Across from the Golden series
the surrounding white walls of the gallery become grounds for Epic.
Not exact matches
Also included is a work from 1969 in which lengths
of braided stainless steel wire form a horizontal sequence
of five subtly - reflective squares, mounted flat against the
wall; and Untitled (Eight - part Vertical Construction), 1992, a composition
of black, gray,
white, and red lengths
of yarn stretched vertically between floor and ceiling in perpendicular and parallel configurations that relate to the
surrounding walls of the
gallery.
With orange, pink and
white striped
walls, Apfelbaum turns the second floor
of the
gallery into an immersive environment and expands the visuals
of the political landscape
surrounding the 2017 election and the women's march that it inspired.
Wilson's «Sala Longhi» installation, which he premiered at the 2011 Venice Biennale, takes up the second
gallery, with a
white glass chandelier emerging from a
wall - mounted picture frame
surrounded by smaller frames filled with black glass out
of which face - shaped circles have been cut.
The work is meant to be seen in daylight as when the sun shines through the windows, it casts evocative shadows on the
walls and floor, many stemming from the slender pillars (
white columns) Irwin erected in the space
surrounding the chambers to emphasize the original architecture
of the
gallery.
The mother and daughter on horseback, their quiet faces implacably black against the blue and
white of the sky; the marchioness in her chair (the
walls in the
gallery have been painted the same rich red as the room in this painting); and Selective Histories, a wry close - up
of a
wall of heavily framed paintings, hung salon - style and
surrounding a tribal mask.