600 Years of Prints and Process, AXA Gallery, New York (catalogue) Universal Abstraction 2000, Jan Weiner Gallery, Kansas City, MO Perfidy: Surviving Modernism, Kettle's Yard, Cambridge, UK Wall Works, Edition Schellmann, Munich From Albers to Paik: Works of the DaimlerChrysler Collection, Kunst Zürich, Zurich Age of Influence: Reflections in the Mirror of American Culture, Museum of Contemporary Art, Chicago Collectors: The Collection of Fondation Cartier for Contemporary Art, Palazzo Delle Papesse, Siena, Italy Bit by Bit: Painting & Digital Culture, Numark Gallery, Washington, DC American Art: The Last Decade, Loggetta Lombardesca, Ravenna, Italy (catalogue) Out of Order: Mapping Social Space, CU Art Galleries, University of Colorado at Boulder, Boulder, CO; travelled to Carleton College Art Gallery, Northfield, MN; Pittsburgh Center for the Arts, PA; Atlanta Contemporary Art Center, GA; Santa Barbara Contemporary Art Forum, CA (catalogue) Inka Essenhigh / Peter Halley, Mary Boone Gallery, New York Architecture & Memory, Lawrence Rubin, Greenberg Van Doren Fine Art, New York Sandra Gering Gallery, New York

The 29 - year - old Sodamin has already had two sold - out solo exhibitions through Primary Projects, where he painted the floors and walls of the entire gallery in a riotous explosion of colors in addition to exhibiting paintings.

Stacks of Styrofoam shards rise out of the seductive mountains of color, mirroring the white of the gallery walls — the metaphorical canvas of Grosse's tremendous painting.

There were a few arresting installations, nonetheless, such as Danh Vo's floating gilded cardboard segments that comment on moral transgressions, for which the Marian Goodman gallery eliminated its walls; Liu Wei's architectural Library at Lehmann Maupin that collapses a metropolis to outrageous effect and, among the young artists who showed gripping promise, Aki Sasamoto's Luncheon Field, which livened the Focus section with a table perforated to suspend forks that bobbed in the breeze of a fan, and Eddie Peake's rumination on past and future that filled the Lorcan O'Neill booth with a tinted Plexiglas and steel installation involving a bear, a robot and lost Atlantis viewed through a meandering cut - out.

Some face out, like a wall now for Jonathan Borofsky and the silhouette of his Running Man, but others do implicitly, because partitions never erase the feeling of vast uninterrupted galleries.

What is a bocce ball?In the last gallery, Steinbach presents the early bar «cut out» works in the company of two recent works, Untitled (funnel, box, dog chew) and wall painting, fromzoomtozooooooooooooom.

Made out of paper in different bright colors and reed, the walls are» woven» together in a temporary» workshop» that is located in the gallery space and will remain there throughout the exhibition.

When I saw the title, though, also printed on the museum walls of the Manchester Art Gallery, it turned out it wasn't a typo.

A series of handmade hooks line a gallery wall, marking out spaces available for occupancy.

When the National Gallery of Victoria moved to St Kilda Road in 1968, it opened its new premises with a controversial bang: a boundary - pushing exhibition of colour field painting and abstract sculpture, laid out amid foil - covered walls.

, 1976 traces Acconci's early actions and performances, including FOLLOWING PIECE (1969), in which he followed passers - by on the street until they entered private spaces — SHADOW - PLAY (1970), in which he shadowboxed with a bright light shining behind him while moving in front of a wall — OPENINGS (1970), during which a camera focuses on Acconci's stomach as he pulls out his body hair, the film ends when Acconci is hairless — SEEDBED (1972), during which he audibly masturbated for eight hours a day under a temporary floor at the Sonnabend Gallery in New York while visitors walked overhead — THE RED TAPES (1976 - 77), a three - part epic that merges video space with filmic space, evolving into complex amalgam of narrative strategies, photographic images, music and spoken language.

We encounter lovers lifted from an Indian temple sculpture; monkeys and lion dogs borrowed from Chinese art; a grape - eating goat surrounded by lovely leaves (some made of felt), suggestive of folk art; and seemingly abstract planes of color that turn out to depict gallery walls, urban skyscrapers or a sendup of a suave brown Hollywood interior.

More historical fantasies can be seen on the other side of the room in The Jubilant Martyrs of Obsolescence and Ruin, a stunning example of Walker's characteristic silhouette narratives in cut - out paper that unfolds across the length of the gallery wall.

Art on the Underground, London GSK Contemporary, Event Horizon, Royal Academy, London Forgotten Bar Project, Galerie im Regierung, Berlin Walls Have Ears, Man & Eve, London Lustwarande 08 — Wanderland, Baroque Forest de Oude Warande, Fundament Foundation, Tilburg, The Netherlands The Brotherhood, Kunstbunker, Nuremberg The Krautcho Club / In and Out of Place, 176 Gallery, London The Arrivals: Brian Griffiths and Matthew Draper, Royal Acedmy Schools, Hornsey

In this illogical «machine» the wings of a tiny origami crane are set in motion by a string passing through a hole in the gallery's wall connected to a series of devices - ultimately propelled by a seven foot waterwheel comprised of giant spinning dentures dipping in and out of a plastic pool of water.

For «OUVERTURE», her first exhibition with Galerie Buchholz, Anne Imhof has presented a number of paintings and sculptural works and staged a eponymously titled performance: a group of actors marched through the gallery as if it were a catwalk; a girl hung out on a window bench shaving her belly, others sat along the walls drinking soft drinks, lounging on mattresses in the backroom, or spat out what looked like pips on the floor.

Selected solo shows: Ruins of a Day, Ivan Gallery, Bucharest (2015), Facts About Which There Can Be Questions, Ivan Gallery, Bucharest (2013), The Inside - Out of the Wall, Ivan Gallery, Bucharest (2012), Atoms and Void, Galeria Posibilă, Bucharest (2010).

Recent group exhibitions include; «Study from the Human Body», Stephen Friedman Gallery, London, England (2014); «Lifelike», Museum of Contemporary Art San Diego, San Diego, USA (2010); «Seismic Shifts», The National Academy Museum, Manhattan, New York, USA (2013); «Now Here is also Nowhere: Part 1», Henry Art Gallery, Seattle, Washington, USA (2013 - 2012); «Invisible Art: About the Unseen, 1957 - 2012», The Hayward Gallery, London (2012); «Floor Corner Wall», Fort Worth Contemporary Arts, Fort Worth, Texas (2010); «Slash: Paper Under the Knife», Museum of Arts and Design, New York (2010); «Chasing Napoleon», Palais de Tokyo, Paris (2009); «The Shapes of Space», Solomon R. Guggenheim Museum, New York (2007); «Art in America», Now, MOCA Shanghai, Shanghai (2007); «Mapping the Self», Museum of Contemporary Art Chicago (2007); «Into me / Out of me», P.S. 1 Contemporary Art Center, Long Island (2006).

On the wall full of Canone Aureo works on paper, in Gallery 3, the collaging of numbers and marks can appear like the fevered working out of a mathematical problem, a cosmic equation that is far more pleasing to the eye and subliminally satisfying than any professorial, blackboard scratchings.

The jargon used on gallery and museum walls, for instance, has long induced eye rolls, even as the art establishment still clings to such practices for validation or even as an intentional weeding out of «less sophisticated» audiences.

Wilson's «Sala Longhi» installation, which he premiered at the 2011 Venice Biennale, takes up the second gallery, with a white glass chandelier emerging from a wall - mounted picture frame surrounded by smaller frames filled with black glass out of which face - shaped circles have been cut.

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.

In Armando Andrade Tudela's latest exhibition, «Alto sorto sopra» (Rising High Above), two sculptural installations inhabit the far left corner of the gallery's rectangular subterranean space, with the second of these wedged between a column and two radiators jutting out from the wall.

The nine by twelve inch picture was displayed in one of the gallery's rear exhibition rooms when someone unscrewed the work from the wall and unbeknownst to the gallery's staff walked out with it during opening hours sometime between Wednesday, February 22, and Thursday, February 23.

Here, López bisects the gallery with the framed - out structure of a wall supporting oversized woodcut prints of windows.

10 pm, 15 July — 6 August 2009, Admission Free Dalston Junction, entrance by the Peace Mural on Dalston Lane, Hackney E8 For three weeks this summer, Barbican Art Gallery is breaking out of the walls of the city and taking art into Hackney.

Setting the tone for severity, the artist commandeered the Brutalist ambience of the gray, cinderblock - enclosed courtyard adjacent to the gallery entrance with a prominently placed, bodily scaled, faux - concrete - and - asphalt work from 1994, Cell with Conduit, thrust several inches out from the wall by a hefty steel armature.