Sentences with phrase «see the exhibition space»

«It's been a long time coming, and I am delighted to be able to point to this for the public to actually see the exhibition space today, what we refer to as Ruby City,» said Rick Moore, president of the Linda Pace Foundation.

Now, as the gallery embarks on an expansion plan that will see its exhibition space almost doubled, director Iwona Blazwick has decided it's time to call in a few favours.

«The Story of the Creative» Angel Oransaz Foundation, New York and the See exhibition Space, New York (2013); «Creatives Rising» Projections Garden, Linc Lic Building, New York and See exhibi tion Space, New York (2013); Practical Dialogue» Eleven Gallery, Hull (2013) with subsequent tour Embrace Arts, Richard Attenborough Centre, Leicester (2013) Alfred East Gallery, Kettering (2014): and MK Gallery, Milton Keynes (2014).

Not exact matches

The renovation of Agricola's landmark Princeton space by Vincent Celano of Seed Design mirrors the welcoming Community Eatery philosophy: an «Exhibition Kitchen» can be seen from the street; a communal «Kitchen Table» is adjacent to the open kitchen.

We're also seeing exhibition and fan spaces liberated from traditional and expensive events like PAX or GDC [for example, we previously visited Lost Levels here at Offworld].

Sunday will also see the opening of the exhibition «Gerhard Richter - Editions 1965 - 2011» in the Me Collectors Room Berlin, a private exhibition space in Berlin's Mitte district.

DeFeo's distinctive exploration of form and repetition of shape, as well as her fascination with space and depth of field, are seen throughout the exhibition.

From the highest number of visitors to our online space to the 12,500 people visiting our public exhibitions, from the volume of bidders in the sales themselves to the significant number of new artist records set, we are seeing unprecedented momentum in the market as the desire to connect with great art continues to grow.»

Perhaps the mannerism found in Varejão's new tropical / orientalist banana - leaf painting series can be seen as being part of a negative phenomena found in many international galleries based in Hong Kong and China, where «the Orient,» as a subject, seems to be enforced on artists debuting a solo exhibition at these spaces.

SOLO EXHIBITIONS 2020 Forthcoming: Sir John Soane's Museum, London, UK 2019 Forthcoming: Fondazione Sviluppo e Crescita CRT, Turin, IT 2018 Bloomberg SPACE, London, UK Herald St, London, UK 2017 «The largeness of China seen from a great distance», Galleria Franco Noero, Turin, Italy «Conservatism, or the long reign of pseudo-georgian architecture», The Architecture Gallery, RIBA, London, UK Jupiter Artland, Edinburgh, UK Synthetic Landscapes, Weston Park, Sheffield, UK 2016 «Tate Britain Commission 2016: Pablo Bronstein, Tate Britain, London, UK Staatsgalerie Stuttgart, Stuttgart, DE «Haydn's creation», Garsington Opera, Buckinghamshire and Saddler's Wells, London, UK 2015 «Pablo Bronstein: studies in Mannerist decomposition», Museo Marino Marini, Florence «The Grand Tour: Pablo Bronstein and the treasures of Chatsworth», Nottingham Contemporary, Nottingham, UK «The Grand Tour», Chatsworth House, Derbyshire, UK «We live in Mannerist times», The Museum of Fine Arts, Houston «We live in Mannerist times», Galleria Franco Noero, Turin, «Art on the Underground Commission» 2015, London, UK 2014 «Pablo Bronstein: Enlightenment Discourse on The original of Architecture», REDCAT, Los Angeles «Recent History», Herald St, London

Regardless of the mode of making or the content within the form, each work in the exhibition asks us to reevaluate the way we see and experience the spaces we are in, the objects we confront, and the relationship between vision and perception.

Building on Artists Space's history as an institution whose program has increasingly emphasized community participation and political organization (see last year's Decolonize This Place, which turned the gallery into a weekly activist meeting hub), Coop Fund foregoes traditional media like painting or sculpture in favor of video, art - science hybrids, updated junk sculpture, and institutional critique, making an implicit statement about these media that, for their associations with high - modernist seriousness, are appropriate to a politically engaged exhibition.

Described as «definitely an exhibition to go see», Yau summarizes the work from Chen's «Light Space Intimacy» series as:» [she] likens the viewer's experience of her painted constructions to «exploring a newly acquired digital device,» but they have much more staying power than that.»

Bad at Sports, (weekend picks, March 2013) New American Paintings (Must see painting shows March 2013) Bad at Sports, 2011 Chicago Gallery News, 2011 Chicago Life Magazine, 2011 The Café Review, Portland, Maine, 2011 The Sag Harbor Express, 2010 Art Chicago Catalogue, 2010 The Art Auction at The Museum of Contemporary Art, Chicago, Art Chicago Catalog, 2010 New American Paintings, Midwest Edition, 2010 Jaroslav Malina Paintings and Designs, Catalogue for the traveling exhibition, 2008 The Readerville Journal, January / February 2003 Ed Valentine, Elementary Principles, Selected Work 1990 - 2001 A Catalogue for Two Exhibitions in The Czech Republic, By Mila Malina, 2002 Milton Caniff Catalogue, 1998 Drawing: Space, Form and Expression, By Wayne Entice, Prentice Hall, 1995 Galleries Magazine, 1988 Happy Happy, Egret Press, 1988 Liberties en Peinture, Union de Banques a Paris, 1986 Art Forum Magazine, 1985, 1986, 1987 Flash Art, 1985, 1986, 1987 Bijutsu Techo, Japanese Art Magazine, 1985 Galleries Magazine,, French Art Magazine, 1988

Parreno sees his exhibitions as choreographed spaces -LSB-...]

Art Basel Miami Beach, with GAVLAK Los Angeles / Palm Beach, Miami, FL (catalogue) Ten Year Anniversary Show, Gavlak, Palm Beach, FL and Los Angeles, CA Re (a) d, curated by Ryan Steadman, Nathalie Karg Gallery, New York, NY The Valentine's Day Cardiovascular, Geoffrey Young Gallery, Great Barrington, MA Puente, KINMAN, London, UK 2014 The Go Between: Selections from the Ernesto Esposito Collection, Museo di Capodimonte, Naples, Italy Art Basel Miami Beach, Gavlak booth, Miami Beach, FL 100 Painters of Tomorrow: New York Exhibition, One Art Space, New York, NY Inaugural Exhibition, Gavlak, Los Angeles, CA The Armory Show, Gavlak Booth, Pier 94, New York NY Painting: A Love Story, Contemporary Arts Museum Houston, Houston, TX (catalogue) 2013 Art Basel Miami Beach, Gavlak Booth, Miami Beach, FL (catalogue) This is the Story of America, Brand New Gallery, Milan, Italy Rema Hort Mann Foundation LA Arts Initiative Auction, Hannah Hoffman Gallery, Los Angeles, CA Acid Summer, Curated by Matthew Craven, DCKT Contemporary, New York, NY All Fucking Summer, Gavlak, Palm Beach, FL Whitney Museum Art Party Benefit Auction, Whitney Museum of American Art, New York, NY MiArt2013, Gavlak Booth, Milan, Italy The Armory Show, Focus: USA, Gavlak Booth # 908, New York, NY (catalogue) Art Rotterdam, Office Baroque Gallery, Rotterdam, Netherlands My Echo, My Shadow, Gavlak, Palm Beach, FL 39 Great Jones, Galerie Eva Presenhuber, Zurich (catalogue) 239 Days, School of Visual Arts MFA Alumni Show, Allegra LaViola Gallery, New York, NY 2012 News From Chicago and New York City, Curated by Henning Strassburger, Fiebach Minninger, Cologne, Germany Time, After Time, Curated by ARTNESIA, Ronchini Gallery, London, UK (catalogue) SUNY New Paltz Alumni Show, Dosky Projects, Long Island City, NY What's the Point, Jen Bekman Gallery, New York, NY It's a Small, Small World, Curated by Marilyn Minter and Organized by Hennessy Youngman, Family Business, New York, NY The Virgins Show, Curated by Marilyn Minter, Family Business, New York, NY Just the Tip, SVA MFA Fine Arts Thesis Exhibition, Organized in Collaboration with Mike Egan, Visual Arts Gallery, New York, NY (catalogue) 2011 MFA Fine Arts Fall Open Studios, School of Visual Arts, New York, NY Sentimental Education, Gavlak, Palm Beach, FL Things Fall Apart, Curated by Asya Geisberg, Visual Arts Gallery, New York, NY Abstract Means, Curated by Richard Brooks, Visual Arts Gallery, New York, NY MFA Fine Arts Spring Open Studios, School of Visual Arts, New York, NY Celebrating 15 Years: Young Artists at Heckscher, Heckscher Museum of Art, Huntington, NY College Art Association New York MFA Exhibition, Hunter College / Times Square Gallery, New York, NY Vuu Collective W / S 2011 Show, K&K Gallery, Brooklyn, NY 2010 MFA Fine Arts Winter Open Studios, School of Visual Arts, New York, NY Emerge to be Seen, Westside Gallery, New York, NY Marks That Matter, Juried by Gillian Jagger, Muroff Kotler Visual Arts Gallery, SUNY Ulster, Stone Ridge, NY The New, Art (That Matters), Oyster Bay, NY New York Art & Culture Exhibition Series, Albany International Airport, Albany, NY 2009 No Girls Allowed: BFA Thesis Exhibition, Samuel Dorsky Museum of Art, SUNY New Paltz, New Paltz, NY Best of Show: 2009 Best of SUNY Exhibition, State University Plaza, Albany, NY 2008 Crit 3: Work from Students and Alumni of SUNY New Paltz, Curated by Kathy Goodell, Spencertown Art Gallery, Spencertown, NY Somewhere I Have Never Traveled, Smiley Art Gallery, New Paltz, NY Three, Smiley Art Gallery, New Paltz, NY SPECIAL PROJECTS 2013 Shinola x Andrew Brischler, Installation & Capsule Collection, Tribeca Flagship Store, New York, NY Converse Footwear for Publicolor, organized by Grey Area COLLECTIONS Norton Museum of Art, West Palm Beach, FL AWARDS AND HONORS 2015 Painting Fellowship, New York Foundation for the Arts

However, very little of the exhibition could actually be seen due to the large number of visitors, who had already gathered in front of the exhibition space an hour before the opening.

A further insight into Mangold's process and the importance of drawing can be seen in the artist's works on paper, which have been given their own space in the exhibition.

After all, the last couple of years have seen three major exhibitions in London art museums that have focused on architecture («Sensing Spaces» at the RA, «Ruin Lust» at Tate Britain, «Constructing Worlds» at the Barbican), and smaller shows regularly claim some sort of interrogative capacity for exploring the interaction between these two broad categories of material culture.

Beyond synaesthesia, metaphor, or poetry, though certainly these tactics are included, what many of the works and exhibitions written about in Issue 06 of THE SEEN ask us to respond to is an increased sensitivity of our bodies in space when evoked by the senses.

It is as if the curators saw, following the confusion of the Wohl Central Hall, that playfulness, colour and broad aesthetic affinities were an acceptable way to hang an exhibition space after all.

We're excited to see what the Canadian artist cooks up for her third exhibition at Cooper Cole, which has described the upcoming show as embodying «an inescapable sense of second hand - ness [that] haunts this space and this work, reflecting what has at times been an uncomfortable, object - burdened and obstacle - riddled existence for the artist.»

In this exhibition we see the version revised in 2003 for a show at the Smart Project Space in Amsterdam.

You can see Tyler Shield's Submerged exhibition until the 9th Novermber at Imitate Modern's urban contemporary gallery space at 27a Devonshire Street, London, W1G 6PN for more information go to — imitatemodern.com/exhibitions/tyler-shields-submerged /

Those who toured the Whitney Museum of American Art's new building before it opened saw what its fifth floor looked like as a single vast gallery — reputedly the largest column - free museum exhibition space in New York.

Seeing this exhibition at Minus Space struck us as particularly auspicious.

It's not a museum; we don't have a permanent collection that you can go and see, but in terms of mounting a single exhibition — temporary exhibitions — which is what we do, we have the largest space.

Amar's next exhibition sees their space filled with a representation of the Biblical character Eve, through a celebration of all things women and womanhood.

The weekend in January that saw two big art fairs and a spate of new exhibitions across the Bay Area also left us with something more permanent: Three new gallery spaces opened in San Francisco over three days, Jan. 12 - 14.

Almost all of Bernhardt's two - dozen solo shows, some of which saw her covering walls with advertisements from Spanish bodegas or collaborating with Jdia, oftentimes — as in her current exhibition — activating the space by covering the floors (in this case, with burlap coffee sacks), have been downtown, in small group shows, and around the globe.

A major permanent installation of the artist's work can be found in Marfa, Texas, and another long - term installation can be seen in Bridgehampton, New York, where in 1983 Flavin began renovating a former firehouse and church to permanently house several of his works and to serve as an exhibition space and printmaking facility for local artists.

This studio was open for the duration of the exhibition and provided guests an opportunity to see a working artist space and perhaps catch the artist working.

Other main group exhibitions include The King and the Mockingbird, Vermillion Sands, Copenhagen, Denmark, 2016; Yinchuan Biennale 2016 — For an Image, Faster Than Light, Museum of Contemporary Art Yinchuan, Ningxia, China, 2016; SHE — International Women Artists Exhibition, Long Museum, Shanghai, China, 2016; Tutorials, Pino Pascali Foundation Museum, Polignano, Italy, 2016; Bentu, Chinese Artists in A Time of Turbulence and Transformation, Foundation Louis Vuitton, Paris, 2016; Unordinary Space, Aurora Museum, Shanghai, 2015; CAFAM Future, Central Academy of Fine Art Museum, Beijing, 2015; Now You See, Whitebox Art Center, New York, 2014; 7th Shenzhen Sculpture Biennale, OCT - Contemporary Art Terminal, Shenzhen, 2012; stillspotting nyc, Solomon R. Guggenheim Museum, New York, among others.

After a group exhibition in Monaco in 2014, the following year saw an important new solo show entitled U-topos (Greek, «no place»): tra spazio e luce (Italian, «between space and light»).

SOLO EXHIBITIONS 2016 Entoptic Touch, James Memorial Chapel at Union Theological Seminary, New York, NY 2015 Catching My Reflection, The Master, New York, NY 2014 I Can See Through My Hands, So What Space, Brooklyn, NY 2012 Near, Far, Wherever You Are, The Cooper Union, New York, NY

Uniting different perspectives of seeing and subverting spatial conditions of representational forms in the 20th century this exhibition does not only present rarely seen work but also narrates different layers of art historical approaches leading to the long lasting meaning of representational object and space in art.

In particular he seems to have sought specific settings for exhibitions of his early wall - mounted sculptures, which, seen together, gave the impression of amply spaced pops of primary color in otherwise white rooms.6 Following the precisely scaled galleries he created for his 1984 exhibition at MoCA's Temporary Contemporary, he made a rotating exhibition of such works at Leo Castelli's New York gallery in 1986 — 87, sometimes forgoing the main gallery spaces for a more intimate basement.7

With events all weekend, including the concurrent exhibition New Eyes for New Spaces — a group exhibition that explores multiple representations and creations of space — and artist talk on Friday and panel discussion on Sunday, ISCP is the place this weekend to see the culmination the artist's experiences and work while in Bushwick.

This is just one example of how in this exhibition the poetical / political readings of various works can be brought to the fore, and how by way of a theatrical staging they will activate each other and the space in which they are seen.

It basically let me curate solo exhibitions in the space, so people don't just see one piece by an artist here and there in a mishmash, but can see a solo exhibit of Jon Rafman, a solo exhibit of Chris Hood, a solo exhibit of Charlie Billingham, a solo exhibit of Oscar Murillo.

Paintings from Aria Stone's recent solo exhibition Silence at the Monaro Arts Space in Queanbeyan can still be seen on her website here.

Walking first through the smaller exhibition space, one sees a monumental space underneath, accessible by a staircase.

Richard Meier says the walls he designed for the Glass Gallery «make the space divided but also fluid... as you move around the space, you see the different relationships between the art shown here... It's a phenomenal exhibition space.

Anita Andrzejewska Adam Lunaris Elliott Erwitt Bogdan Dziworski Jacek Fota Jacek Poremba Jacob Aue Sobol Kacper Kowalski Nobuyoshi Araki Paweł Żak Paweł Jaszczuk Thomas Hoepker Szymon Szcześniak Wojtek Wieteska In our gallery we will show the photographs that could be seen in the Leica Gallery during the curators exhibitions, new photographs which are not presented in our space and also photographs of upcoming exhibitions.

Conor O'Shea: I think it is important to view exhibitions in different ways, it really excites me to see objects in different scenarios, we can not always for the rest of time see shows just in gallery spaces.

Given that the Courtauld Institute and Gallery, both part of the premises of London's iconic Somerset House, boast such an impressive and art - historically significant permanent collection, any temporary exhibition hosted within the space must be not only mindful of the location and its heritage, but equally must be seen to be doing, and saying, something different.

Amazing exhibitions are scheduled to open throughout the month and here is your short and well spaced - out list of top 5 NYC shows you NEEEEEEED to see in January.

On 30 July our first ever REcreative tour explored two of south - east London's best known art spaces - Bold Tendencies, the annual sculpture exhibition held on the top floors of the Peckham multiplex carpark - and White Cube Bermondsey, to see an exhibition by UK artist Sarah Morris, called «Bye Bye Brazil» that featured her amazing film about the city of Rio.

Within the vast yet equally warming space of Marian Goodman Gallery in Soho, this exhibition is a self conscious investigation into the history of painting and new ways of seeing.

We see the responsibility of the gallery as threefold: to work for the long - term development of each artist's career, acting as a liaison to international galleries and museums as well as placing works in collections; to create an historical archive for each artist; and to act as an accessible public space in which the exhibitions become an exemplary gesture of the power of subjectivity to the audience at large.