Sentences with phrase «sprawling installation which»

Tomoko Takahashi's best known work is the huge, sprawling installation which filled part of the Saatchi Gallery in the New Neurotic Realism show last year.

Not exact matches

The job for Trump, which was for installation of bathroom partitions in the sprawling 17 - acre, 1,300 - room hotel, should have brought in $ 250,000.

We are gratified to have the support of the Savannah River National Laboratory in your state, which has consented to hosting our first reactor installation at their sprawling facility.

From live, participatory readings of On Kawara's epic One Million Years in 2009, to the 2007 recreation of Rirkrit Tiravanija's functional kitchen installation Untitled 1992 (Free), which was paired with Gordon Matta - Clark's 1972 dumpster work Open House, to Jason Rhoades's sprawling 3,000 - square - foot Black Pussy installation, also in 2007, David Zwirner has embraced exhibitions that challenge expectations of a traditional gallery show.

Following her monumental installation in MASS MoCA's largest gallery, Building 5, in 2007 — which marked her first indoor projection in the U.S. — Holzer returns with a campus - wide series of work that will include a large - scale outdoor projection on the River Street side of the factory's complex titled For North Adams, 21 of her celebrated carved stone benches located throughout MASS MoCA's sprawling campus, an installation of her Inflammatory Essays posters, and rotating exhibitions of her work spanning the breadth of her career.

The Museum's small - format, highly - detailed canvas, which evinces a strange perspective, was the springboard for Eliav to create a sprawling installation of twenty large - scale paintings that will completely fill the exhibition space, each work conveying parts of the scene from a different perspective and in a different painting mode.

The Museum's small - format, highly - detailed painting, which evinces a strange perspective, was the springboard for Eliav to create a sprawling installation of twenty large - scale oil paintings that fill the exhibition space.

Among the highlights of its first eight years are: Bernd Alois Zimmermann's harrowing Die Soldaten, in which the audience moved «through the music;» the unprecedented six - week residency of the Royal Shakespeare Company in their own theater rebuilt in the drill hall; a massive digital sound and video environment by Ryoji Ikeda; a sprawling gauzy, multi-sensory labyrinth created by Ernesto Neto; the event of a thread, a site - specific installation by Ann Hamilton; the final performances of the Merce Cunningham Dance Company across three separate stages; the New York Philharmonic performing Karlheinz Stockhausen's sonic masterpiece Gruppen with three orchestras surrounding the audience; WS by Paul McCarthy, a monumental installation of fantasy, excess, and dystopia; a sonic environment that blurred the boundaries between artist and audience created by the xx; an immersive Macbeth set in a Scottish heath and henge by Rob Ashford and Kenneth Branagh; tears become... streams become..., a genre - defying collaboration between artist Douglas Gordon and pianist Hélène Grimaud, which flooded the Armory's drill hall with an installation of water, light, and music; and HABEAS CORPUS, a performance and installation by Laurie Anderson based on the story of a former Guantanamo Bay detainee that examines lost identity, memory, and the resiliency of the human body and spirit.

For this sparest of installations — which feels radical next to the overbearing clusterfuck exhibitions so au courant these days (Mike Kelley they ain't)-- the artist puts the sprawl where his mouth is and delivers a rollicking, multipronged poem.

There is the danger of any agglomeration of stuff tipping over into what Saltz called «clusterfuck esthetics» — «the practice of mounting sprawling, often infinitely organized, jam - packed carnivalesque installations,» which, he wrote in 2005, «is making more and more galleries and museums feel like department stores, junkyards, and disaster films.»

Beginning 21 October, the exhibition will present the Kandors works for the first time in the late artist's home city of Los Angeles, including the installation «Kandor - Con 2000»; the sprawling «Kandors Full Set» (2005 — 2009), which features an array of illuminated cities and hand - blown bottles; and the series» monumental «Kandor 10B (Exploded Fortress of Solitude)», Kelley's take on Superman's post-apocalyptic sanctum sanctorum.