Not exact matches
Upon visiting the Kemper
Museum and Kansas City, the artist found inspiration within the art upon the
walls of the
Museum and the architecture within the
surrounding community.
The northern façade, in contrast, features a curtain
wall of windows that bring natural light into the
museum's galleries and allow visitors to take in views
of the sculpture garden and the
surrounding cityscape.
The auras which sometimes
surround the color fields give them a luminous halo and a strange mix
of stillness and drama, such as in the large «
wall of light,» Untitled, from 1952 - 53, which is part
of the Guggenheim
Museum Bilbao Collection.
Curated by Director Dr. Karl E. Willers and the
Museum's staff, highlights
of «Kenny Scharf» include the expansive mural Pop Renaissance that
surrounds the viewer, a version
of the artist's Cosmic Cavern club - like environment, and a recreation
of the artist's former Brooklyn studio complete with spattered
walls, painted furniture and other workspace ephemera.
Engaging with the profusive geometries
of the
museum's mill architecture, Crowner's works variously mirror or create juxtapositions with the
surrounding patterns
of the brick
walls, the hardwood floors, and the grid
of the glass block windows.
Aptly titled «Why Pictures Now,» after a 1981 photograph by the artist, the exhibition features Lawler's photographic investigations into how pictures function: Charming images
of Jasper Johns paintings adorning the
walls of collectors» homes, Richters being moved from one
museum to another, or an in -
museum shot
of a Thomas Struth photograph
of museum crowds
surrounding ruins within a
museum (you'll get it once you see it).
Part
of a network
of art sites on island developed by Japanese businessman and art collector Soichiro Fukutake, the
museum features polished concrete chambers housing the work
of three artists: a selection
of Claude Monet's water lily paintings (the skylight and glistening mosaic floor creates a shrine - like experience); an installation by Walter de Maria that consists
of a central, polished granite sphere sitting on a staircase with
surrounding gilded
wall sculptures; and three James Turrell light works.
Mickalene Thomas and Racquel Chevremont will assemble The Aesthetics
of Matter across a 2,600 - square - foot space in the heart
of PIER 90, an array
of freestanding
museum - style
walls that afford and en - courage dialogue between artists, as well as a specifc focus in contrast to the traditional booth architecture and solo projects
surrounding it.
The
museum's architect, Tadao Ando, essentially treats light as a material that is as necessary as the concrete
of the
walls, the steel supports, the granite floors, and the sheets
of glass that connect the
museum interior to the nature and city that
surrounds it.