Sentences with phrase «single small gallery»

Not exact matches

Generally speaking, a gallery is run by a single person, or in some cases, a small group of people.

Fortunately, a number of galleries offered «Kabinetts» - small shows of a single artist within a larger booth, and a very small minority devoted their booth exclusively (or nearly so) to the work of a single artist.

The small images hung in Davies Street on the three walls of the single room gallery welcomes natural light and fills in the space as carefully as the works at the new Grosvenor Hill location.

The back gallery spaces feature a series of smaller sculptures, both single columns and two part works with panels and stools, plus wall - mounted reliefs.

At Volta, the small art fair affiliated with the much larger annual Armory Show, galleries presented a curated exhibition featuring a single artist.

At last she gets a small retrospective at the Dia Center, with its deep commitment to a single artist, plus a strong gallery show of recent work.

Now in its third year, the fair has bumped its number of exhibitors from last year's 125 to 137 international galleries, including 115 in the main section of the fair and 22 younger exhibitors displayed in the Exposure section, in slightly smaller single or two - artist booths.

So too have areas of smaller stands for less - established galleries or artists, in this case the aforementioned Spotlight, which features single - artist presentations of 20th - century artists.

Following his debut exhibition at the gallery earlier this year featuring small - scale paintings of his studio, this exhibition will introduce six new oils of the artist's studio that range in size from single panel paintings 5x4 feet to a nearly life - size triptych 7x12 feet.

Rashid Johnson Untitled Ugly Pots, 2018 kiln - fired clay with glaze in eight parts, dimensions variable smallest pot: 6 x 6 1/4 x 6 3/4 inches (15.2 x 15.9 x 17.1 cm) largest pot: 11 x 12 1/2 x 12 1/8 inches (27.9 x 31.8 x 30.8 cm) These two always interesting galleries on South La Brea are among the hundreds offering new shows every single month.

In this essay Judd surveys a number of New York's most significant museums («The exceedingly impressive Frick Collection is small enough to be seen in a few hours»; «It is The Museum of Modern Art which has shown the power and quality of American Art»), as well as an assessment of notable galleries, singling out Green Gallery, an uptown gallery that showed work by downtown aGallery, an uptown gallery that showed work by downtown agallery that showed work by downtown artists.

The gallery amounts to a single broad room — comparable to smaller floors at the new Whitney.

This new, small but perfectly formed exhibition of Bridget Riley's work in the National Gallery's Sunley Rooms follows the pattern that the gallery has developed over the years, with a single artist entering into a conversation with the great art of thGallery's Sunley Rooms follows the pattern that the gallery has developed over the years, with a single artist entering into a conversation with the great art of thgallery has developed over the years, with a single artist entering into a conversation with the great art of the past.

They are Art Basel Miami Beach Art Galleries (accepted galleries deemed to be the leaders in Modern and Contemporary artworks), Art Nova (emerging and established galleries), Art Positions (galleries presenting one project from a single artist), Art Video (film and video works), Art Kabinett (selected galleries present small curated exhibitions) and Art Public (art placed outside of main exhibition hall).

Hall and small rooms, stair - case, restroom of 1F, gallery in 2F, performance studio of 3F... literally every single space you can find in WAH.

As the exhibition's curator, Kingston Gallery director Shana Dumont Garr, states in her introductory essay, «Despite their small size, it is impossible to summarize each work from a single point of view.

But Michael Hort had a bigger nose for a suite of constructions at Untitled made by Phil Wagner — an artist, dealer Joel Mesler claimed, who expressed the «generic optimism» of Art Positions, where small galleries like his are restricted to presentations of single artworks.

His work is now on view in three widely separated exhibitions: «Under the Westside Highway,» a small show of paintings and drawings focused on a single, expansive triptych, at the Aldrich Contemporary Art Museum in Ridgefield, Conn.; «Onsite Paintings, 1972 - 2008,» a retrospective display of 25 paintings at the Parrish Art Museum in Southampton, N.Y.; and «Rackstraw Downes: A Selection of Drawings, 1980 - 2010» at the Betty Cuningham Gallery in Chelsea.

These pioneering performances are the overlooked predecessors of relational aesthetics that developed in the 1990s — when Rirkrit Tiravanija served food in a gallery, for instance, or Santiago Sierra paid a small group of homeless women the price of a night in a hostel to stand facing a wall in the Turbine Hall at Tate Modern for a single day in 2008.

In the gallery's main space, three large - scale paintings depict the vast expanses of an empty bed and are punctuated by four smaller works, each featuring a single window seen from without, the warm glow of its light intensified by the dark night surrounding it.

Within a single gesture of reflectivity, the artist incorporates the entire gallery in silence stillness presenting an installation that assembles two monumental gold glitter paintings, a veiled gold arch, a series of rich floral paintings and a grouping of small ceramic sculptures that suggest vessels and the human body.

The small installation of Sandback's work, currently on view in a single room at the Whitechapel Gallery, is the best example of the late artist's spatial alchemy you're likely to see in the UK.

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