The visual and conceptual investigations into the conjunction of these elements transform the
architectural space of the gallery into an exhibition space where the artist is evident and a vision is perceived.
On show in the
front space of the gallery, prominently visible from street level, are three large charcoal and pastel drawings, each well over two metres across.
The exhibition featured nine major contemporary artists invited to install site - specific works on the theme of wonder in the nine
exhibition spaces of the gallery.
The frames for these two works both extend well beyond the framed photogram creating a second frame in order to enlist the
physical space of the gallery as image.
For his latest site - specific project, which opens on 20 August, the artist has transformed the entire south wing of the Louisiana Museum of Modern Art in Denmark into a convincing riverbed — a messy, stony accumulation of sedimentary rock and watery channels that threatens to silt up the
white space of the gallery entirely.
The gendered object is also found in the sculptures «Standing Women» (2014) by Debora Delmar Corp. which adorn the front window
space of the gallery as large houseplants wearing bras.
In these works, Joel Shapiro extends the investigations of his recent suspended sculptures [Pace Gallery, 2010; Museum Ludwig, 2011; Rice University Art Gallery, 2012] that explore the dispersion of form and color in space, exchanging the three -
dimensional space of the gallery for the two - dimensional plane of the paper, and industrial cordage and pigment - soaked wood forms for aqueous eruptions of line and color in gouache and charcoal.
In his 1999 project From / To, routes to and from a range of Middle Eastern cities were plotted in the
real space of the gallery.
Described by the artist as «an open structure, a laboratory, and an arena for reflection, discussion, and exchange», Radio Vallebona / Transmission # 1 will consist of a single site - specific architectural structure extending throughout the
entire space of the gallery made of lumber, plywood, MDF, pegboard, fabric, light, and paint.
The new site, a campus of buildings set around a courtyard, has more than twice the exhibition
space of the galleries at the new Whitney Museum of American Art.
Furthering his often aggressive use of text, Geers devotes the
back space of the gallery to a group of seven ultra violet neon sculptures, which spell out the names of The Seven Deadly Sins.
I arrived during the peak of First Friday festivities to find an
intimate space of the gallery's rear space packed with people, causing Chamberlin's installation of delicate, elaborate ceramics to appear all the more dramatic.
The exhibition continues in the
rear space of Gallery One with Barth's partner project, Compositions of Light on White.
He 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 a gallery or museum.
In the
Window Space of the gallery, photographs of Matta - Clark's performative installation Jacob's Ladder, which the artist realized at the Documenta in 1977, are shown as wall - sized photographic wallpaper.
Exploring the logical fallacy of distinction without a difference, the artist utilizes original content taken on film cameras (35 mm, 120 mm, Polaroid) which is silkscreened onto canvas and paper; sculpture, which includes collaged Polaroid prints; and a eye - popping original short film shot on Super8, which is shown in the back
room space of the gallery.
The video projection loop in the side
space of the gallery shows archival footage from the opening events of the 1970 Rose Art Museum exhibition
The site - specific work, her first such presentation in New York, will respond to the physical, psychic, and
emotional space of the gallery as well as Cain's time in New York.
It was dark outside when I arrived, and yet my eyes took a moment to adjust to the normally
bright space of the gallery, evoking that odd sensation that is probably felt most frequently when one leaves the cinema and is inevitably surprised by an unexpected outdoor climate.
From a magic mirror, the female protagonists of «Between Tin Men» protest their entrapment in the
commercial space of the gallery, violently rebuffing their status as art and as objects of desire.
The work revisits the biblical story of Jacob's ladder with a towering floor to ceiling structure of rare artefacts and books that will fill the
lofty spaces of the Gallery.
This digital animation presents a slowly shifting beam of «solid light» whose physical properties become outlined within the haze -
filled space of the gallery and are further enhanced through viewer interaction.
Performance is such a thing that galleries have even started using the vernacular of theatre to bring the immediacy of performance into the
static space of a gallery, as Luxembourg & Dayan are doing with their «Melodrama, Act 1», and «Melodrama Act 2» shows in the London and New York galleries respectively.
by Tara Plath The opening night of diverse film, video, and installation at Secession in Vienna on September 19th included the work of Hannes Böck, presented in the Grafisches
Kabinett space of the galleries.
In the
first space of the gallery, Cone of Erebus and Crawl, Conquer press themselves against the floor, like bowing figures to What Crawls Must Be Crushed, which stands tall and centered behind them.
For Donald Moffett, Jim Lee, and Alex Kwartler, the wall and
surrounding space of the gallery are as much a support for their paintings as the surfaces upon which they paint.
The
vertical space of each gallery is dramatically papered with the artist's stark black - and - white materials — collages, posters, paintings, silkscreens, and acrylic texts swarm the walls, covering the visual field with appropriated and fragmented photographic materials that shout and stutter across three dimensions.
In a similar way, Rosalind Nashashibi's film Electrical Gaza about Palestine, and even Andrea Büttner's more conceptual work, especially the simple but exquisite woodcut of a veiled beggar with outstretched arms, ensure that the
hermetic space of the gallery remain challenged.
For those unfamiliar with the practices of Sriwhana Spong and Maria Taniguchi, even the distinction of authorship can waver, at times, within the open, brightly - fluorescent
lit space of the gallery.
Climb the ladder to the office -
attic space of the gallery, and you're likely to find an enticing mélange of artworks such as, recently, a small navy - blue study by Ross Bleckner of a lone hummingbird smack in the middle of a canvas.