Sentences with phrase «performance gallery visitors»

Not exact matches

On Friday evening and all day Saturday, visitors can wander from gallery to gallery enjoying a variety of receptions and artist demonstrations and catch free live music performances with regional musicians at indoor and outdoor venues throughout the town as they go.

That tone was set at the opening night's performances: Lee Mingwei's durational performance Our Labyrinth (2015), for which a dancer swept the floors of the galleries with a mixture of grains, purifying a path for visitors; Aki Sasamoto's Delicate Cycle (2016), which included such domestic objects as washing machines and bundles of clothing; and Olivier de Sagazan's Transfiguration (2016), in which de Sagazan used clay, paint, and hair to transform himself into a shamanistic figure.

Past exhibitions include — Project: COSMOS, 3rd Biennale of Daejeon, Daejeon Museum of Art, Korea (2016); My Trip to Mars, at the UTS Gallery, University of Technology, Sydney (2015); The Hope of Wrecks, St. Albans Museum, Hertfordshire, United Kingdom (2015); Awfully Wonderful: Science Fiction in Contemporary Art, Performance Space, Sydney (2013); The Great Reclamation, Pictura, Dordrecht, The Netherlands (2011), and The Visitors: The Australian Response to UFO's and Aliens at Penrith Regional Gallery (2008).

Throughout the day, visitors are encouraged to move through the galleries and experience the installation through film, soundscape, kinetic sculpture, and immersive set design; live performances will take place at 1 and 4 pm.

Studio Visitors 2014 Christopher Allen, Founder, Director of UnionDocs Alexander Benenson, Independent Curator Heather Darcy Bhandari, Director, Mixed Greens Gallery Jennifer Blessing, Senior Curator of Photography, Guggenheim Museum Sherry Dobbin, Director of Public Art, Times Square Alliance Taraneh Fazeli, Education Associate, New Museum of Contemporary Art Elizabeth Ferrer, Director of Contemporary Art, BRIC Arts Media Gabriel Florenz, Chief Operations Officer, Pioneer Works Larissa Harris, Curator, Queens Museum Paddy Johnson, Editor, Art Fag City Naima Keith, Assistant Curator, Studio Museum Emily Liebert, Curatorial Assistant, Department of Painting and Sculpture, MoMA Barbara London, Independent Curator / Writer, Former longtime Curator of Media and Performance, MoMA Jennifer McGregor, Director of Arts and Senior Curator, Wave Hill Julie McKim, Director, Kunsthalle Galapagos Magdalena Sawon, Owner / Director, Postmasters Gallery Manon Slome, President and Chief Curator, No Longer Empty Cara Starke, Director of Exhibitions, Creative Time Lumi Tan, Associate Curator, The Kitchen Gregory Volk, Writer, Art in America

Before the performance, visitors are invited to view an accompanying installation of works of art that relate to the play in the Landay Teaching Gallery, jointly - curated by Lily Fernald, the director, Rachel Hawkins, the stage manager, the actors, and the Museum's Student Advisory Board.

, 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.

First getting attention for his ballet - informed performances, he won plaudits when he transformed Elizabeth Dee Gallery into a photo studio in 2011, where he invited visitors off the street to pose in a variety of colorful, costume - enhanced tableaux, and then further bowled over the critics with his 2013 Performa commission «MEEM: A Ballet for the Internet,» a dance performance translating the visuality of the Internet into three dimensions that McNamara restaged during the last Art Basel Miami Beach.

From 4 to 7 pm, galleries and art institutions in the neighborhood open their doors to Art Walk visitors; participating institutions include the California Historical Society, Chandler Fine Art, Crown Point Press, the Contemporary Jewish Museum, the Museum of Performance + Design, the RayKo Photo Center, the UC Berkeley Extension Art Gallery, Yerba Buena Center for the Arts, and more.

Performance and Interactive Works Across the fair, galleries are presenting immersive projects that invite visitors to become part of the artworks themselves.

Her Serpentine Gallery show, 512 Hours, promises another coup for durational work: visitors must enter minus their belongings and they themselves become the materials for Abramovic's performance.

Visitor Services» hours coincide with gallery hours, as well as those of scheduled performances, film screenings, and special events.

The intense multimedia installation of Karen Kilimnik and Kim Gordon offers visitors to Chelsea's 303 Gallery the opportunity to explore the function of performance and its relationship to the audience.

For her 2010 career retrospective at MoMA — for which she sat silently in the museum's atrium for the entire run of the exhibition, inviting visitors to sit opposite her — her performances were represented not only by photographic and video documentation but also by «re-performances,» with live actors recreating many of her past works in the galleries.

Every third Thursday, when the museum stays open until midnight, visitors can find storytelling, spoken - word performances, poetry readings, concerts in the galleries, and, in the case of the King Tut exhibition, belly - dancing demonstrations.

In a third performance element of the show, the artist puts herself in place of her camera's subjects, inviting visitors to react to the performances with a polaroid camera available in the gallery.

She's stretched out naked on the floor under a model skeleton in one piece of performance art, shivered nude on a block of ice in another, and lived on a platform for 12 days in a Chelsea gallery, where visitors watched her bathe, sleep and go to the bathroom.

Now more than ever, there are high - quality galleries, sophisticated museum shows, performances, temporary exhibition spaces, pop - up events, and charity benefits — all to entice visitors away from beach and food.

The first image a visitor sees after climbing up the stairs to the second - floor galleries is a large - screen video of the Trisha Brown Dance Company in performance.

Visitors made a collective collage art project, created shadow puppets, took part in a gallery hunt, and watched live performances of Hansel and Gretel by Rags to Riches children's theater.

Since the early 1990s, his installations and interactive performances have ranged from reconstructing his apartment inside a gallery for visitor's use to cooking and serving food to his audiences to creating a sound - proof recording studio for musicians to record tracks.

There will be a vast range of Barbican Concert Hall performances such as 88 - cymbal - players performing Boredoms and screenings of William Eggleston's filmwork with new scores; various residencies and performances in the Art Gallery, including live sounds, lights and orchestra instruments — one such featuring music, visuals, and a bespoke virtual reality environment designed to incorporate virtual copies of visitors» most - loved objects from their homes.

Advised for the first time by Ruba Katrib (SculptureCenter, New York) in collaboration with returning curator Fabian Schoeneich (Portikus, Frankfurt), highlights include: • An installation - performance by Lloyd Corporation at Carlos / Ishikawa in which wholesale - style «lots» of material are auctioned off to fair visitors • A new installation including a video essay by Hannah Black at Arcadia Missa, coinciding with the artist's solo show at London's Chisenhale Gallery; • Various Small Fires recreating a site - specific variation of The Harrisons» «Survival» series, inspired by research into adapting to climate change — in this case, a proposal for the indoor cultivation of fruit trees • Kraupa - Tuskany Zeidler (Berlin) with Anna Uddenberg whose uncanny figurative sculptures were a highlight of the Berlin Biennial 9 (2016)

Ragnar Kjartansson @ Barbican Art Gallery Quite easily the best performance art we've ever seen is The Visitors — a multi-screen melody that ebbs and flows as nine artists craft a moving hour long song.

Sunday 10 May, 2 - 4 pm An opportunity for visitors to the gallery to experience a «pop up» exhibition featuring artworks by all nine artists participating in the project, including a diverse range of work from sculpture, performance, video, data, radio and sound to interventions and conversations.

Sehgal trained «interpreters» to approach museum and gallery visitors with a comment or a question, in order to engage them not just in talk but in performance.

It will create more spaces for displaying the collection, performance and installation art and learning, all allowing visitors to engage more deeply with art, as well as creating more social spaces for visitors to unwind and relax in the gallery.»

A performance space allows visitors to personally recollect and represent the works they believe should be remembered forever and the exhibition culminates in a weekend event entitled 2053: A Living Museum from 20 — 21 February 2016, when all artworks will have left the gallery to be replaced by members of the public.

On Saturday 19 July, from 1 pm onwards, visitors to Tate Liverpool can take part in Rub - a-glove beatboxing, lyric writing and MCing workshops, listen to music and performance poetry, or try out some design inspired by the gallery's summer exhibition Mondrian and his Studios.

Taking into account its range of exhibitions, participating galleries and other features, including performance art, organizers claim that it has now outstripped the parent fair in Basel in size, though not in numbers of visitors.

His recent solo exhibitions and performances include «The Palace of the Summerland» at Thyssen - Bornemisza Art Contemporary, Vienna (2014), «The Explosive Sonics of Divinity» at the Volksbühne, Berlin (2014), «The Visitors» at Luhring Augustine Gallery, New York, Migros Museum für Gegenwartskunst, Zurich (2012 — 13), Thyssen - Bornemisza Art Contemporary Vienna (2013), Hangar Biocca (2013 — 14), «It's Not the End of the World» at the Fondazione Sandretto Re Rebaudengo, Turin (2012 — 13), «Endless Longing, Eternal Return» at the Frankfurter Kunstverein (2011), and «Take Me Here By the Dishwasher: Memorial for a Marriage» at the BAWAG Foundation, Vienna (2011).