Sentences with phrase «viewers in a gallery setting»

The collection is said to be inspired by his «Gazing Ball» series from 2014 - 2015, composed of reproduced master paintings with a large blue glass ball reflecting viewers in a gallery setting.

Not exact matches

The next brave gallery to accommodate Mach's work is the Griffin Gallery in west London, which will also be giving viewers a chance to see his installation and creation process by opening its doors a few of weeks before the show, while he's settgallery to accommodate Mach's work is the Griffin Gallery in west London, which will also be giving viewers a chance to see his installation and creation process by opening its doors a few of weeks before the show, while he's settGallery in west London, which will also be giving viewers a chance to see his installation and creation process by opening its doors a few of weeks before the show, while he's setting up.

Visitors feel compelled to use the outdoor path, but by locating the carpets indoors, in a gallery, the artist has presented viewers with another set of choices.

Her most ambitious project to date, Barlow's new installation Set, at the Fruitmarket Gallery in Edinburgh promises to reach for the rafters, clamber its way through the space and entice the viewer into an imaginative world of materiality.

He is an artist interested in examining how viewers respond to his painting, and often shows his work outside the usual setting of a museum or gallery.

(He showed videotapes of the objects in their original settings in the people's homes on television monitors in the gallery; viewers could listen to the lenders» narration on headphones.)

In a second video work, The Intimacy Package (2018), displayed on a large TV screen in the centre of the gallery, Deja has created a series of lessons, composed of five short sequences set in a variety of environments, such as a contemporary at, a computer server room or an idyllic beach at sunset, in which an electronic narrator guides the viewer through various means of achieving intimacIn a second video work, The Intimacy Package (2018), displayed on a large TV screen in the centre of the gallery, Deja has created a series of lessons, composed of five short sequences set in a variety of environments, such as a contemporary at, a computer server room or an idyllic beach at sunset, in which an electronic narrator guides the viewer through various means of achieving intimacin the centre of the gallery, Deja has created a series of lessons, composed of five short sequences set in a variety of environments, such as a contemporary at, a computer server room or an idyllic beach at sunset, in which an electronic narrator guides the viewer through various means of achieving intimacin a variety of environments, such as a contemporary at, a computer server room or an idyllic beach at sunset, in which an electronic narrator guides the viewer through various means of achieving intimacin which an electronic narrator guides the viewer through various means of achieving intimacy.

Organized with a strict set of guidelines that outlines the need for each vendor to present an aesthetically pleasing display, the Essex Street Market is in many ways like a gallery, or even an art fair, in which curators are expected to arrange their designated spaces as they vie for the interest of viewers.

These works, when standing idle or when activated by a performer six times a week (Fridays and Saturdays at 2 and 4 pm and 5 pm either by actor / performer Austin Purnell or performer Lollo Romanski), set the tone for the way in which all of the works in the exhibition change subtly as the viewer — or the sculpture itself — moves around the gallery space.

Her ambitious project Androgyny, which has been exhibited in both commercial gallery and university settings, uses still photography, video and installation to bring distinct aspects of gender identity to the viewer.

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.

Rather than being displayed in a straightforward and unambiguous way in a gallery or museum setting, they are often separated from viewers by a framing device, such as a vitrine, a box, or other clear zone of demarcation.

To make it all cohere in a gallery or museum setting, and in the viewer's mind, is the goal, and what's expected of the audience often goes beyond the demands of more traditional art forms.

Like the collage artist who takes objects from the world, combines them with paint, and sets them inside a frame in order to show the viewer that «the tiniest authentic fragment of daily life says more than a painting,» Genzken uses the gallery space itself as a kind of frame, setting objects within and then adding her own version of a paint stroke.

The provisional architectures of these private performance settings are developed through a sculptural installation, which also functions as seating for viewers in the gallery.

However rather than displaying the pieces in an austere gallery space, the works will be installed overwhelming the domestic setting of the bungalow, offering the viewer a radically altered perspective from which to engage the sculptures.

Minimally displayed in a white cube gallery setting the horror, stench and gore is all in the images allowing the viewer a voyeuristic look into a world of violence and inhumanity.

The works are installed in the gallery in a way that suggests windows onto a shifting seascape of suns rising and setting, co-opting the gallery into a kind of travelling vessel and the viewer into a voyager.

Although shown inert in the gallery setting, these walking hydraulic gizmos are able to burrow into the viewer's imagination with their zoomorphic characteristics — one looks like a caterpillar, another a Jurassic spider.

Entering the gallery as if in reverse, viewers are presented with an opposing perspective of the sculptural works — a series of excavator machine parts, removed from their conventional setting.

Once the expectation of seeing a work of his in the galleries sets in, the space between Sehgal's work and the viewer becomes more like that of an object - based work and viewer.

That being so, the paintings on view through March 26 at the Pierogi Gallery in New York City can't help invoking intellectual movement as well: they set the viewer's mind tumbling toward successive interpretations.