Sentences with phrase «wall piece titled»

On the back wall, behind the mobile, is a painted metal wall piece titled SCF Grouping — Yellow Tail.

The fourth is Sonoma Corners, a wall piece titled for the artist's birthplace in California.

Not exact matches

In 2015, a story on Adomonline.com and Nhyira fm's Facebook platform posted a story titled «I have not had orgasm for three months due to dumsor — Ama K. Abebrese» only for the star to deny ever writing such piece on her Facebook Wall and asked the above Multimedia platforms to retract the story and apologize.

Showing me some concept art hanging on the wall, it was explained that the team at HARDlight worked off ideas for levels «based on previous 3D Sonic titles, drawing inspiration from their environments and set pieces.»

As a translator of history Starling offers context and to - the - point explanation in his personally written wall texts accompanying the title of each piece.

In the works on view here — including wall pieces, artist's hooks, and one video — Bunn perused the subject headings to cull successions of titles into texts that range from melancholic odes to deadpan truisms.

The roster is surely multigenerational; Claude Viallat, born in France in 1936 shows a 1970 work characteristic of his signature painters on fabric; the wall piece by Dena Yago, born in 1988 in the US, lends the exhibition its name «Human Applause,» also the title of a 1800 poem by Friedrich Hölderlin that «addresses a poet artist subjectivity and market valuation explicitly» written at the turn of the 20th Century.

In 1968 Richard Serra made his piece titled «Splashing» by throwing molten lead in the corner where the floor meets the wall in the warehouse of the art dealer Leo Castelli.

His title Lintels is a sort of pun (a lintel is a strong, solid piece of stone, metal or wood that supports a wall above a door or window).

Sonoma Corners, 1971, the title of which refers to Wilmarth's birthplace in California, is the single wall piece featured in the exhibition.

P.S. 1 presents the third installment of the site - specific series On - Site, a new large - scale wall piece by Mickalene Thomas titled Le Déjeuner Sur L'herbe: Les Trois Femmes Noires (2010).

The ever - inventive David Shrigley, in addition to a couple of animations in the film series described below, is represented in BQ Gallery «s booth by a white room, empty but for a sign saying «Empty Room» and the wall text identifying the piece's unsurprising title, Empty Room.

The exhibition titled RB 62 - 08 will include a new major floor piece, several wall text pieces, and paintings.

The title of the piece «Let the Colors Shine» alludes to the placement of the color in the city coming from the graffiti that is painted on the replica walls and trains.

Here, in two discrete sound pieces and five separate, wall - mounted videos (each titled Crumb Mahogany, 2016), sound was detached from moving image and allowed to bleed in and around.

(It's hard to tell, exactly — as is the artist's wont, there is no explanatory wall text or title provided for the piece.)

The first of two pieces titled Fold (both 2015) is three metres wide and nearly as tall, an unstretched and unprimed creased canvas that has been stapled to the wall and scored with a flurry of brown and russet oil - stick markings.

At 10 feet high and wide, this simple but imposing wall piece consists of the title form rendered with painted, polyester - coated wood strips.

She cast the organic shapes large - scale in milky acrylic to create two translucent, radiant sculptures — a 15 - foot - long, wall - mounted horizontal piece titled Slug and a 13 - foot - tall floor - to - ceiling piece titled Egg, each lit from within and host to a lush universe of plant life.

Grosse's piece is called This Drove My Mother Up the Wall, which is one of the best titles I've heard in a long time.

A casein - on - wood piece from 1989, Not titled, is an almost - monochrome stained plywood, like a bed mounted on the wall that curls outward at the top.

In her current show at David Zwirner, titled simply Isa Genzken, the artist presents sculptures from her Shauspieler (Actors) series, two new large - scale architectural sculptures, pieces from her Nefertiti series, as well as panel works both on the floor and along the walls.

The title of the show is «Delirious Picasso,» and it fits the fun - house feel of the installation (in which several pieces span entire walls).

Jesse Amado's wall piece «PLEASE PLEASE PLEASE PLEASE BABY PLEASE DO N'T GO I LOVE YOU SO» (2004) packs sideways the letters that spell its title, cut out of wood and painted silver, so deciphering them involves relearning to read.

Illuminating in the main gallery was the juxtaposition of Fernandez's white square reflecting floor sculpture against Morris's steely gray but gently circular wall piece, titled Observatory (1972).

Many of these pieces bear mystical titles: Sky Cathedral (1958); Silent Music II (1964); Sky Gate — New York, one of her largest wall sculptures, World Trade Center, New York City (1978; destroyed September 11, 2001).

2006 The Downtown Show, The New York Art Scene 1974 - 1984, New York University Grey Art Gallery, New York, US Onestar Shop by Hans Schabus, Art Metropole, Toronto, CA Public Space / Two Audiences, Works and Documents from the Herbert Collection, Museu d'Art Contemporani de Barcelona, ES Draft Deceit, Kunstnernes Hus, NO Location Shots, Galerie Erna Hecey, Brussels, BE Pierre Huyghe: Celebration Park, Musée d'Art Moderne de la Ville de Paris / ARC, FR Cerealart, Cerealart Lounge Pier 90, The Armory Show, New York, US Artists for Chinati, Phillips de Pury & Company, New York, US The Early Show: Video from 1969 - 1979, curated by Constance De Jong, The Bertha and Karl Leubsdorf Art Gallery at Hunter College, New York, US Onestar Press, The First Five Years, The Engholm Engelhorn Gallerie, Vienna, AT Message Personnel, Yvon Lambert, Paris, FR Not Quite Ten Years Without Martin Kippenberger, a project by Chris Hamond, Bar MOT for Kippenberger (MOT), London, UK That Was Then This Is Now, De Appel, Amsterdam, NL Czesław Miłosz / To Allen Ginsberg, Dvir Gallery, Tel - Aviv, IL Mental Image - Wortwerke und Textbilder, Kunstverein St. Gallen Kunstmuseum, CH Conceptual Comics, curated by AA Bronson, Max Schumann, Walter Phillips Gallery at the Banff Centre for the Arts, Banff Alberta, CA Libri Books Bücher, Museo D'Arte Contemporanea, Rivoli (Torino), IT The Shape of Sound, Radio Arte Mobile, Sound Art Museum, Rome, IT Wall Works - Sol LeWitt, C.A. Swintak, Lawrence Weiner, Art Gallery of Ontario, Toronto, Ontario, CA I: An Exhibition in Three Acts, Futura Gallery, Prague, CZ I Will Not Make Any More Boring Art, Lithographs, Publications and Ephemera from The Nova Scotia College of Art & Design, Printed Matter, Inc., New York, US On the Ball, Galerie Anselm Dreher, Berlin, DE Group Exhibition, curated by Peter Kogler, Galerie Mezzanin, Vienna, AT The Title As The Curator's Art Piece, A Summer Show by Mathieu Copeland (spoken word exhibition), Blow de la Barra, London, UK Into Me / Out Of Me, curated Klaus Bisenbach, P.S. 1 Contemporary Art Center, Long Island City, New York, US; KW Institute for Contemporary Art, Berlin, DE A Bit Of Matter And A Little Bit More, screening Turtle, curated by Michael Shamberg, Chelsea Space, London, UK Moving On: Motion, Galerie Thomas Schulte, Berlin, DE The Known and the Unknown, Gallerie Nicolai Wallner, Copenhagen, DK As If By Magic, Bethlehem Peace Center, West Bank & Art School Palestine, Palestine, IL The Materialization of Sensibility: Art & Alchemy, Leslie Tonkonow Gallery, New York, US The Urban Forest Project, Times Square Information Station, Times Square, New York, US Word, curated by L. Brandon Krall, Deborah Colton Gallery, New York, US Printemps de Septembre, Toulouse, curated by Jean - Marc Bustamante, City of Toulouse, FR Contraband, curated by Carolina Grau, Galeria Luisa Strina, São Paulo, BR São Paulo Bienale, Escola São Paulo, São Paulo, BR Busy Going Crazy, collection Sylvio Perlstein, La Maison Rouge, Paris, FR The RxArt Ball, New York, US The Title As The Curator's Art Piece (spoken word exhibition) curated by Matthieu Copeland, Blow de la Barra, London, UK Concrete Language, Contemporary Art Gallery, Vancouver, CA Project 2023 - Arteast Collection 2000 +23, Moderna Galerija Ljubljana, SL Break Even, Andrew Roth Gallery, New York, US Open, CCS Bard Hessel Museum, Annandale - on - Hudson, New York, US Wrestle, CCS Bard Hessel Museum, Annadale - on - Hudson, New York, US Ideal City - Invisible Cities, curated by Sabrina von der Ley & Markus Richter, Europe Projects, Zamość, PL Into A Journey, Meyer Riegger, Karlsruhe, DE Magritte and Contemporary Art: The Treachery Of Images, designed by John Baldessari, LACMA, Los Angeles, California, US Art Metropole: The Top 100, National Gallery of Canada, Ottawa, CA Poster, Paula Cooper Gallery, New York, US Pandora's Reisen, Brigitte March Galerie, Stuttgart, DE Dedica - 20 Anni Della Galleria Alfonso Artiaco, curated by Julia Draganovic, Palazzo delle Arti Napoli, Naples, IT Good Riddance, curated by Claire Davies & Sam Gathercole, MOT, London, UK Art in America: 300 Years of Innovation, curated by Susan Davidson, National Art Museum of China (NAMOC), Beijing, CN Not For Sale, curated by Alanna Heiss, P.S. 1 Contemporary Art Center, New York, US Il Faut Rendre À Cézanne, The Collection Lambert, Avignon, FR

So it makes sense that «Hello Walls,» which fills Gladstone Gallery's two branches in Chelsea, opens with another of Bochner's early works: the white - on - black text piece Forgetting Is the Only Continuum, originally from 1969, in which the title words appear scrawled in white on a black stripe that runs nearly the length of the 24th Street gallery's largest room.

True to its title, the exhibition format seems «collapsed» here, leaving pieces scattered on the floor and flung on the walls.

This volume reproduces Giacometti's Standing Woman (1948), an untitled box piece by Donald Judd, an ancient Greek kouros (615 — 590 B.C.), a sculpted piece of island marble from the Attica region of Greece, Mark di Suvero's Hankchampion (1960), Jeff Wall's A ventriloquist at a birthday party in October 1947 (1990), and a series of sculptures by the American folk artist Edgar Tolson titled The Fall of Man (1969).

The solo exhibition titled Human Resources comprises around twenty polychrome wood sculptures: wall pieces, pedestal pieces, and freestanding life - size figures.

Luke Diiorio, b. 1983, lives in New York Last summer, RCA grad Diiorio unveiled a much - talked - about solo exhibition at Robert Blumenthal Gallery, titled after a hardware store's branding slogan («Never Stop Improving») where framed pieces of interior walls challenged American DIY aspirations.

Adian's wall - mounted abstract paintings, made by stretching canvas over shaped pieces of foam, will find themselves in a group show titled «Rascal House» with Blair Thurman, John Armleder, and Stephane Kropf at Half Gallery in January 2015, followed by an installation at Lever House in New York.

It seems consistent with a language piece, shown in the same gallery with a Donald Judd sequential wall sculpture and a small bright gouache by the Pattern and Decoration painter Kim MacConnel that is tellingly titled «Better Looking.»

The show also features a performance piece by Bruce Nauman — a hired actor walks the room as if the ceiling were five feet high, with the public standing outside — along with an arrangement of textured patterns on each wall and a phrase by poet Alfred Starr Hamilton, which gives the show its title and undergoes random permutations by means of an algorithm designed by Robert Pearson, with results displayed on a pile of sheets.

Upon entering, one is immediately exposed to the wall - scale title piece, an unfolding electronic painting projected onto a black wall that slowly emerges in digital brushstrokes of surreally flattened and warped images.

Some invoke the supernatural — the title of «Planchette,» a dark purple wall - relief of paper and aluminum, refers to the small piece of wood used to spell out messages on a Ouijia board — while others play with the simple idea that things are not what they seem.

The contents of a discreet bronze box in Yoko Ono's Disappearing Piece (2012) are said to vanish upon exposure to light, and a wall mirror by Fabrice Samyn titled Dust of Breath (2010) captures the spectre of a breath — comprised of dust — on its surface, alluding to the human essence.

In fact, that's the title you gave to one of your found - plastic wall pieces from 1985.

Titled Hardware Seda — Hardware Silk, the exhibition comprises an ensemble of hanging, freestanding, and wall - mounted sculptures, as well as a group of polychrome wooden floor - pieces and a series of watercolors related to them.

Colombian artist Paul Barrios created Tres tiempos (Three Times), the title of which refers to visual transformation through material, deconstruction, and construction; in this piece, symbolic objects are seen being ritually buried in three different walls.

Bradford used a planer to file through the surface and reveal layers of color from the 29 previous projects painted onto that wall, remembering literally the history of imagery going back to the first wall painting done by his friend Barry Magee, which is why the piece is titled Finding Barry.

The piece, titled This is how the myth repeats, is a 14 x 20 feet installation of toner and graphite directly on the walls of the Atlanta Contemporary Atrium.

The Iowa piece (titled Channels) covers a long wall in a hallway with a series of bright, laser - cut Formica tiles in shapes generated by a computer program.

In the living room, which she decorated, a series of photographs of her mother and muse, Sandra Bush, fittingly titled «How to Design a Room Around a Striking Piece of Art,» are hung against red lacquered walls, and a leopard - upholstered sofa and gleaming gold - top tables hold the floor.

For instance, one painting known as College Fund features a small model of a taxi cab resting on a suitcase with a tip jar filled with coins in the backseat as the shadow reflects onto the wall, while a similar piece titled Freedom Rider depicts a child's bicycle with one wheel in the front, and two wheels in the back, with an American flag sticking out from the backseat.

Old and new techniques coalesce in the aptly titled Sunset No. 1 and Sunset No. 2 (both 2017), wall pieces installed in an upstairs set of galleries.

Peter Frumhoff of the Union of Concerned Scientists criticizes their take on the science in a piece titled, «Dismal Science at The Wall Street Journal.»

Rutan is one of 16 scientists who appended their signatures to a Wall Street Journal opinion piece titled «No Need to Panic About Global Warming.»

That is essentially the same conclusion reached by Wall Street Journal reporter Russell Adams, who writes about the service today in a piece titled, Bloomberg Hangs -LSB-...]