Sentences with phrase «turning gallery spaces»

Recently, she has been creating plywood modular forms, generating their structures from algorithms and virtually turning gallery spaces inside out.

Phillips often works with printing in a collaborative manner, where she turns gallery spaces into workshops and invites participation from other artists, designers and local community groups.

For The Refusal of Time, the artist turns the gallery space into a theatrical set that evokes a slightly antiquated studio, with randomly placed items and large megaphones.

From «The Maybe» by Cornelia Parker (the actress Tilda Swinton asleep in a glass case) to the 512 Hours performance by Marina Abramovic, thereby turning the gallery space into a meditation centre.

Comprised of found material seen every day on city streets, such as old billboard signs and orange traffic cones, this large - scale speaker sculpture turned the gallery space into a laboratory for art and sound.

A mixed media exhibition that uses the notion of a hope chest to turn the gallery space into an open love letter.

NOTHING LASTS FOREVER July 16, 2011 7 — 10 PM Amo Studios 55 Waterbury St. Brooklyn, NY A mixed media exhibition that uses the notion of a hope chest to turn the gallery space into an open love letter.

Besides being an exhibition space, DCAE will serve as a space for closed door discussions after gallery hours, turning the gallery space into a semi private place for gathering.

Visitors can see what Robert Smithson meant when he wrote that «Flavin turns gallery space into gallery time.»

Not exact matches

The underside of the bridge will be turned into a lively urban space that will house an outdoor art gallery.

The growing popularity of smartphones and tablet computers equipped with high - quality cameras also is turning the News Feed into a more visual gallery, another shift that Facebook is tackling by carving out more space to display photos and video.

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An art gallery is only as interesting as the art it holds and O. Ascanio Gallery owner Oscar Ascanio takes this maxim seriously, turning his space into a visionary kaleidoscope of contemporary mastergallery is only as interesting as the art it holds and O. Ascanio Gallery owner Oscar Ascanio takes this maxim seriously, turning his space into a visionary kaleidoscope of contemporary masterGallery owner Oscar Ascanio takes this maxim seriously, turning his space into a visionary kaleidoscope of contemporary masterpieces.

Some even went on to turn their residential zoned artist studios into commercial gallery spaces.

With the indoor galleries closed for renovation, the Ulrich Museum of Art turned to Tony Feher to activate their outdoor spaces by creating a pair of temporary site - determined artworks titled titled «Carl Sagan, Carl Sagan» for the Martin H. Bush Outdoor Sculpture Collection.

Abstraction, New Observations, June 1984, No. 24 1984 Is Abstract Painting Regaining its Popularity by Victoria Donohoe, Philadelphia Inquirer, September 14, 1984 1983 Ted Stamm by Sanford Kwinter, Art In America, January 1983, pp. 121-122 1983 Ted Stamm by Stephen Westfall, Arts Magazine, January 1983, p. 3 1983 Ted Stamm at the Far Turn by William Zimmer, Re-Dact 1 by Peter Frank, Published by Willis Locker and Owens, ISBN 093027900X 1982 Ted Stamm, Art Economist, Volume II, No. 14, December 31, 1982, p. 5 1982 Drawing Invitational 1981 by Geynne Vernet, Arts Magazine, February 1982 1982 Two Unprovincial Shows at the Jersey City Museum by Vivien Raynor, The New York Times, New Jersey supplement, October 10, 1982, p. 28 1981 Ted Stamm by Valentine Tatransky, Arts Magazine, February 1981, pp. 35 - 36 1981 Surely Temple Black by William Zimmer, SoHo Weekly News, February 18, 1981, p. 49 1981 Abstraction with a Relaxed Air by David L. Shirey, The New York Times, March 1, 1981, p. 19 1981 Ted Stamm by Tiffany Bell, Arts Magazine, May 1981, p. 8 1981 From the General to the Particular: Some Thoughts on Abstract Painting by Tiffany Bell, Arts Magazine, June 1981, pp. 120-124 1980 Tre Amerikaner i Skaane by by Sune Nordgren, Dagens Nyheter (Stockholm), May 5, 1980 1980 Pool Documentation by Kay Larson, Village Voice, June 2, 1980, p. 85 1980 Jane Highstein and Sensibility Minimalism: A Tissue of Happenstance by Robert Pincus - Witten, Arts Magazine, October 1980 p. 140 1980 La Nouvelle Vogue New Yorkaise est Portee Para La Musie Rock by Daniel Cornu, Tribune De Geneve, December 1980 School's Out by William Zimmer, The SoHo Weekly News, June 11, 1980, p. 61 1980 Old Wine, New Bottles, Bad Year by John Perreault, The SoHo Weekly News, June 18, 1980 1979 Ted Stamm by December Kur, Handelsblatt (Dusseldorf), March 3,1979, p. 21 1979 Entries: Styles of Artists and Critics by Robert Pincus - Witten, Arts Magazine, November 1979, pp. 127 - 28 1979 Where is New York by Peter Frank, ARTnews, November 1979, pp. 59 - 65 1978 Ted Stamm by Tiffany Bell, Arts Magazine, February 1978, pp. 33 - 34 1978 Ted Stamm by Edit De Ak, Artforum, February 1978, pp. 63 - 64 1978 Artful Dodger by Gerald Marzorati, SoHo Weekly News, May 18, 1978, 10 1978 Pittori di New York by Riccardo Guarneri, Visual, April - May 1978, No. 2 - 3, pp. 40 - 43 1978 Ted Stamm at Hal Bromm Gallery by Peter Frank, Village Voice, December 19, 1977, pp. 93, 98 1977 Arts and Leisure Guide by Ann Barry, New York Times, November 27, 1977 1977 Voice Choices by Ali Anderson, Village Voice, December 12, 1977, p. 59 1977 New Museum at the New School by Peter Frank, Village Voice, December 19, 1977, p. 98 1976 Ted Stamm by Barbara Catoir, Das Kunstwerk, January 1976, p. 64 1976 Alternative Arts Spaces: One to one politics for the avant - garde by Stephen Reichard, New York Downtown Manhattan, Akademie Der Kunste - Berliner Festwochen, September 1976, p. 249 1975 Reviews by Susan Heineman, Artforum, March 1975, pp. 62 - 63 1975 Artists Space by Trudie Grace, Art Journal, Summer 1975, XXXIV / 4, pp. 323 - 326.

Subsequent generations have responded by turning galleries into temporary kitchens, schools or, in the case of Lucy Dodd — in «May Flower,» at David Lewis — a regenerative spiritual space celebrating the beginning of spring.

It was a moment when de Kooning turned to what he called the tableaux: «forcefully composed paintings with ideas of less frontal or variously posed figures in a well defined landscape space» (J. Cowart, «De Kooning Today,» de Kooning 1969 — 78, Gallery of Art, University of Northern Iowa, 1978, p. 15).

Building on Artists Space's history as an institution whose program has increasingly emphasized community participation and political organization (see last year's Decolonize This Place, which turned the gallery into a weekly activist meeting hub), Coop Fund foregoes traditional media like painting or sculpture in favor of video, art - science hybrids, updated junk sculpture, and institutional critique, making an implicit statement about these media that, for their associations with high - modernist seriousness, are appropriate to a politically engaged exhibition.

They turn the expectations of a gallery space and geometric sculpture inside out, as fully as Rachel Whiteread at her best.

Turning the DCA galleries into this myriad of conceptual spaces, the array of artworks across visual media embody some aspect of «shonkiness» or «awkwardness» in ways that lend to an overall subversion of the mainstream and hegemonic in the modern art world.

Both English, we naturally started to talk, and it turned out that Margaret was also doing shows — renting spaces short term for exhibitions, which today would be called pop - up galleries.

2016 Making and Unmaking curated by Duro Olowu, Camden Arts Centre, London, UK 30 Americans, Cincinnati Art Museum, Ohio, USA Remix, Columbia Museum of Art, Columbia, South Carolina, USA You go to my head, Galerie Templon, Paris, France The Human Form, Berggruen Gallery, San Francisco, California, USA A Material Legacy: The Nancy A. Nasher and David J. Haemseigger Collection of Contemporary Art, Princeton University Art Museum, Princeton, New Jersey, USA Framing Beauty, The Grundwald Gallery, Bloomington, Indiana Turn the Page, Virginia Museum of Contemporary Art, Virginia Beach, Virginia Versus Rodin: Bodies across space and time, The Art Gallery of South Australia, Adelaide, Australia

The galleries will all be at liberty to change up their sections as often as they see fit, and they'll take turns being responsible for staffing the space from day to day.

Anything that can be turned into an exhibition space (a storefront, sidewalk, gallery, or even someone's kitchen) will be deemed an open studio by BOS.

Inside the gallery's smaller space Steinkamp has installed Bouquet, an enchanting filmic arrangement of tree limbs — instead of flowers — that twist and turn in the middle of the wall, as it's been doing for the past year at the American Consulate building in Guangzhou.

The whole gallery will be turned into a unified space through the application of an internal skin of paint and carpet.

In 2001, controversy arose when Martin Creed won for Lights Going On and Off, a conceptual installation in which Creed set the lights in an empty gallery space to turn on and off at regular intervals.

They are suspended at varying heights and gently sway and turn colonising the central vicinity of the gallery space.

These questions hover at the back of my mind as I stand in the audience that has turned up to listen to Lucas talk, at the launch of Sarah Lucas — After 2005, Before 2012, a new catalogue of her work since 2005, in an improvised gallery space upstairs from Lucas's London gallery, Sadie Coles, which has played host to a series of shows by Lucas for the last 12 months, all but one under the headline title Situation (which is also the name of the space).

The two artists and their students at the California Institute of the Arts turned a decaying Hollywood mansion into a sort of an art gallery, which showed works that disrupted conventional; ideas about the home as a feminine space.

Opened in 1993 under the direction of Masami Shiraishi and situated in a former bathhouse building located in a charming neighborhood of Ueno Park in Tokyo's Yanaka district, SCAI The Bathhouse gallery features simple white walls combined with excellent natural light which turn it into a bright and airy space.

For the exhibition Stealing Space both the architecture of the Annely Juda Fine Art gallery and Wilson's domestic space is turned inside out and wrapped around itSpace both the architecture of the Annely Juda Fine Art gallery and Wilson's domestic space is turned inside out and wrapped around itspace is turned inside out and wrapped around itself.

Where once workers fought to remove Tilted Arc from their lunch space, massive rusted steel from Richard Serra now turns a gallery into a playground for Switch.

2016 Passman, Melissa, Art in Focus, (interview), April Boucher, Brian, «11 Booths I could hardly tear myself away from at Nada New York», artnet.com, May 6 Sutton, Benjamin, «Nada New York Gets Nasty», hyperallergic.com, May 6 Shaw, Michael, The Conversation Podcast, episode # 135, theconversationartistpodcast.podomatic.com, April 15 2015 Griffin, Jonathan, «Reviews in Brief: Max Maslansky», Modern Painters, February, p. 77 Cherry, Henry, «Escaping Monotony with Max Maslansky», Reimagine (online), February Diehl, Travis, «Critics» Picks: Max Maslansky», artforum.com, May 5 Los Angeles Review of Books, lareviewofbooks.org, (image), June 21 Hotchkiss, Sarah, «Sexy Sculpture Fills CULT's Summer Group Show», kqed.com, July 27 CCF Fellowship for Visual Artists 2015, catalog, p9 Archer, Larissa, «Review: Sexxitecture / Cult, San Francisco,» Frieze, October, pp260 - 261 2014 Hutton, Jen, «Max Maslansky», Made in L.A. 2014, catalog, Hammer Museum, Los Angeles Miranda, Carolina A., «Datebook: Boxing painters, teen idols, and John Altoon's short career», The Los Angeles Times, June 5 Zimskind, Lyle, «Channing Hansen's Quantum Paintings are Really Knit», Los Angeles Magazine Blog.com, July 17 Finkel, Jori, «Painting on Radio Canvas», The New York Times, February 7 Khadivi, Jesi, «Curated in L.A», interview with Michael Ned Holte, Kaleidoscope, Summer, pp.110 - 115 Gill, Noor, «' Made in L.A 2014» at Hammer Museum displays work by artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The Face Collector», essay for Sniff The Space Flat on Your Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City of Brea Art Gallery, Brea, CA, March 2005 The Armpit of the Mole, a drawing compilation, Fundació 30 km / s, Paris, France

The Santa was conceived by artist Paul McCarthy and presented by the Maccarone Gallery, which apparently has turned some of its West Village space into a chocolate factory.

The gallery walls of Tate Britain have been taken down so turning a warren of interlinking rooms into a large, uncluttered space in which Rachel Whiteread's sculptures are arranged as a single installation.

This exhibition was arranged in two parts, with the large - scale sculptures displayed on heavy - duty warehouse shelving that turned the gallery into a big box warehouse and another gallery space that contained his models and drawings.

Yet the opening of the 500 - square - metre exhibition space this weekend marks a turning point for the gallery, after an 18 - month closure, and the completion of a project that has been in the offing for more than a decade.

The South Gallery II of White Cube Bermondsey is turned into a magical, wondrous and captivating space filled with new works by Cerith Wyn Evans.

The kitchen (the gallery space used to be a tobacco store with adjoining apartment) serves as project space within the exhibition space: It has hosted a kitchen specific sound installation by Justin Bennett, and has been turned into a sports bar to set the stage for the video «Live from the Aquarium» by Dina Danish.

Benedict Drew Taking cues from visuals in the space, Benedict Drew and a group of eight musicians turn Drew's existing multimedia installation at Whitechapel Gallery into an improvised score, producing sounds of increasing intensity with the hope of taking the listener to a reflective or ecstatic state.

Riding on the heels of this trend, four San Francisco galleries — John Berggruen Gallery, Fraenkel Gallery, Ratio 3 and Altman Siegel Gallery — turn over their spaces to four of their represented artists to mine their backrooms to create a collaborative exhibition.

Over time and space, the works of art will in turn be removed from this densely packed exhibition space to take on different roles in the three acts that will be staged in the grand middle floor gallery of this Moscow aristocratic mansion.

Later in the decade he turned to still photography, realising large projections of dimly lit faces that dominated gallery spaces and bore down on viewers with an enigmatic and confrontational intimacy.

After opening on Washington Boulevard in 2000, the gallery did so well that it bought a second space on Elizabeth Street that the former investment banker - turned - dealer paid for in cash.

In turn, both works act as interventions of the traditional gallery space.

Cross over Commercial Street and turn left; a five - minute walk sees the landscape change from glass and steel office blocks to warehouse conversions and reclaimed spaces, one of which, The Tea Building, houses Hales Gallery, as well as the members» club Shoreditch House on its top two floors.

Pederson has worked continuously in the gallery space for several weeks, turning rudimentary materials into...

After the Twists and Turns show we have a solo back with our home gallery in London at Stolen Space Gallery in Novembegallery in London at Stolen Space Gallery in NovembeGallery in November 2018.