The two -
panel wall hanging from 2010 is part of the show.
Not exact matches
The image of Ethelflaeda, a nun in the 10th century, was created for an exhibition in 2016 and now
hangs on
panels on the
walls of the abbey.
The plasma display
panel is finally making good on a decades - old promise: a big, bright screen so thin it can be
hung on a
wall.
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A two drawer blue floating washstand is accented with polished nickel square knobs and a white countertop completed with a rectangular undermount sink and a polished nickel faucet kit mounted in front of a white backsplash beneath a round salvaged wood mirror lit by two rope lights
hung in front of a gray and white vertical
paneled wall.
His and hers marble top washstands sit on white diagonal floor tiles side by side fitted with a chrome base, glass shelf, and gooseneck faucet fixed beneath inset framed medicine cabinets flanked by frosted glass sconces mounted on vertical
wall panels complementing horizontal shiplap lower
walls lit by a polyhedron pendant
hung from a high ceiling.
A white wood
panel hood is fixed to ivory and blue mosaic
wall tiles above a stainless steel stove and facing two Katie Conical Pendants
hung above an ivory island accented with gold knobs and a white and gold marble countertop.
With white
panelled walls, stylish furniture and heavy plain curtains, they're only let down by the bright Vietnamese paintings on some of the
walls — not in evidence in any of the shots on their website — which in our view should be reinstated in the souvenir shops along nearby
Hang Gai and replaced with something more in keeping with the understated style of the rooms.
Ceiling fans
hang from a wood
paneled ceiling and circulate air that pours in through immense retractable
walls.
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Wall Art Ready to
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Entered from a dramatic black and gold hallway, the Heriot's sitting room is
panelled with ancient oak
panels from St Giles» Cathedral and has
walls hung with tapestry.
Once called The Wedgewood Room, the newly named Gold Roomis situated next door to the Onyx, and features rich walnut
wall paneling and a beautiful gold sunburst
wall clock that
hangs above an ornate walnut and marble fireplace.
Delicately
hung against satisfyingly white - washed and marble
walls, the various semi-transparent
panels are made from a mixture of soft materials, including plastic, latex and polyurethane foam.
The large - scale
panels both occupy and activate the
walls on which they
hang, expanding the pictorial field of the viewer, creating subtly undulated spatial and perceptual references.
Finally, in his installation
Hanging study the bills are used to spell out the word «Reparations» across a series of panels propped against the wall, a future hanging place designated in paper ou
Hanging study the bills are used to spell out the word «Reparations» across a series of
panels propped against the
wall, a future
hanging place designated in paper ou
hanging place designated in paper outlines.
«On the stark white
walls of the pristine gallery, Yamaguchi has
hung eight curiously shaped
panels that resemble puffs of smoke or clouds.
Storage cupboards in the hallway have flat
panel doors that double as
walls to
hang art on.
If one arrangement better suits the irregularities of the
wall on which they are
hung, the order of the
panels may be changed as well.25 This history of repainting and refabrication reinforces the parallel with 4» 33» — not only do the exhibition settings change but the paintings themselves can and do as well.
Instead of paintings on misshapen found materials, nailed to the
wall at their corners, these are rectangles that look like canvases (they are mounted plywood
panels)
hung traditionally.
The
hanging runs the gamut, from conventionally discrete distances between paintings, to a salon - style arrangement around a bench, to a frieze of
panels based on clock faces, to a grid of works that another
wall partially obscures.
Lai experiments with painting installations in Double Exit (2011), which consists of two oil paintings,
hung on either side of a wood
panel that is fixed perpendicular to the
wall, unexpectedly protruding into the gallery space.
The
panels may be repositioned to
hang from a series of hooks on the work's surface or even mounted on surrounding
walls within reach of the chains; both actions are encouraged by the artist in the inscription that appears on the reverse of the painting.
Hung on the gallery's central
wall, each of Incidence's
panels depicts a white triangular prism hovering in flat, periwinkle - hued space.
While she does this, she variously draws on
panels inset into Hex - Washroom — she swaps these out periodically for others
hung like paintings on a nearby
wall — and pulls on her pulleys to slowly tip over her washroom structures, as if they were clunky, rather ineffectual balls themselves.
Nine
wall -
hung, stainless steel
panels contain traces of now further abstracted facial features, with the latticeworks used to recognise people here transposed into etched silhouettes constituting the altered identities we are increasingly forced to assume by the strictures of modern life.
The exhibit also includes a
wall installation with multiple individual fragments, a very large 3 -
panel abstract painting on canvas with fabric, paint, and collaged newspaper clippings about UFO sightings, a ceiling —
hung mobile and a stabile (sculpture) on a pedestal made with wood, string and found metal.
Palmsonntag is composed of a 40 - foot - long palm tree, cast in fiberglass and resin, that lies on its side across the Gallery floor, surrounded by a cycle of 44 massive
panels hanging in rows on the
walls above.
The same
panel hangs high on the opposite
wall over the Bringback models, making plain the exhibition's title as literally TIME reversed.
The title referred to then three - year - old Isis, whom she was thinking about while she made the works — fourteen paintings, two black and white
wall drawings,
hanging Plexiglas
panels, a video, and a figurative neon - tube sculpture.
In this show, White has two
hanging sculptural pieces and two
wall mounted sculptural pieces constructed from aluminum
panels and painted Plexiglas.
Completing the exhibition is an array of four - foot - square enamel on wooden
panel Hole Paintings and a complementary painted steel mobile, two sets of prototypical Shag Paintings, and one hand - pieced fabric
wall hanging.
A site - specific installation, the exhibition includes two
wall - and eye - filling paintings
hanging opposite one another surrounded by twenty - one small paintings on wood
panels.
The works could be described as either painting or sculpture, yet few
hang on the
wall in the traditional rectangular form of painting; the laser - cut aluminum
panels are connected like puzzle pieces, or as sheets of metal leaning against the
walls.
Additionally present is a new series of modular silver ink prints on polyethylene foam
panels that lean on to and
hang from the gallery
walls.
Following a visit to the studio of Piet Mondrian in 1930, where he was impressed with the environment - as - installation, Calder created abstract, three - dimensional, kinetic forms and suspended vividly coloured shapes in front of
panels or within frames
hung on the
wall.
The works are made up of repurposed wood made into
panels and painted on both sides, as well as
wall -
hung painting conglomerations that combine new age - y imagery with his idiosyncratic painting style.
For the last few weeks, a work from 1971 has been
hanging around on the
walls over at Lévy Gorvy in Bond Street; a series of long - lost paper
panels, drawn on in charcoal, which served as a back drop to the two of them posing as living sculptures that same year, soon after the Gilbert & George phenomenon first began at St Martin's College of Art.
Blue, yellow, and white
panels hang on the
walls; there is an austere single bed and the artist's pipe.
During its installation, the mural's component
panels lay exposed: 130 more or less identical C - prints mounted on aluminum, braced on the back so as to
hang by cleats on vertical plywood supports screwed to the
wall.
On the gallery
walls, a series of large collage
panels with Weimar - era references will
hang among photographs bearing the image of a 60 - foot stone monument to soldiers killed in World War I, from Worpswede in northwest Germany, the rural town where Ms. Meckseper grew up.
While the arduous nature of her process is evident throughout, her chosen method of display —
hanging these
panels with separation from the
wall — imparts movement and emphasizes the impact of light, instilling the works with an otherworldly quality.
A few elements I've evinced from Smith's past exhibitions and around the city (including his painted - directly - on - the -
wall installation at Deitch in Long Island City): gestural subject matter (fish, leaves, his name), seriality (in canvas size, subject matter, and
hanging — like his 2011 show at Luhring Augustine featured
panel grids), synthesized flatness and depth (the mixed - media compositions in his 2009 show Currents resembled large - scale flatbed scans, while neighboring canvases maintained every brushy, gloopy instance of Smith's hand).
This diptych is
hung on two perpendicular
walls with the
panels meeting in the corner of the gallery.
There are two different sized
panels (10 and 45), and each are planted, then
hung on the
wall using their included mounting bracket.
In his home, two concrete Inverset
panels (which once formed part of a temporary ramp leading to Boston's Tobin Bridge)
hang in the rafters while a 27 - inch - wide painted girder (that once helped support slurry
walls along Storrow Drive) now helps brace the home's 69,000 - pound roof.
Hanging one's hat between wood -
paneled walls in a glass skyscraper doesn't mean so much in a world where work can be done from anywhere at any time.
It's essentially a bunch of modular, multi-color light
panels that connect to each other and can be
hung on your
wall.
It uses a two - part system with an OLED
panel you can simply
hang on the
wall like a poster, without any frame or bezel, and features a dedicated Dolby Atmos soundbar with upward - firing drivers for left and right height channels.
Hang drywall
panels on metal frameworks of
walls and ceilings in offices, schools, or other large buildings, using lifts or hoists to adjust
panel heights when necessary.
Drywall Finishers prepare
walls for paint or
wall covering after drywall
panel hangers finish their job.