Sentences with phrase «room of the exhibition»

Paired together in the final room of the exhibition are two profound and iconic works that scrutinise the intensely personal bond between mother and child.

In the final room of the exhibition, coming full circle to the first room in fact, a self - portrait hangs, at the age of eighty.

The first room of the exhibition takes on a gloomy and philosophical feeling with Nara's popular large - scale paintings.

The final rooms of the exhibition fall flat.

Entering the first rooms of the exhibition that feature Abstract Expressionism, and Stain Painting, the educated viewer's credulity takes a nose - dive.

Paintings of Caroline hang together in the formidable final room of this exhibition, her features worked over in tough spiderwebs of intent drawing and suspended in brown and grey washes.

Dazzling depictions of water lilies in the fifth room of the exhibition recall Monet while a group of still lifes in the final room reference the subtle minimalism of Giorgio Morandi.

Another new territory through which Richter has reinvestigated his means of abstract painting, are his «Flow» paintings, a group of which are presented in one of the ground floor rooms of this exhibition.

The final room of the exhibition, which made a considerable impact, was given over to major works by the abstract expressionists.

Works from this period occupy the final room of the exhibition at Hauser & Wirth.

A small side room of the exhibition is devoted to a new VR piece by KATSU that is an «homage» to the Tenderloin area of San Francisco, a region «with deep roots in graffiti culture» that is slowly being sanitized and gentrified.

The transition of the concept from the generally unfrequented storage rooms of an exhibition space to a major museum of course comes with an entirely different set of challenges.

Tate Britain Alison Black artseer.wordpress.com If you are looking for Civilisation in Tate Britain's Kenneth Clark: Looking for Civilisation, you will have to keep on looking until the sixth and final room of the exhibition.

The juxtapositions are both overt: the second part of the exhibition concentrates on Fontana ceramics and Ruby ceramics; and more subtle: the first two rooms of the exhibition intertwine bronze works by both artists, each of which shares a rare ability to simultaneously expose the significance of both the material from which the work was molded, with equal emphasis on the intrinsic nature of bronze as essential to the work's perception.

However, the groupings are solid and essentially anchor the two main rooms of the exhibition.

By contrast Rednecks, hung in the final room of the exhibition, shows runic forms painted in a deep red and gathered in the center of an all white, horizontally - oriented canvas.

«Many of the works, particularly in the final room of the exhibition, explore themes that had preoccupied Louise Bourgeois for years: birth, reproduction, motherhood, sexuality and human relationships,» the gallery's senior director, Alice Workman, told T. «It's fascinating that even at this time of her life, Bourgeois still reflected on both the experience of being a child herself and also of giving birth to her own children.»

In the second room of the exhibition Atlas will present Joints 4tet for Ensemble (1971 - 2010), an installation of Super-8 colour films of the dancer Merce Cunningham shot by Atlas in 1971.

The print rooms of this exhibition, which 20 years ago used to feel rather like an afterthought in the last gallery, have been moved to the heart of the show, and many of the prints will be making their way into other rooms, to take their place beside paintings.»

The rear room of the exhibition is dominated by an overwhelming nine - metre long painting installation, which at first glance seems to block the passage of the viewer.

In the first room of the exhibition the audience meets an extensive floor work made of fragments of Campau's characteristic painted acrylic sheets produced over the past decade.

Throughout the two rooms of the exhibition, clear and instructive wall texts are displayed, some positioned individually in wall recesses and others creatively grouped together, discussing different collections.

Narrator: In the first room of this exhibition, we saw that Stella wanted to make paintings that were as simple and straightforward as possible.

Intoxicated Ofili surely has been, and the stunning new work on show in the final three rooms of the exhibition is evidence.

With the shift to Richter's more recent phase of abstraction in the third room of the exhibition, formal experimentation mixes with playfulness again in the clownish, creepy deformation of Francis, the Cheerful (2015), while Will the Red Beat the Black?

Described variously as «a treasure trove of Impressionism» by Flavie, and as «a sort of commercial tool» by Patry, Durand - Ruel's apartment will be evoked in the first room of the exhibition with a photo of his salon, door decorations designed by Monet, and of course Impressionist masterpieces including Renoir's Danse à la ville and Danse à la campagne (both 1883 and in the Musée d'Orsay collection), which Flavie remembers from her grandparents» apartment.

This sense of movement mainly applies to the works hanging in the cavernous main room of the exhibition, where one finds 16 large oil paintings encrusted with pebbledash, a crude sort of cement composed of shells and sand that is used for building in Rees's native Wales.

The three rooms of the exhibition seem to be arranged by aesthetic similarity and complementary mood.

Inspired by the experience of standing alone in the first room of the exhibition: Van Gogh and the Colors of the Night at the Museum of Modern Art, December 2008

In the final room of the exhibition, Still's PH - 235, also known as 1944 - N - No.

Luciano Fabro's imposing Italia Feticcio (1981), a tangled mess of copper ribbon loosely forming the infamous boot shape of the Italian peninsula, hanging from the ceiling in the first room of the exhibition, most clearly evokes this tension between chaos and charm in a country which has seen 63 governments in fewer than six decades.

The first few rooms of this exhibition see painting as a glorious conversation between the greats, whose works mingle and play off each other with mutual and electric creativity.

As Schnabel wrote about the seminal painting Jack the Bellboy, featured in the last room of the exhibition, «The difference between the physical and pictorial elements of the painting confounded an easy viewing; it was hard to look at.

This exhibition does start slow with some preparatory drawings but as visitors step inside the main rooms of the exhibition, it comes to life both with great works and some excellent architectural insights.

In the first room of this exhibition, her sculptures are intermingled with similar artworks by her contemporaries.

In another room of the exhibition are three works from Pfeiffer's ongoing Caryatid series, begun in 2003.

In the final room of the exhibition, visitors will see works from César's Human Imprints series — casts of body parts that resonate with the hyperrealism of neighboring works by American artists John de Andrea and George Segal.

Working through themes of the body, the body politic, and resistance, the final room of the exhibition focuses again on the body, though in more playful, sexual ways.

In the first room of the exhibition, groupings of customized mylar balloon shapes are remixed into Spartan warriors, Odysseus, Prometheus or other Greek tropes.

A separate room of the exhibition will contain seven vintage portraits of von Furstenberg by Warhol, as well as others of her by Chuck Close and Zhang Huan.

Paintings by Mickalene Thomas and Cynthia Girard - Renard, a textile by Shannon Bool, and a large collage by Wangechi Mutu are also featured in the opening room of the exhibition.

In the first room of the exhibition we find the earlier works (along with some later ones for context), which quickly absolve us of the cliché of Reinhardt as a hard - edged, reductive, geometric painter.

The first room of the exhibition which is titled Island is dominated by one of the highlights of the show, a large marble sculpture with the name Little Manhattan (2007 - 2009).

The final room of the exhibition features artworks by Jorge Pardo and George Segal, both of whose works make use of light and the space they occupy as formal elements.

The main room of the exhibition houses an unprecedented installation of large proportions, made up of white fabrics, ropes and tubular fluorescent lamps — noteworthy elements in their vocabulary.

In the first room of the exhibition Olivier Mosset chose to display three monumental canvases.

The first room of this exhibition acknowledges these diverse beginnings with some surprising early works.

«So after you leave the reception area, the Brant Family Flea Market starts, it's the first big room of the exhibition space, but this is a little side room off of that big room.

Throughout his career Hockney experimented with and championed new forms of technology in his art production, creating images with the now defunct fax machine, and later embracing the ipad as a mechanism for draughtmanship, the results of which can be seen in the final room of the exhibition.

Not exact matches

There would be curated exhibitions of paintings and photography in the dressing rooms.