Not exact matches
In 1988, a thief walked into the
gallery, took the small portrait off a
wall that hadn't been linked to an alarm
system, and walked out.
In 1967, the artist devised an arithmetically expanding
system of 8 - foot lamps that were placed vertically along the available
gallery walls of the Museum of Contemporary Art, Chicago.
Following his years as a student at Cal Arts and teaching in Nova Scotia, he describes his early years in New York with the artist April Gornik, just as
Wall Street money begins to encroach on the old
gallery system and change the economics of the art world.
Mimicking the symmetrical
system of the «Maginot Line,» each body of work is arranged in its own compositional grid on the
gallery wall.
The films will be projected onto the
gallery walls from stacked Kinetescopic plinths, each engraved with different US postal codes to invoke unstable Western
systems for dividing and allocating land.
The
gallery has a railing
system with rods and hooks, no picture hanging hooks or nails will be used on the
walls.
In
Gallery II, a large,
wall - based sculpture of colorful ceramic disks on rotating arms titled, THIS ONE GOES OUT ACROSS THE SEMAPHORE SPECTRUM, simultaneously takes form as a double solar
system model or an antiquated signal device used to communicate turbulent atmospheric conditions to pilots in air or at sea.
For their exhibition at Public Address, Leduc will transform the
gallery walls into a kinetic
system that rejects its very purpose; if ever someone should touch the
walls, they will shift, sway, and threaten collapse.
a
system through which to think about paint on the support, which is the canvas /
wall / frame /
gallery / geometry.
At the
gallery's basement, the viewer comes across three bodies of work: black photographic paper (coin studies), museum barriers standing in vertical position (distance keepers) and
wall painting (model), that act as collage elements and manage in a quite unexpected and paradoxical way to serve as a whole new
system of reference.
The first piece a viewer encountered when entering the
gallery, «Folding the Columbia,» is what appears to be a root
system made from thousands of green marbles affixed to the
wall and the floor.
Both
systems come together in his
Wall Drawings as seen in Cybernetic Still Life No. 6, specifically conceived for Berlin and the
gallery's Corner Space.
With soundproof
walls, acoustical panels and a state - of - the - art sound
system, the Audio Art
Gallery provides an ideal environment for deep listening.
Exhibitions include: «New Works» solo, FOLD
Gallery, London (2017), «Life Room Seats» commission, Royal Academy Schools, London (2014), «Movable
Wall System» commission, Backlit, Nottingham (2013), «Art in Your Park», University of Nottingham, Nottingham (2013), Castle Open, Nottingham Castle, Nottingham (2011), London Art Fair, Business Design Centre, London (2011).
Curated by Adelina Vlas, the AGO's Associate Curator of Contemporary Art, Sandra Meigs: Room for Mystics (with Christopher Butterfield) will be located on the 5th Floor of the AGO's Contemporary Tower (the Vivian & David Campbell Centre for Contemporary Art) and consists of 30 large - scale paintings stationed throughout the
gallery floor space, 13 fabric
wall banners, a large mobile hung from the ceiling, a custom - designed sound
system, and a recurrent 15 - minute musical performance by the Vox Aeris brass trio.
To that end, the Gagosian has embedded its playback
system into the
gallery's
walls, ensuring no speaker cones distract visitors from the photos on show, and that the aural experience is spread evenly throughout the display space.
2011: Circulatory
System, White
Walls Gallery, San Francisco; Rudimentary Perfection (the first Graffuturist exhibition), Recoat
Gallery, Glasgow, Scotland; Unintended Calculations (with Remi / Rough, Jerry Inscoe, Scot Sueme), Becker Galleries, Vancouver, BC; Street Cred: Graffiti Art from Concrete to Canvas, Pasadena Museum of California Art, Pasadena, CA; 2010: Retrofitted & Other Forms Of Vintage Futurism, White
Walls Gallery, San Francisco; OP Straat, 3 man exhibition with Mear & Retna, Willem Kerseboom
Gallery, Amsterdam, Netherlands; L'Art Urbain, Addict
Gallery, Paris, France.
These include two
walls from a mobile
wall system developed for the Art Institute of Chicago, present in the previous venue; a
wall from a work of mine from 1991, which itself was a reconstruction of a
wall built by Peter Nadin and Christopher D'Arcangelo in the 1970s;
wall fragments where exhibition design elements from previous exhibitions in the space at MoMA are visible; vinyl - clad
walls built with MoMA's
wall system, two of which are clad with vinyl graphics that continue from the lobby; and a cinder block
wall which reconstructs a
wall system used by the Whitechapel
Gallery in the 1950s, a
system which will be used in the next iteration of the show at the Whitechapel next year.
Among the wide array of works on display — including Louise Lawler's self - reflexive «tracings» of her own photographic works superimposed on the
gallery walls, recontextualising them with the physical and cultural environment, to Hans Haacke's, «A Breed Apart», 1978; an amusing and unflinching attack on capitalism and political power, exposing
systems of influence with the artist's assault on British Leyland for their seeming assistance with Apartheid — are the giant cut - out animals of Katja Novitskova's «Approximations Series».
Join us for a
gallery walk - through of The Spectacular of Vernacular with Dario Robleto, a Houston - based artist who makes intricate sculptures and
wall works that explore the belief
systems and spiritual aspirations of the past.
, Galería Javier López, Madrid; curated by Fer Francés Joyride, Marlborough, New York G I R L, Galerie Emmanuel Perrotin, París; curated by Pharrel Williams If you're accidentally not included, don't worry about it, Galerie Zürcher, New York; curated by Peter Saul
Wall to
Wall, Hang - Up
Gallery, London This is Not a Toy, Design Exchange, Toronto; curated by John Wee Tom, Sara Nickleson and Pharrell Williams Making Links: 25 Years, SCAI The Bathhouse, Tokio 2013 Happy Birthday Galerie Perrotin / 25ans, Tri Postal, Lille The
System of Objects, Deste Foundation, Athens Pictoplasma White Noise, La Casa Encendida Madrid At Home I'm a Tourist.
I have wanted to transform the
gallery with the use of flat blocks of shapes, so I planned a
system of modules with which to compose on the
walls a kind of «construction».
In Belief
System, the paintings are not hung but rest on low shelves that ring the
gallery walls like molding; in the back, a skeletal bookcase hosts small works on paper and artist chapbooks side - by - side.
Featured images: Douglas Gordon — Untitled (I'm Not Sure This Is Working), 1997 - 2007,
Wall text, telephone, audio recording, Courtesy the artist © Studio lost but found / VG Bild - Kunst, Bonn 2017, Photo: Matthias Langer; Marina Abramović & Ulay — Breathing In, Breathing out, 1977, Single - channel video, b / w, sound, 10:49 min (looped sequence), LIMA — preserves, distributes and researches media art © LIMA, Amsterdam / VG Bild - Kunst, Bonn 2017; Four stills from Rodney Graham's City Self — Country Self series, 2000, 35 mm transferred to DVD, 04:00 min (Loop), Courtesy of the artist and Lisson
Gallery © Rodney Graham; Yayoi Kusama — Infinity Mirrored Room — the Souls of Millions of Light Years Away, 2013, metal, glass, mirrors, plastic, acrylic panel, wood, rubber, LED lighting
system, acrylic balls, water, Collection HGN © Yayoi Kusama.
Along with lead abatement
wall works and a bioremediation project in the ventilation
system of the
gallery, Assiff painted pictures of «Hyperaccumulators», plant life used to suck metals and toxins from soil no longer viable due to manufacturing.
Saturday evening, White
Walls opened its doors to Augustine Kofie's second solo show at the
gallery, Circulatory
System (previewed in our studio visit).
The
walls of the
gallery are revealed by a motorized mechoshade
system.
A monorail style light
system in a hallway to create an instant art
gallery effect for your
wall pictures.