Sentences with phrase «stained glass installation»

This room - size stained glass installation shifts the color of the exterior sunlight to the color of candlelight inside the gallery.

Raúl de Nieves Site - specific stained glass installation «Somos Monstros 2» at the Whitney Biennial (March 17 — June 11).

Not exact matches

Ross's recent collaborations include a multimedia installation with Pan Gongkai, president of the Central Academy of Fine Arts in Beijing, and a 3.5 ton, 28 ′ x 28 ′ stained glass wall with architects Mack Scogin and Merrill Elam for the U.S. Federal Courthouse in Austin, Texas.

Love and Joy, 2002 Leaded stained glass 90 x 36 inches / 228.5 x 91.5 CM each Installation view, Margo Leavin Gallery, Los Angeles, USA

Love and Joy (Cuenca) 2004 Leaded stained glass 35 x 33 inches / 89 x 84 CM Installation view, Bienal International de Cuenca Cuenca, Ecuador

The installation will not only highlight the broad range of topics the artist has addressed in her work but also the broad range of media she has worked in with the inclusion of cast bronze, needlework, stained and painted glass, works on paper, and painted porcelain.

Mortal, an exhibition of work by Kiki Smith at the Dallas Contemporary, on view through Dec. 17, spans the last 10 years of the artist's output and includes the installation of Pilgrim, a set of thirty industrial steel windowpanes of mouth - blown stained glass.

In 2012, The Art Production Fund presented Kiki Smith: Chorus, a public installation comprised of the artist's multicolored stained - glass stars at The Last Lot project space on 46th Street and 8th Avenue in New York City.

A close - up of L.A. artist Cheryl Walker's colorful stained - glass installation at 18th Street Arts Center

A Stranger In Your Home also includes the installation Embracing the World, a domestic structure that houses the artist's stained and fused glass self - portrait, which was made in collaboration with Judson Studios in Los Angeles.

Susie MacMurray produces a site - specific version of her multimedia installation Here Come The Girls (2017) which consists of 700 lipstick - stained wine glasses, in reference to binge drinking, the beauty industry and perceptions of female empowerment.

The exhibition, on view at 545 West 22nd Street from April 30 to June 19, 2010, features «Pilgrim», an installation composed of nearly thirty hand - painted stained glass panels.

Wright uses paint, drawing, gilding and stained glass to shape delicate, suggestive, site - specific installations that simultaneously revel in tradition — recreating the lost arts of fresco and Renaissance perspective — and express the throwaway modern moment.

Since his last solo exhibition in Cape Town in 2008, Odita has created large murals at the US Mission to the United Nations in 2010; the New Orleans Museum of Art and the Kiasma Museum of Contemporary Art, Helsinki, in 2011; and a stained - glass installation in the 20th Avenue subway station in New York in 2012.

Among the works featured in the exhibition are Noelle Mason's window installation of Mag - lites spelling the word SILENCE in Braille, and an illuminated stained glass that projects a surveillance image of 9/11/2001 hijackers passing through security at the Portland airport.

Key works include Andrew Erdos's Texture of a Ghost (2011), a 6 x 8 foot room featuring hand - blown glass sculptures and a video installation; Josiah McElheny's Landscape Model for Total Reflective Abstraction (I)(2004); Luke Jerram's E. coli (2010), which explores the tension between scientific objectivity and cultural perceptions of viruses, diseases, and bacteria; twelve snow globes by Walter Martin and Paloma Muñoz from the Travelers series; three stained glass light boxes by Judith Schaechter; and a recent body of work by Czech Republic - based artist Karen LaMonte that highlights the role of the kimono in Japanese culture.

«But she just responded to the glass down here and brought some stained glass pieces from a previous installation in Chicago.»

These venues cover contemporary visual arts and crafts, including painting, drawing, graphics, sculpture, ceramics, stained glass, collage, assemblage, installation, photography, film, video, animation, and mixed - media.

Highlights last year included curator Marshall Price's new installation from the photography collection and, in our Medieval gallery, two recently conserved works of Medieval stained glass.

Lodestar, Smith's 2010 installation at the Pace Gallery, was an exhibition of free - standing stained glass works painted with life - size figures.

At Claire Oliver, Judith Schaechter presents beautiful but disturbing stained glass lightboxes and kiln - cast glass sculptures about sex and death, and at Bruce Silverstein, Eileen Neff explores perception, mirroring, and memory in an installation of staged and often manipulated photographic images.

Central to Mortal is Smith's massive installation Pilgrim, comprised of thirty mouth - blown, stained - glass panels portraying the stages of a woman's life.

American artist Sam Falls also presents an adapted installation featuring half of a site - specific installation including a stained glass window and set of photograms.

Several works stand out: photographer Deana Lawson and painter Henry Taylor point to deep - seated racial tensions, Jordan Wolfson's virtual reality video underlines the numbing effect of real and virtual violence, Raul de Nieves bejewelled faux stained glass wall finds beauty in the esoteric and spiritual and Samara Golden's disorienting multi-storey installation illustrates the unnerving effect of insipid architecture and urban sprawl.

Ross» recent collaborations include a multimedia installation with Pan Gongkai, president of the Central Academy of Fine Arts in Beijing, and a 3.5 ton, 28 ′ × 28 ′ stained glass wall with architects Mack Scogin and Merrill Elam for the U.S. Federal Courthouse in Austin, Texas.

Many of the «sculptures» included often operated with or within more - two dimensional components — I am thinking here of Jon Kessler's Exodus (2016) and Evolution (2017), configurations far more about the transmutation of object into digital image than it is about the materiality of things; Rafa Esparaza's Figure Ground: Beyond the White Field (2017), a weighty and timely installation on labor, colonialization and identity read through adobe bricks; or Raúl de Nieves» beginning & the end neither & the otherwise betwixt & between the end is the beginning & the end (2016), an installation of five ornate, grotesque, and vibrantly hued sculptures set against a backdrop of eighteen colorful acetate sheets made to resemble stained glass windows.

SPENCER FINCH Paris / Texas 2003 2003 Sandblasted stained glass Glass: 12 x 28 feet (Dimensions variable) France at dusk on January 8, 2003 installation at ArtPace, San Antoniglass Glass: 12 x 28 feet (Dimensions variable) France at dusk on January 8, 2003 installation at ArtPace, San AntoniGlass: 12 x 28 feet (Dimensions variable) France at dusk on January 8, 2003 installation at ArtPace, San Antonio, TX