Sentences with phrase «telling installations of her work»

Not exact matches

Gunstheimer's multimedia works, composed of pencil drawings and installations, tell stories that appear to be true but are not.

We often take this approach at Turner Contemporary however, and it's been a fascinating process to work with colleagues to think about the installation of such a large number of works in order to tell the story we want to tell.

Using the opportunity of this exhibition to start a shared journey of exchanging memories, they have told each other stories in the tradition of Shahrezad and her sister Shahrnavaz, culminating in collaborative works which include drawings, prints, artist books and installations.

Seven working hypotheses through which we can read, reinterpret and tell Italian art also through the analysis of some of the possible exhibition formats: from the solo exhibition to the site - specific installation, through to the thematic group show and chronological group show, the group exhibition on specific movement and the medium - based group exhibition and on to the archive exhibition.

From what Dan tells us of the actual installation of the work, a bold setting is to be expected.

Her unique approach to filmmaking, often situated within atmospheric installations, employs strong story telling, quick cuts, montage and deliberate misuse of language to create surprising and unpredictable work.

Judges said «her unique approach to filmmaking, often situated within atmospheric installations, employs strong story telling, quick cuts, montage and deliberate misuse of language to create surprising and unpredictable work».

While their artistic vocabularies are diverse, presented together in At Work, the installation will tell a compelling story of the labour of art and provide new insights into these artists» dedicated and focused work in the stuWork, the installation will tell a compelling story of the labour of art and provide new insights into these artists» dedicated and focused work in the stuwork in the studio.

Highlights in 2013 include the immersive installations of Daniel Steemann Mangrané at Mendes Wood (São Paulo); a nonfunctional telecommunications satelitte by artist and explorer Trevor Paglen at Altman Siegal (San Francisco); and a show and tell by gallery artists Sean Edwards, Jack Strange and Jesse Wine offering visitors the opportunity to talk with them about their work at Limoncello (London).

«I often start my projects by researching the spaces I have to work with, in order to create the social aspect of the installations,» the artists tells me while putting the finishing touches into her Studio Voltaire show.

From there, and during the week - long installation process, the press release tells, Francisco Cordero - Oceguera, Emanuele Marcuccio (both of whom also made work for the show), Pierre - Alexandre Mateos, Michele D'Aurizio and Charles Teyssou brought in some screens, scaffolding, monitors and projections.

The works are partially organized in horizontal installations that have paintings one next to another with space in between, like horses in a stable, that tell stories in more of a 20th Century format.

His approach to painting includes an exploration of the site of exhibition, and a painterly inquiry into installation work as a means of story telling through location.

The artist João Penalva presents the installation «People On Air» in the Corner Space of Galerie Thomas Schulte: the space has been painted red and covered with a collage of black and white photographs telling stories of sound artists working for radio in the 1940s and 1950s.

Other remarkable works include the installation The Unfinished Conversation (2012), a portrait of the cultural theorist Stuart Hall; Peripeteia (2012), a fictional drama on the lives of individuals in two 16th century paintings by Albrecht Dürer, and Mnemosyne (2010), which tells the story of migrants in the UK, questioning the idea of Britain as a promised land, where financial worry and casual racism can instead be real threats.

Prouvost's unique approach to filmmaking, often situated within atmospheric installations, employs strong story telling, quick cuts, montage and deliberate misuse of language to create surprising and unpredictable work.

If design and installation is good enough, the last of these issues should go away, but we do still need to know that ventilation is important, and be able at least to tell if our system is working properly.

This all for a licence to participate on - site with other skilled tradesmen working from drawings telling us where and what to do regarding the installation of commercial projects.