Sentences with phrase «viewer out of the gallery»

Not exact matches

Out of the three rooms their installations will occupy at the event at PACE in London, the largest will include six works and feature Universe of Water Particles, Transcending Boundaries, a virtual waterfall that extends beyond the gallery wall onto the floor, flowing through the space and around the feet of the viewer.

With an invitation card sent out alongside the exhibition announcement card, the artist invites viewers to visit a pair of rowel spurs (iron, c. 1650) in the Arms and Armor wing of the museum (Gallery 376, 1st Floor).

All about her love of trees, these new works take you out of the gallery and perhaps onto the backporch looking out at the woods or lawn behind your house - wherever the viewer prefers to imagine themselves.

In the adjoining side gallery, the Screen Combines take the tools of productions out of the paintings and into the viewer's personal space.

The exhibition brings together a film, which is installed in the blacked - out space of the main gallery at a scale that fills the viewer's optical range, and new lightboxes, which illuminate the small back gallery with an eerie deep - blue aura.

As an intern at the Whitney, she was charged with sitting on the gallery floor inside a 1975 exhibition of the work of Richard Tuttle, art so minimal and humble it infuriated many viewers and was a factor in the firing of the curator, Ms. Tucker, who promptly went out and started the New Museum in two small temporary rooms in TriBeCa.

Its inclusion here mediating the solid mass of the granite and allowing the viewers to project themselves out of the gallery space.

Entering the gallery the viewer is almost walking into Map of China, a large sculpture made out of Iron wood (Tieli wood) that Ai Weiwei has collected from dismantled temples of the Qing Dynasty (1644 - 1911).

The Malaysian - born, London - based artist uses the overly precious setting of the gallery space to pull objects — cooking utensils, kitchen fittings, plastic tubs, sheets of jute, etc — out of their utilitarian context in such a way as to force viewers to think about them as discrete objects, or things in and of themselves, while in the process challenging the assumptions we make about their functionality and attendant concerns such as, for example, the social status of the person who might own such an object, its role in their lives and that relation in respect to one's own style of living.

The sculptural ensemble marks out the difference in scale between its viewers and the space of its display: Zwirner's main gallery is expansive, with deep sawtooth skylights making it feel even taller.

Tcherepnin has a solo booth with Los Angeles's Overduin & Co. gallery at the fair, where he is showing wall - hung fabric works outfitted with transducers and strips of metal, which act as speakers when viewers press them together, sending out jagged, funky beats.

McPherson explained her «I Know It By Heart» exhibition, which is currently open at Rome's Dorothy Circus Gallery until the end of July, saying: «The paintings ended up taking an adventure towards visual manifestations, literally things coming out of their yes, with aurora, rays of viruses, smoke, water, electricity, or even a lack of visual contact with eyes covered or a glance away from the viewer.

Viewers familiar with Anthony Caro's groundbreaking painted steel sculptures from the early 1960s, which discarded with the traditional pedestal and seemed to spread out horizontally along the floor, may have been surprised to see a series of tightly arranged table pieces from his Arena series of the 1990s at Álvaro Alcázar Gallery.

Upon entering the gallery space, the viewer is confronted by an installation consisting of three video projections that present the most pressing questions concerning the supposed objectivity of academic knowledge by pointing out the corporatization of institutions of higher learning in the United States and the sometimes controversial positions that universities fall into when trying to physically expand amidst disenfranchised communities, as well as falling into possible contradictions with the agendas of university donors.

In the presentation at Matt's Gallery in 2012, the viewer walked through an expansive sculptural installation, in which motifs from the film were played out; giant diagrammatic stick figures in the warning colours of yellow and black tower over a school girl inhabiting the world of School of Change.

For the installations and wall drawings in «Dentro, o que existe fora» (Inside, What Exists Outside), the artist used colored planes to form simple geometrical compositions that nonetheless produced complex experiential effects, giving the impression of three - dimensional shapes folding into and out of the corners, walls, and floors of the gallery, as if collapsing out of and drawing viewers into revealed spaces existing parallel to the structural planes of the

At the gallery, a pattern of viewer behavior quickly becomes obvious: Amusement gives way to discomfort, followed by a quickened shuffle through the remaining rooms and back out the door.

Composed of four irregularly stacked polyhedral shapes, the work invites the viewer to engage with the gallery space, as its multifaceted planes advance and recede out of view.

When visiting any art gallery, the sophisticated viewer is not usually seeking out the inferior copy of a work; the idea of a fake painting in an art museum isn't usually desirable.

(Note: While the press photo of Snyder's Beanfield below will likely remind the viewer of Monet before evoking Guston, a detail snapped by a visitor to the gallery reveals a different painting: one with vigorous, loose paint handling, and «bean sprouts» that seem absurdly to grow out of the canvas into three - dimensional space.)

Rendered in three dimensions, this handcrafted cannon juts out of the canvas into the gallery space — a prime example of Morley's interest in heightening the viewer's sensation and experience of his work.

In the large gallery rooms at the Bronx Museum, viewers get a sense of the cathedral - like qualities Pier 52 gained when light streamed through the meticulously designed cut - outs, transforming the abandoned, ramshackle riverside structure into what the artist described as a «sun - and - water temple.»