Sentences with phrase «placing objects in spaces»

Given Judd's particular vision and his obsession with placing objects in spaces, the challenge I face is to create an exhibition with which he would have felt comfortable.

In The Guardian, Serota discusses his plans for the exhibition, saying, «Given Judd's particular vision and his obsession with placing objects in spaces, the challenge I face is to create an exhibition with which he would have felt comfortable.

A fierce friend of Heiss, she notes that the two have often been overheard arguing, but, in her words, «In reality we are reliving a continuing dialogue about the best way to place objects in space.»

Not exact matches

I feel like meeting someone in meatspace that I've developed a relationship with online would be a lot like having a dream where your mind has placed a really familiar object in a place that it's not supposed to be... like your car on a boat, or your mom in a space suite.

Let's see, hmmm, even if I didn't have to pay for it or the cleaning of it with my tax dollars, I would object to any monument to any religion being placed in a public space that I pay to keep clear for my and others use.

These symptoms include, for example, recurrent thoughts about the possibility of catching any disease after being in contact with objects located in public spaces, fear of having inadvertently carried out some potentially dangerous behavior (such as leaving the door open when leaving home), or the need to place the objects of house or the workspace in perfect order and symmetry.

Aireal, developed by Disney Research in Pittsburgh, Pennsylvania, lets users feel virtual objects in front of them by sending bursts of air to places in space that coincide with the virtual object.

Place two metal plates close together in otherwise empty space and an imbalance in microscopic jitters outside and between the plates forces them together: nothing can make objects move.

Docking at space stations and your ship is like entering a small instance and is uninspiring seeing the same graphics with the same objects in different places.

Provides signal metering and a dynamic view of all mix objects, so you can see where each object is placed in the 3D space

Use the binaural distance controls to adjust the degree of binaural effect as you place objects nearer or farther away in the binaural space.

Content mastered for home reproduction includes all the audio objects from the original film, placed in three - dimensional space, just as in the cinema.

For those wondering, the board layout and the background objects were created in Sketchup, while the arrows, spaces, and other assets were placed in using Photoshop.

The downmix was still very immersive and spacious, with objects placed at points in space similar to a true Atmos mix (helicopters and drones are the best examples), but lacking some of the location preciseness and, of course, some loss of the height channel experience (although the Dolby TrueHD downmix still produced a better - than - traditional «horizontal» 5.1 or 7.1 channel mix).

After you chose your preferred style, you are faced with a simple interface, where all you have to do is drag - and - drop the object you want from the available built - in asset library and place it inside the blank space.

Ordinary everyday objects placed in the common spaces suddenly became sources of interest.

Long mode: In Utility mode, place the passenger seat in the full reclining position to create a space up to 2,400 mm long to carry long objectIn Utility mode, place the passenger seat in the full reclining position to create a space up to 2,400 mm long to carry long objectin the full reclining position to create a space up to 2,400 mm long to carry long objects.

Arranged in chronological order, the poems focus on objects ranging from concrete, such as the red wheelbarrow and white chickens in William Carlos Williams» well - known Imagist poem, to abstract, like Lord Byron's elegant and pithy ode to the letter e: «The beginning of eternity, the end of time and space / the beginning of every end, and the end of every place.»

You may place a box or other space - occupying object in the back of the crate to make it smaller and remove it as the puppy grows in size.

In other embodiments, the range image included in the guide image may also serve as the object placed in the virtual space (e.g., the game spaceIn other embodiments, the range image included in the guide image may also serve as the object placed in the virtual space (e.g., the game spacein the guide image may also serve as the object placed in the virtual space (e.g., the game spacein the virtual space (e.g., the game space).

Sony 3D audio is a technology which enables game developers to place audio objects in 3D space around the player, a technique recently implemented in Uncharted 4, Horizon: Zero Dawn, and MLB: The Show 17 to increase player immersion.

The phone uses several technologies, including Motion Tracking (to detect the movement of the user), Depth Sensing (to detect the distance of objects in the physical space) and Area Leaning (the device spatial memory for drift correction and also support multiplayer games that take place in space physical space).

In more traditional gallery spaces, Martin has blurred the distinction between the art object and the viewer, placing paintings on floors, ceilings, and displayed among household objects.»

Serra's interest in place and the way an object can shape the space around it made him a popular artist for public art commissions.

Antoine strives for taking complete possession of the space, placing objects in a way which seems as if they self - generated there.

[Lovell] works in a shadowy periphery between substance and ephemera, two and three dimensions, spiritual and material culture, self and other, populating this ambiguous space with people, places, and objects from the past.

A retrospective of Grenier's work, Language Objects: Letters in Space, 1970 - 2013, took place at Southfirst Gallery, New York, in 2013.

Serra said this about his works: ``... if I had to give a brief on what I thought sculpture needed to be, it was to do away with the object, to get sculpture off the pedestal and expand the space of the field, to open up the container and to foreground time and bodily movement in relation to the intensity of place and context.»

When I use objects from Nigeria, I'm thinking of the past having a place in the present, and how you take your experiences — of spaces, climates, landscapes — with you.

Prominently placed in the Garden Room at the beginning of the exhibition is Scatter Piece (1968), whose setting gives the viewer control over how he experiences the objects by moving through the space.

«Kelly's visual vocabulary is drawn from observation of the world around him — shapes and colors found in plants, architecture, shadows on a wall or a lake — and has been shaped by his interest in the spaces between places and objects and between his work and its viewers.

By placing each fragment against opposite walls of the gallery so that the front half appears from one wall, while the back disappears into another, Paolini not only destroys the object quality of the sculpture but in doing so creates an installation which calls attention to the architecture of the particular exhibition space.

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.

The plantings also serve as a screen that will guide views both in and out of the space, highlighting the potential of the bench to be both a place for restful seeing and an object of playful looking.

Exhibitions and Productions Bow Arts (2017), «Rhino», London (solo show) Bow Arts (2016), «Desire Caught by the Tail», London (solo show) Wimbledon Space (2016), «The Golden Face Lift» (solo show) Dyson Gallery (2016), «Act Natural», London (exhibiting artist) Riverlight Gallery (2015), duo exhibition, London (exhibiting artist) The Rag Factory (2014), «Love Kills», London (as Artistic Director of LUXE / performer) The Chelsea Theatre (2014), «Love Kills», London (as Artistic Director of LUXE / performer) Floating Island Gallery (2014), group show, (exhibiting artist) Spill Festival (2013), «PORN», Ipswich (exhibiting artist) Departure Foundation (2013), group show, «Unperforming» (exhibiting artist) Testbed Gallery (2013), group show, «acts of 2», (exhibiting artist and curator) Testbed Gallery (2012), group show, «acts of», (exhibiting artist and curator) Freud Museum (2011), group show, Objects of Desire, London (exhibiting artist) Battersea Arts Centre (2010), Accidental Festival, London (exhibiting artist) Blue Print (2010), group show, In Time, London (exhibiting artist) perFORM (2009), group show, Triangle Space, London (exhibiting artist) Live Art Lectures (2009), group show, London (exhibiting artist) Disconnected (2009), web - based group show, created and uploaded in London (exhibiting artist) Tate Modern (2008), The Living Currency, London (live performance) Home Sweet Home (2008), various locales, London (co-founder and exhibiting artist, group show) Blackout (2008), group show, Chelsea Art, London (exhibiting artist) Press Play (2008), group show, Chelsea Art, London (exhibiting artist) Climate of Change (2007), group show, Southwark Art (exhibiting artist) Heiner Müller Programme (2001), Access Theatre, New York (as Artistic Director of LUXE / performer) Vengeance, Bloodlust & Afternoon Tea: Armageddon, Cupcakes & the Poisonous Love of Heiner Müller's «Quartet», «Heartpiece» & «Medeamaterial» (2005) Theatro Technis, London (as Artistic Director of LUXE / performer) EH JOE (1998), The Kraine, New York (as Artistic Director of LUXE / performer) Meditation JoJo (1996), Mabou Mines Suite, New York (director and solo performer for video) Dixon Place Funereal (1995),» Funereal», New York, (director and performer) Mabou Mines / Suite (1994), «Funereal», New York (director and performer) H.E.R.E. (1994), «HOME», New York (director and performer) Glendale Studio (1993), «HOME», Arizona (director and performeIn Time, London (exhibiting artist) perFORM (2009), group show, Triangle Space, London (exhibiting artist) Live Art Lectures (2009), group show, London (exhibiting artist) Disconnected (2009), web - based group show, created and uploaded in London (exhibiting artist) Tate Modern (2008), The Living Currency, London (live performance) Home Sweet Home (2008), various locales, London (co-founder and exhibiting artist, group show) Blackout (2008), group show, Chelsea Art, London (exhibiting artist) Press Play (2008), group show, Chelsea Art, London (exhibiting artist) Climate of Change (2007), group show, Southwark Art (exhibiting artist) Heiner Müller Programme (2001), Access Theatre, New York (as Artistic Director of LUXE / performer) Vengeance, Bloodlust & Afternoon Tea: Armageddon, Cupcakes & the Poisonous Love of Heiner Müller's «Quartet», «Heartpiece» & «Medeamaterial» (2005) Theatro Technis, London (as Artistic Director of LUXE / performer) EH JOE (1998), The Kraine, New York (as Artistic Director of LUXE / performer) Meditation JoJo (1996), Mabou Mines Suite, New York (director and solo performer for video) Dixon Place Funereal (1995),» Funereal», New York, (director and performer) Mabou Mines / Suite (1994), «Funereal», New York (director and performer) H.E.R.E. (1994), «HOME», New York (director and performer) Glendale Studio (1993), «HOME», Arizona (director and performein London (exhibiting artist) Tate Modern (2008), The Living Currency, London (live performance) Home Sweet Home (2008), various locales, London (co-founder and exhibiting artist, group show) Blackout (2008), group show, Chelsea Art, London (exhibiting artist) Press Play (2008), group show, Chelsea Art, London (exhibiting artist) Climate of Change (2007), group show, Southwark Art (exhibiting artist) Heiner Müller Programme (2001), Access Theatre, New York (as Artistic Director of LUXE / performer) Vengeance, Bloodlust & Afternoon Tea: Armageddon, Cupcakes & the Poisonous Love of Heiner Müller's «Quartet», «Heartpiece» & «Medeamaterial» (2005) Theatro Technis, London (as Artistic Director of LUXE / performer) EH JOE (1998), The Kraine, New York (as Artistic Director of LUXE / performer) Meditation JoJo (1996), Mabou Mines Suite, New York (director and solo performer for video) Dixon Place Funereal (1995),» Funereal», New York, (director and performer) Mabou Mines / Suite (1994), «Funereal», New York (director and performer) H.E.R.E. (1994), «HOME», New York (director and performer) Glendale Studio (1993), «HOME», Arizona (director and performer)

In other words, viewers no longer focus on an object atop a pedestal placed within the open space of a room as they do in regarding conventional sculpture, but are directed to one wall and then across to the other, at first bemused by the illusion of the figures coming through the wall before realizing that they are seeing two halves of a wholIn other words, viewers no longer focus on an object atop a pedestal placed within the open space of a room as they do in regarding conventional sculpture, but are directed to one wall and then across to the other, at first bemused by the illusion of the figures coming through the wall before realizing that they are seeing two halves of a wholin regarding conventional sculpture, but are directed to one wall and then across to the other, at first bemused by the illusion of the figures coming through the wall before realizing that they are seeing two halves of a whole.

In her past project Light Atlas (2014), a result of a yearlong road trip throughout the United States, the artist explored the social and geographic characteristics of paintings as what she calls «place settings,» or stakeholders — as objects that create meaning from particular representations of claims to space.

In this large, light - filled space, a series of assemblages, composed of found objects and dedicated to people and places, surround one last «penetrable»: PN27 Penetrable, Rijanviera (1979), a spare installation furnished only with water, gravel, sand and music, which simultaneously recalls Oiticica's very first geometric constructions and the increasingly complex sound - and image - filled environments of his later years.

In his writings, Glissant views this wandering as rhizomatic, creating relationships between object / body, place and idea that cross multiple boundaries, while leaving a space for reflection and projection.

Their examination of space in contemporary art therefore led to a careful selection of works: the concept of space that forms the object of this project is diverse, all - encompassing, starting from the original meaning of the word — an available place for the objects of reality, which are identified by their way they are arranged or positioned and possess physical dimensions, hence are susceptible of being moved.

At Headlands, Soto will relocate 24 Hours into Headlands» Project Space, producing an exhibition that includes architectural interventions, continued photo documentation, and a workshop for exhibition visitors to produce objects to be placed in the sSpace, producing an exhibition that includes architectural interventions, continued photo documentation, and a workshop for exhibition visitors to produce objects to be placed in the spacespace.

Using glass and a range of everyday objects such as pebbles, placed in various locations around the gallery space, Edwin Lo seeks to recreate the sound of the Hong Kong seascape in a performance piece that is totally unique to its location and time.

Under the rubric of «spaces / places,» holdings range from the works of Gordon Matta - Clark, which intervene in existing architectural structures, through Fred Sandback's Minimalist drawings in thread, to the organically formed objects of Ernest Neto, and include Louise Lawler, Bernd and Hilla Becher, Jeff Wall, Teresa Hubbard and Alexander Birchler, Simon Starling, Janet Cardiff and George Bures Miller, Gabriel Orozco and Loan Nguyen.

What it embodies however is not a physical object, but an ideation of space that only takes place in the mind of the observer.

The nuances of the continent's terrain have been mapped through the artists» interpretation and subjective depictions of the form, further contextualized in relation to the chosen space, place and objects.

Textures build up richly this way... My compositional spaces are shaped around my experience looking and painting, rather than from a believable deep space in which objects are placed.»

Parkinson notes that «the works, whilst coming from varied places of logic around abstraction, at some point in their realisation share a notion of object and placing them in proximity to other objects, persons or spaces, new relationships emerge inviting us to look again.

Everything Is Collective play with the limits of human perception in their Brief History series (2014), crossing back and forth between photographed and computer - modelled imagery with their immaculate monochromatic still life images that experiment with the weight and placing of objects in space.

Through direct, embodied visitor contact, Sweet Gongs Vibrating aspires to activate the sensorial qualities of objects in order to illustrate alternative narratives regarding access, place and space.

Internationally renowned artist Andrea Zittel speaks about her work and describes how her studio in the high desert of California serves both as a space for exploration and as a place for crafting and presenting objects, materials, spaces, and ideas.