Sentences with phrase «points out of the gallery»

Next to this, an antique telescope points out of the gallery's window, aiming at a bottle of Captain Cook white rum on a nearby roof.

Not exact matches

As Jonas Barish points out in his sharply observed monograph The Anti «Theatrical Prejudice (1981), terms such as theatrical, operatic, melodramatic, and stagey tend to be hostile or belittling, as do phrases like play «acting, putting on an act, making a scene, making a spectacle of oneself, playing to the gallery, and so forth.

I tend to sell more prints than originals, I did start by selling my original work in galleries but as soon as I started selling prints I stopped because it worked out more cost effective to sell online, so I still have a large proportion of my original work, I hope to have an exhibition at some point.

The gallery is buzzing with a crowd of fashion's inimitable characters and misfits who are spilling out onto the street, while inside, Unwerth electrifies the room in a lightening bolt - print Miu Miu jumpsuit and her distinctive flash of wavy silver hair, turning to embrace old friends and new ones alike as they clamber to congratulate her, and all the while snapping well - wishers on her digital point - and - shoot.

And Daredevil has a tendency to stretch out its conversational scenes to the point of enervation, especially with regard to Fisk's attempts to romance an art gallery owner (played by Man of Steel's Ayelet Zurer).

When film director Wong Kar - Wai, who has been hired as the artistic director of the exhibit, points out that placing a gallery focused on the Mao era in a room featuring statues of the Buddha would be offensive, Bolton argues that the publicity from such controversy might be worth it.

By this point, no serious appraiser of the American movie scene could have dismissed out of hand Fincher's place in its gallery of contemporary greats.

Traveling with two kids under the age of six isn't easy but it's rewarding as long as I have a stocked snack bag and point out entraining nooks and facts so that they aren't bored in places like museums and galleries.

After relating this story, she teased her New York dealer David Maupin — of Lehmann Maupin, where her two - gallery show of new works opened last month, part of a protracted one - woman British invasion that includes her first museum show in the States, at MOCA North Miami this December, and her purchase of an apartment there — by pointing out his late arrival to everyone in the room (at this, the suited dealer gave a little wave and sat down).

But the works also pressure the standard white cube gallery, since Sánchez presented them in a dentist's office, a sanitary space which, as he points out, is another kind of white cube.

Colin Gleadell points out that London is seeing a steady increase in the number of galleries featuring Italian Postwar art.

Caroline Campbell, who is Head of Curatorial there, points out that the majority of the gallery's curatorial staff are educated in the feminist debate.

The Western - style architecture, the presence of American and European flags at the factories, and Sunqa's use of a Westernized style all point out the role of globalization in 19th - century life, trade and art — a salutary reminder for American art galleries in an encylopedic museum.

JEIn 1959, Helen was doing very Ab - Ex pictures, and that was the year of the famous Willem de Kooning exhibition at the Sidney Janis Gallery that sold out on the first day — the high point of 1950s Abstract Expressionism's reception up until then.

2006 Renegades: 25 Years of Performance Art at EXIT ART - A Selection From The Archives, Exit Art, New York, NY Do Not Stack, Roberts & Tilton, Los Angeles, CA One Way or Another: Asian American Art Now, The Asia Society, New York It's Time for Action (There's No Option), The Migros Museum für Gegenwartskunst, Zurich, Switzerland New York, New York: Fifty Years of Art, Architecture, Photography, Film and Video, Curated by Lisa Dennison and Germano Celant, Grimaldi Forum, Monte - Carlo, Monaco Still Points of the Turning World, Site Santa Fe, Sixth International Biennial, curated by Klaus Ottmann, New Mexico Into Me / Out of Me, P.S. 1 Contemporary Art Center, Long Island City, NY Six Degrees of Separation, STUX Gallery, New York, NY LOVE!

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.

Ron Warren, director of the Mary Boone Gallery, which was changing its one - artist installations daily, put a finer point on it: «We sold out the Barbara Kruger show by 2:00 p.m. yesterday.»

This developed with unnerving rapidity into a discussion of the finer points of «Swissness» — there are, it turns out, a great many — and a work - by - work deconstruction of the auction lots filling the front gallery.

The National Gallery stepped in to point out the national importance of the work, and an export ban was placed on the painting until a UK buyer could match the hammer price.

The Financial Times scouts out the Continental art market pointing to the expansion of Tornabuoni Gallery into Paris with the largest show of Lucio Fontana works in decades:

It invites five galleries from Brussels and Paris alongside Norte Maar, which pushes further and further out in Brooklyn, almost to the point of requiring a runway at Kennedy airport.

If the purpose of these works are to point this out the success of them may only lay within the bounderies of the gallery?

A packed rush hour bus churns up Glebe Point Road and all eyes turn in unison to the kaleidoscopic colour bursting out of the brightly lit Shop Gallery.

On a cold weekday afternoon on an upper floor of one of his Chelsea galleries, the art dealer David Zwirner pointed out the window at a corner lot on West 21st Street that is under demolition.

Francis Alÿs runs into the eye of a tornado; Bas Jan Ader sails out to sea in search of the miraculous to tragically never return; ORLAN undergoes plastic surgery; Marina Abramovic's points a a bow and arrow at her own heart; Pedro Reyes creates musical instruments out of firearms and Ruth Proctor freefalls in the gallery... Walk into a physical, audio, intellectual and emotional unknown with over 70 pivotal works from the mid-20th century to the present day by major international artists including Marina Abramović, Eva Hesse, Yves Klein, Marcel Duchamp, Andreas Gursky, Gerhard Richter, Carsten Höller, Yoko Ono, Fischli & Weiss, Jose Dávila, ORLAN, Chim ↑ Pom and Ai Weiwei, as well as key works by JMW Turner and Maze: Risk edition by Jasmin Vardimon Company.

But, as Marc Steene of Pallant House Gallery points out, it's still a long way behind Europe and the USA, where such art has been exhibited and collected for years.

Tanya Bonakdar, owner of a Chelsea gallery, points out how the windows frame a Charles Long sculpture in its green landscape.

«These pieces all carry a history of art - making that spans five to ten years,» points out Pfister during a conversation at the gallery, and, in some cases, these references go back further into the past to post-minimalism and reductivism.

In «Mainstream Capers» from 1986 he acknowledges the significance of such exhibitions, which were events unimaginable at the beginning of the 80s; but Chambers also points out that the shows were realised on terms dictated by white gallery directors.

All four galleries have pointed to rising West Loop rents — many say leases have quadrupled — as part of the reason for their migration west, an area already staked out by big - name galleries such as Corbett vs. Dempsey and Monique Meloche.

A focal point of the action was to draw out the parallels between the rapid gentrification of neighborhoods in New York and Los Angeles, and how artists and galleries in both cities often contribute to that process.

Upon entering the gallery space, the viewer is confronted by an installation consisting of three video projections that present the most pressing questions concerning the supposed objectivity of academic knowledge by pointing out the corporatization of institutions of higher learning in the United States and the sometimes controversial positions that universities fall into when trying to physically expand amidst disenfranchised communities, as well as falling into possible contradictions with the agendas of university donors.

PS I've recently been serving as external examiner on the new Curating the Contemporary MA, a joint course between London Metropolitan University and Whitechapel Gallery, and I've noticed that the students sometimes forgot or didn't realize the final and very important stage of their curatorial project — that is, what Maria pointed out: where and how it lands.

As a release from Amos Eno Gallery points out: «March has been, and continues to be, interested in creating visual art that can transcend the physicality of the material surface and be a vehicle or emotional and intellectual contemplation and interpretation, as well as a metaphor for the fragility of human existence.»

As the wall text points out, the effects span the spectrum of visible light, aided and abetted by the orange glow of the reflective material on the backs of the multiple pieces spread across an entire wall of the gallery.

There has never been a gallery that could satisfy any gallerygoer all the time, and even those who have been dismayed by the spectacles engineered by Dan Colen, Damien Hirst, and Mike Kelley at Gagosian in recent years will point out that Gagosian has also mounted beautiful exhibitions of the sculpture of David Smith, and shows of paintings by Picasso and Monet that are routinely and quite accurately described as «museum quality.»

2013 Education, Vögele Kultur Zentrum, Pfäffikon, Switzerland 2013 Block Party: Contemporary Craft Inspired by the Art of the Tailor, AUB, Bournemouth, England 2013 Living Archive, Paco Das Artes, Sao Paulo, Brasil 2013 Bienniale Cuvee, Offenes Kulturhaus, Linz, Austria 2013 Out of Fashion, gl Holtegaard, Holte, Denmark; travelling to Kunsten Museum of Modern Art Aalborg, Aalborg, Denmark 2013 Pivot Points: 15 Years & Counting: 15th Anniversary Collection, MOCA, North Miami, USA 2013 Brilliant Disguise: Masks and Other Transformations, Contemporary Art Centre, Louisiana, USA 2013 Earth Matters: Land as Material and Metaphor in the Arts of Africa, Smithsonian Institute, National Museum of African Art, Washington DC, USA 2013 Encounters: Photography from the Sheldon Museum of Art, Sheldon Museum of Art, Lincoln, Nebraska, USA 2013 Le Pont, Musée d'Art Contemporain, project for Marseille - Provence 2013 European Capital of Culture 2013 Pedro Lasch, Susan Harbage Page and Yinka Shonibare, Nasher, Museum of Art at Duke University, North Carolina, USA 2013 Rembrandt, Van Dyck, Gainsborough: The Treasures of Kenwood House, London, England, Seattle Art Museum, Seattle, WA, USA 2013 Victoriana: The Art of Revival, Guildhall Art Gallery, London, England 2013 Kunst & Textile, Kunstmuseum, Wolfsburg, Germany 2013 Miniartextil, Villa Olmo, Como, Italy

One problem, however, as Barnaby Wright points out in his essay, «Jasper Johns — Regrets» (2014), which is included in the catalogue accompanying the exhibition, Jasper Johns: Regrets, at the Courtauld Gallery, London (September 12 — December 14, 2014), is that Johns has never shown any affinity with «the populist imagery of Andy Warhol or the «objective» flatness of Frank Stella.»

Patches of brilliant pinks, various hues of blue and earthy olives peek out from where the white wall has been scraped to reveal the many layers underneath — evidence of the past 29 murals that have, at one point or another, occupied the museum's lobby gallery.

In the main gallery, the drawing Green City presents an exact copy of a tourist map of Berlin redrawn in green ball point pen and white out.

As if to prove my point, in attempting to make sense of the show's title, Relics (because the work itself does not imply historical artifact or remains), I discovered that the title piece was tucked away, out of the public's view, and inside of the gallery director's office, further underscoring the disparity between title and object.

I was admiring what I was sure were paintings by Luisa Rabbia at the estimable Peter Blum gallery when the artist was summoned to point out that the lusciously colored, sweeping canvases were drawings, spiraling pencil marks and delicate fingerprints floating over the veils of indigo veined with red tributaries.

Ebgi goes on to point out that the percentage of women artists on commercial gallery rosters throughout the United States tends to linger at an iniquitous 30 %, a bias she is challenging head - on.

Though McGee views graffiti as a vital method of communication, one that keeps him in touch with a larger, more diverse audience than can be reached through the traditional spaces of galleries or museums, he makes fine use of traditional exhibition spaces, using them not only to communicate a subcultural point of view to gallery goers but also to point out ways in which space can be reclaimed.

I would point out that the Bushwick galleries of 56 Bogart Street are having a particularly strong month, but exceptionalism there now seems to be the rule.

While the exhibition's framework looks back through time and out into a particular region, it ultimately emphasizes more introspective concerns that investigate the restrictions, responsibilities, and potentials that contemporary art galleries have as points of contact.

Notes towards A Sculpture Cycle # 2 — Vision, Group show, Nomas Foundation, Roma 2013 Editionshow, Chert, Berlin Piet Zwart Institute Master of Fine Art Interim Show, Duende Studios, Rotterdam easy does it, touring exhibition: David Dale Gallery & Studios, Glasgow; Aid & Abet, Cambridge; Supercollider, Blackpool Take Me Out, Art Projects, London Art Fair, with Limoncello Gallery, London 2012 Out of Range, curated by Chris Sharp, Rome Liste, Basel, with Chert, Berlin Group show with Dagmar Hepner, Hannah James, Charlotte Moth, Cole, London 2011 The Potential for Windows and Scale, Contemporary Art Society, London Duo exhibition, The Mews Project Space, London Anti Library, SPACE, London Space Exchange, Aid and Abet, Cambridge What does, and what does not, belong to words, Baginski Galeria, Lisbon 2010 Point of address, OUTPOST, Norwich.

When I visit Jesse Greenberg at 247365, the two - floor Stanton Street gallery he runs with fellow artist MacGregor Harp, he's quick to point out the advantages of spaces downtown.

New York and North Adams, Massachusetts, Drift of Summer, RM Gallery, Auckland, New Zealand Observe / Recognize, Berlin Gallery at Legends Santa Fe, Santa Fe, New Mexico 2010 Collision, Rhode Island School of Design Museum, Providence, Rhode Island Lush Life, Invisible Exports Gallery, New York, New York Everyday Mystics, Patricia Sweetow Gallery, San Francisco, California Vantage Point, Recent Acquisitions, Smithsonian National Museum of the American Indian, Washington DC Raw State, Shelby Street Gallery, Santa Fe, New Mexico New Paintings, Staley Wise Gallery, New York, New York Alluring Subversions, Timken Art Center, California College of The Arts, San Diego, California Currents, University of Northern Colorado, Greeley, Colorado organized by Cicely Cullen 2009 On Stellar Rays, Lover, New York, New York, organized by Kate Gilmore and Candice Madey Signs Taken For Wonders, Jack Shainman Gallery, New York, New York, organized by Isolde Brielmaier, Surveillance, Affirmation Arts, New York, New York, organized by Rachel Vancellete Solution, DiverseWorks, Houston, Texas, organized by Janet Phelps Eiteljorg Museum, Recent Acquisitions, Eiteljorg 2008 - 09 Fellows, Indianapolis, Indiana The Banality of Good, Claremont Graduate University, Claremont, California, organized by Chris Christion Currents, Metro Visual Arts Center, Denver, Colorado, organized by Cicely Cullen Relevant, Nathan Cummings Foundation, New York, New York, organized by Amerinda 2008 Blueballs, Production Fund LAB, New York, New York, organized by Jackie Saccoccio Visions, Flushing Town Hall Projects, Flushing, New York, organized by Omar Lopez - Chahoud Voices of the Mound, Institute of American Indian Arts, Santa Fe, curated by Linda Lomahaftewa - Singer Kentler International Drawing Space and Long Island University, Native Voices, New York, New York 516 Arts, Cautionary Tales, Albuquerque, New Mexico, curated by Holly Roberts Jersey City Museum, 1 × 1 Project, Shameless, Jersey City, New Jersey, curated by Rocio Aranda Alvarez Circa Art Fair, Puerto Rico, with Samson Projects Volta 4, Basel, Switzerland, with Samson Projects 2007 SONOTUBE, Santa Barbara Contemporary Arts Forum, Santa Barbara, California, curated by Miki Garcia Off The Map, The National Museum of the American Indian, Smithsonian Institution, New York, New York, curated by Kathleen Ash - Milby New England School of Art and Design, Boston, Massachusetts, organized by Charles Giuliano Postmillennial Black Madonna (in two parts): Paradise @ MoCADA, and Inferno @ Skylight Gallery, Brooklyn, New York Newark Open 2007, Newark, New Jersey, organized by Omar Lopez - Chahoud 2006 The Aldrich Museum of Contemporary Art, No Reservations, Ridgefield, Connecticut, curated by Richard Klein Paul Kopeikin Gallery, Paperworks, Los Angeles, California, curated by Daria Brit Shapiro Westport Arts Center, BROOKLYN, Westport, Connecticut, curated by Amy Simon State University of New York, Paumanoka, Stony Brook, New York, curated by Stephanie Dinkins The Jersey City Museum, Tropicalisms, Jersey City, New Jersey, curated by Rocio Aranda - Alvarado ARCO, Madrid, Spain, with Samson Projects MACO Art Fair, Mexico City, Mexico with Samson Projects 2005 Le Désert de Retz, Massimo Audiello, New York, New York, curated by David Hunt Alona Kagan Gallery, From the Root to the Fruit, New York, New York, curated by David Hunt Out of Bounds, Wave Hill, Glyndor Gallery, Bronx, New York, curated by Jennifer McGregor Evolving Pattern, New Jersey State University, Jersey City, New Jersey, organized by Midori Yoshimoto Play, Iandor Fine Arts, Newark, New Jersey, curated by Jomo Jelani Heywood Artists Alliance AIR Exhibition, Cuchifritos Gallery, New York, New York 2004 The Urge That Binds, Samson Projects, Boston, Massachusetts Jersey City Museum, Jersey (New), Jersey City, New Jersey, curated by Dr. Rocio Aranda New American Talent, The Jones Art Center for Contemporary Art, Austin, Texas, selection by Jerry Saltz The Space Between Words, Kean University, Union, New Jersey, curated by Judith Page Timeless / Timeliness, Aljira Center for Contemporary Art, Newark, New Jersey, curated by Dominique Nahas Super Salon, Samson Projects, Boston, Massachusetts, curated by Camilo Alvarez

A cynic might point out how convenient it is for the Museum of Modern Art to have an exhibition that essentially doubles the narrative of modern art enshrined in neighboring galleries and on the floor below.