Sentences with phrase «wall space showing»

Not exact matches

The benefits of conventions, events, exhibitions and trade shows ripple beyond the walls of the meeting space.

Fraser met Chapin when Tice invited her to the Starbucks headquarters last fall to meet other partners in the military community and see the company's Honor Wall, a space maintained to show gratitude for their service.

The Resurrection is the real indication of Christ's power over death and sin, of course, but also of His power over matter: matter is raised to new potentialities, new relationships, as shown by His Risen Body being able to pass through walls, no longer materially confined by time and space as before, an indication of our own future bodily lives in the state called «heaven».

The video below shows what happens when left skull with the air space between the top of the skull and the yellow liquid — and the right skull with no air space — hit the wall.

In the modern Eichler home shown here, the crisp white walls and chalkboard panels are set off by a bright runner that really makes the space pop.

Take the lovely space shown here for instance — the walls are are covered in affordable (and removable!)

In this post, I wanted to show you that even if you don't necessarily have a built in drop zone, you can still create one with just a little bit of wall space and a few organizational pieces.

For instance, with about $ 50 and a trip to Radio Shack, Lee can show you how to turn a blank wall space into an interactive whiteboard — savings: about $ 1,500.

Cubism and its multiple viewpoints show how Art has now returned to a wall and Braque and Picasso's work show how they have now fractured space and how the importance of creating an illusion of space on a 2D surface was not a priority but instead it was the overall meaning and idea that is important.

This shows there is always money and wall space available if the outcome is worth it.

Gallery walls are well - lit to show the art, but space that is more than two or three feet from the wall may have low lighting.

Run an art exhibition - showing paintings and framed photographic prints — with no wall space available to us.

If you start out by asking about your gallery publicity, wall space, shows, framing, marketing materials and so on, it's not going to sit well.

For the «Wall Show» (10 December 1970 — 30 January 1971), curated by Nicholas Logsdail, artists were invited to make a proposal for one of 20 blank walls, spread across two gallery spaces.

For West Wall, Dwan Main Gallery (1967), a now classic exhibition presented in 2008 at Peter Blum, Chelsea, William Anastasi photographed an empty gallery, silkscreened that image onto a slightly smaller canvas, and installed that work on the wall, making «the wall... a kind of ready - made mural,» thus changing «every show in that space thereafter.&raWall, Dwan Main Gallery (1967), a now classic exhibition presented in 2008 at Peter Blum, Chelsea, William Anastasi photographed an empty gallery, silkscreened that image onto a slightly smaller canvas, and installed that work on the wall, making «the wall... a kind of ready - made mural,» thus changing «every show in that space thereafter.&rawall, making «the wall... a kind of ready - made mural,» thus changing «every show in that space thereafter.&rawall... a kind of ready - made mural,» thus changing «every show in that space thereafter.»

His Berlin Installation takes up an entire length of the gallery's back room (unusually, broken up with temporary walls for this show dividing the characterful space, which works perfectly for installations and immersive works, into a more classical gallery for showing photography).

Just as Altmejd has shown how bodies can be so violently acted upon by interior and exterior forces, in his work the apparent neutrality and solidity of architecture is shown to be unable to contain the overflow of ideologies and agendas embedded within — the body of the space bursting and the walls becoming a porous membrane.

This show is a monumental work executed in black - and - white on a wall cutting across the length of the exhibition space.

In 1954, Rothko spoke of the desirability of showing his work in domestically scaled spaces: «By saturating the room with the feeling of the work, the walls are defeated. . .»

Artist Tina Braegger will present «a door into the space», Sam Pulitzer will create «an ear gauge in the wall», Aude Pariset will install a «giant shell», Richard Frater will present «a lure hanging from the ceiling», and Lucie Stahl will show that «a soda can affixed to the wall».

At ABMB, Pace showed (and sold, at prices ranging from $ 75,000 to $ 1m) 16 signature black Louise Nevelsons; Mitchell - Innes & Nash gave a wall to Jessica Stockholder's 14 - element assemblage; Rosalyn Drexler's canvas collages of magazine strips took over Garth Greenan's Survey booth; a Kiki Smith white car - painted bronze anchored Timothy Taylor's space; Noga, the sole Israeli gallery (why?)

In 1949, he exhibited Ambiente Spaziale a Luce Nera (Spatial Environment with Black Light), a room - sized work using neon lights in a dark space of colored walls, a proto - installation style that would reappear decades later and in the Gagosian show.

Metabolism and Communication, Zentrum fur Kunst und Medientechnologie, Center for Art and Media, Karlsruhe, Germany 2003 Love, Magazin4 Vorarlberger Kunstverein, Bregenz, Germany Patty Chang, Tracy Emin, Naomi Fisher, Paul McCarthy, The Moore Space, Miami, FL (performance, April 26) Water, Water, curated by Lilly Wei, The Rotunda Gallery, Brooklyn, NY Awakenings, Center for Curatorial Studies at Bard College, Annandale - on - Hudson, NY Feminine Persuasion, The Kinsey Institute and the School of Fine Arts Gallery, Indiana Univeristy, Bloomington, Indiana 2002 Videos in Progress, The RISD Museum, Providence, Rhode Island Le Plateau Frac Ile - de-France (performance only, November 7), Paris, France Mirror, Mirror on the Wall, MASS MoCA, North Adams, MA The Body Electric: Video Art and the Human Body, Cheekwood Museum of Art, Nashville, TN Americas Remixed, La Fabbrica del Vapore, Milan, Italy (performance / exhibition) Extreme Existence, curated by Klaus Ottmann, Pratt Manhattan Gallery, NY (performance / exhibition)(catalogue) Moving Pictures, Guggenheim Museum, New York Fusion Cuisine, Deste Foundation Centre for Contemporary Art, Athens, Greece (performance / exhibition), (Catalog available) Time Share, Sara Meltzer Gallery, NY Le Studio, Yvon Lambert, Paris, France Oral Fixations, curated by Sandra Firmin, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Panorama, curated by Carmen Zita, Room Interior Products, NY Superlounge, curated by Andrea Salerno & Mari Spirito, Gale Gates, Brooklyn, NY About the Mind (Not Everything You Always Wanted to Know), Video Cafe, organized by Hitomi Iwasaki, Queens Museum, NY Mirror Image, curated by Russell Ferguson, UCLA Hammer Museum, Los Angeles, CA Traveled to: Bard College, Center for Curatorial Studies Museum, Annadale - on - Hudson, NY Perspectives: Artists of Chinese Descent in New York, Queens College Art Center, NY Traveled to: Firehouse Art Gallery, Nassau Community College, Garden City, NY, March - April 2003 2001 Bodily Acts, curated by Jennifer L. Gray, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Circus Maximus, BeganeGrond, Center for the Contemporary Arts, Utrecht, Holland Group Show, Hamburg Kunstverein, Germany (performance) Mimic, Gale Gates et al., Brooklyn, NY Casino 2001, 1st Quadrennial of Contemporary Art, Stedelijk Museum Voor Actuele Kunst and the Bijloke Museum, Gent, Belgium (performance / exhibition) Looking for Mr. Fluxus: In the Footsteps of George Maciunas, Art in General, NY La Hijas de la Tierra (The Daughters of the Earth), IODAC Museum of Contemporary, Spain Panic, Julie Saul Gallery, New York Video Jam, Palm Beach Institute of Contemporary Art, Lake Worth, Florida (brochure) 2001 Art + Performance + Technology, in conjunction with the 19th International Sculpture Conference, Wood Street Galleries, Pittsburgh, PA (performance) WET, Luise Ross Gallery, New York Trans Sexual Express Barcelona, Centre d'Art Santa Monica, Barcelona, Spain Smirk: Women, Art, and Humor, curated by Debra Wacks, Firehouse Art Gallery, Nassau Community College, New York 2000 Uncomfortable Beauty, Jack Tilton / Anna Kustera Gallery, New York Cross Female, Kunstlerhaus Bethanien, Berlin, Germany (performance / exhibition): Traveled to: Kunst - und Kunstgewerbeverein Pforzheim, Germany (April / May 2001) The Art of the Screen Saver, Stanford Art Museum / Cantor Art Center, Stanford, CA Traveled to: ICA, London, England (Feb - March 2002) Steamroller, performance festival organized by Galerie MXM, Prague, Czech Republic (Catalog available) Soma, Soma, Soma, The Sculpture Center, New York Performance Festival, Kunstpanorama, Lucern and USINE, Geneva The Standard Projection: 24/7, Standard Hotel, Los Angeles Deja vu, Art Miami 2000, Miami Beach Convention Center, Miami Beach Galerie Fons Welters (two person exhibition with Atelier van Lieshout), Amsterdam ID / y2k, Identity At The Millennium, Castle Gallery, College of New Rochelle, NY 1999 - 2000 Illusion Delusion Denial, 450 Broadway Gallery, New York Mug Shots, Center for Visual Art and Culture, University of Connecticut, Storrs, CT. 1999 IDENDITAT, hat man doch zu viel, Ort halle fur kunst, Feldstr.

For the show, the gargantuan exhibition space on West 20th Street appears mostly devoid of physical objects, but so full of meaning that it feels as if the walls might burst.

The most breathtaking wall in this generously spaced (lots of white wall) show is A Painting in Six Parts (1986 — 87/2012 — 16), using a picture she took 50 years ago from a pier in Venice, California.

Almost all of Bernhardt's two - dozen solo shows, some of which saw her covering walls with advertisements from Spanish bodegas or collaborating with Jdia, oftentimes — as in her current exhibition — activating the space by covering the floors (in this case, with burlap coffee sacks), have been downtown, in small group shows, and around the globe.

Because the large - scale, brilliant - hued earliest works need plenty of white wall, the show is hung in reverse, starting deep in the space and moving chronologically toward the door.

Curiously some of the commercial galleries that represent the apotheosis of the contemporary art industry and market, such as, here in NY, Gagosian and Zwirner, have been able to mount museum quality shows the past few years, including for example excellent Picasso and Frankenthaler exhibitions at Gagosian and the recent exhibition of Ad Reinhardt's work at Zwirner, in spaces that either are as beautiful as any museum or that are just functional in a good way, with few frills, just good walls and space.

And finally, in the show's namesake, «The Velocity of Change» (2015), which appears directly on the right wall as one enters the gallery, the intervals of white space between the clearly defined, occasionally fractured sets of colored wedges simultaneously pause and accentuate the rhythmic momentum within the mural.

Constructed from an archive of images of the solar system, the works in Doug and Mike Starn's luminous show «Heliolibri» cantilevered from the walls of the dimly lit space in a panoply of galactic imagery.

Richard Meier says the walls he designed for the Glass Gallery «make the space divided but also fluid... as you move around the space, you see the different relationships between the art shown here... It's a phenomenal exhibition space.

Lining the walls of the space, twenty - four boxes created by twenty - six artists show the variety of materials, concepts and the various ways of working within a specific parameter.

«We have artists like Richard T. Walker who we wanted to show and promote, and we needed more walls and a fresh location to do it,» says Brandt, explaining the creation of FraenkelLAB, a project space opening on Market Street.

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

Coney Island Visions of an American Dreamland, 1861 — 2008 WNPR, Feb. 13, Coney Island and Bushnell Park's Carousel Artistry by Mallory O'Donoghue The Boston Globe, Feb. 12, Atheneum assembles a first - rate installation by Sebastian Smee WNPR, Feb. 12, Wadsworth Explores Coney Island, the «Microcosm of the American Experience» by Ray Hardman The Modern Art Notes (MAN) Podcast, Feb. 12, No. 171: Dennis V. Geronimus, Robin Jaffee Frank by Tyler Green WNPR, Feb. 11, Where We Live, An Arts Wheelhouse Examines Connecticut Museums The Boston Globe, Feb. 10, Coney Island comes to the Wadsworth Atheneum by Mark Feeney Apollo Magazine, Feb. 10, Five favourites from the Wadsworth Atheneum's new galleries The New Yorker, Feb. 9, Change Artist: The works of Piero di Cosimo by Peter Schjeldahl The Art Newspaper, February 2015, Wadsworth Atheneum restores spaces it very nearly lost by Julia Halperin The Hartford Courant, Feb. 2, «Coney Island On the Silver Screen» Series at Atheneum by Susan Dunne The New York Times, Feb. 1, Wadsworth Atheneum's New Spaces for Contemporary Art by Susan Hodara The Guardian, Jan. 30, Wadsworth Atheneum: oldest public museum in US comes back from brink by Martin Pengelly The Hartford Courant, Jan. 25, Three Satellite Shows Compliment Dynamic «Coney Island» Exhibit at Wadsworth Atheneum The Hartford Courant, Jan. 18, Renovated Wadsworth Galleries Show Off Contemporary Collections by Susan Dunne The Wall Street Journal, Jan. 17, Coney Island Comes Alive in Art Show by Ellen Gamerman The Art Newspaper, January 2015, Return of Wadsworth's LeWitt Elle Decor, January / February 2015, Boardwalk Empire ARTnews, January 2015, Editors» Picks American Art Review, January 2015, Coney Island: Visions of an American Dreamland by Robin Jaffee Frank The Art Newspaper, The Year Ahead 2015, Museum Opspaces it very nearly lost by Julia Halperin The Hartford Courant, Feb. 2, «Coney Island On the Silver Screen» Series at Atheneum by Susan Dunne The New York Times, Feb. 1, Wadsworth Atheneum's New Spaces for Contemporary Art by Susan Hodara The Guardian, Jan. 30, Wadsworth Atheneum: oldest public museum in US comes back from brink by Martin Pengelly The Hartford Courant, Jan. 25, Three Satellite Shows Compliment Dynamic «Coney Island» Exhibit at Wadsworth Atheneum The Hartford Courant, Jan. 18, Renovated Wadsworth Galleries Show Off Contemporary Collections by Susan Dunne The Wall Street Journal, Jan. 17, Coney Island Comes Alive in Art Show by Ellen Gamerman The Art Newspaper, January 2015, Return of Wadsworth's LeWitt Elle Decor, January / February 2015, Boardwalk Empire ARTnews, January 2015, Editors» Picks American Art Review, January 2015, Coney Island: Visions of an American Dreamland by Robin Jaffee Frank The Art Newspaper, The Year Ahead 2015, Museum OpSpaces for Contemporary Art by Susan Hodara The Guardian, Jan. 30, Wadsworth Atheneum: oldest public museum in US comes back from brink by Martin Pengelly The Hartford Courant, Jan. 25, Three Satellite Shows Compliment Dynamic «Coney Island» Exhibit at Wadsworth Atheneum The Hartford Courant, Jan. 18, Renovated Wadsworth Galleries Show Off Contemporary Collections by Susan Dunne The Wall Street Journal, Jan. 17, Coney Island Comes Alive in Art Show by Ellen Gamerman The Art Newspaper, January 2015, Return of Wadsworth's LeWitt Elle Decor, January / February 2015, Boardwalk Empire ARTnews, January 2015, Editors» Picks American Art Review, January 2015, Coney Island: Visions of an American Dreamland by Robin Jaffee Frank The Art Newspaper, The Year Ahead 2015, Museum Openings

Charlie James Gallery and Marine are delighted to present If These Walls Could Talk — A Conversation, a group show of distinguished local and international artists exhibiting concurrently across our mutual spaces.

Antiques and The Arts Weekly, Nov. 18, Historic John Trumbull Paintings Go Up At Wadsworth Atheneum Hartford Business Journal, Nov. 7, Loughman aims to reconnect Wadsworth to community by John Stearns New York Times Style Magazine, Oct. 20, The Renaissance Artifact Collections That Are Back in Style by Gisela Williams Boston Globe, Oct. 17, Face to face with «The Old Man and Death» by Sebastian Smee Hartford Courant, Oct. 13, Sky Dives, Space Travel Subject of Dulce Chacón's «Fallen Angels» At Wadsworth by Susan Dunne Hartford Courant, Oct. 13 Artists Define Their Femininity In Bruce, Wadsworth Exhibits by Susan Dunne CTNow, Oct. 2, Wadsworth Splendor IX Gala by Alex Syphers Hartford Courant, Sep. 19, Photography Exhibits At Atheneum, Real Art Ways, Lyman Allyn by Susan Sunne Hartford Courant, Aug. 21, Wadsworth Atheneum Begins Free Admission For Hartford Residents by Susan Dunne Hartford Courant, June 14, Wadsworth Atheneum Exhibit Confronts Violence Against African - Americans by Susan Dunne WPKN, May 28, Live Culture with Martha Willette Lewis Episode 15 featuring Vanessa German The New York Times, April 15, Gothic to Goth: Exploring the Impact of the Romantic Era in Fashion by Susan Hodara The Wall Street Journal, April 5, «Gothic to Goth: Romantic Era Fashion & Its Legacy» Review by Laura Jacobs Hartford Courant, March 24, Wadsworth's «Gothic to Goth» Celebrates Romantic - Era Fashion by Susan Dunne The New York Times, March 10, Poets Give Voice to Art in «Sound & Sense» at Wadsworth Museum by Susan Hodara Vogue, March 4, A New Exhibition Shows How Fall's Goth-Fest Has Roots in 19th - Century Romanticism, by Laird Borrelli - Persson The New York Times, Jan. 24, Evening Hours Celebrating the Winter Antiques Show by Bill Cunningham The New York Times, Jan. 22, Winter Antiques Show Offers a Collection of Recent and Rare Works by Roberta Smith New York Social Diary, Jan. 22, Part of the Art The Boston Globe, Jan. 21, Porcelain mastery is in delicate details by Sebastian Smee InCollect, Jan. 15, The Winter Antiques Show Loan Exhibition: Legacy for the Future: The Wadsworth Atheneum Museum of Art by Robin Jaffee Frank The Magazine Antiques, Winter 2016, Sound and vision: Poetry and American art by Alyce Perry Englund The Magazine Antiques, Winter 2016, Meeting Ground by Patricia Hickson The Magazine Antiques, Winter 2016, OMG indeed!

In the summer of 2013, Raymond Pettibon took over one of David Zwirner's gallery spaces in New York, transforming the high - ceilinged, garage - like white cube into his studio in order to prepare a show of drawings and collages within — and sometimes directly on — its walls.

Realizing that the CCS galleries, designed by architect James Goettsch and Nada Andric and built in 1992, are primarily made for showing painting and sculpture, for his new work Michael Beutler opted for excess, exaggerating the character of the space by adding even more walls.

Whether jutting from a wall or traversing rooms as freestanding installations, his pieces challenge the architecture of the space in which they're shown.

Confounding the difference between emptiness and form, Citrus 6906 shows us that color is neither contained in a space, nor applied to the surfaces of its walls.

Tits in Space, Lucas's iconic wallpaper, lines the walls of her Manchester show and aptly sets the scene for a collection of suggestive sculptures.

In the works in the show designated as Surface Body, he wrote, «I contemplate wall structures, cities and the State as being political borders, with opposing polarities, whereas Action Space employs a fast calligraphic mark, in juxtaposition with vast spaces of color significantly symbolizing personal freedom.»

The new walls radically alter the experience of the pristine white cube gallery space, in which Esra Ersen, originally from Istanbul, is showing an engaging documentary video with street children in her hometown.

Two shows at Paula Cooper — Sol LeWitt: Wall Drawing 564 and Charles Gaines: Notes on Social Justice — knowingly nod at each other from their respective spaces across West Twenty - First Street.

Ayse Erkmen, Tue Greenfort, Knut Henrik Henriksen, public works, Esther Stocker, Pieter Vermeersch, Leon Vranken «Beyond These Walls» is an international group show of specially commissioned work prompting fresh perspectives on the SLG's architecture, our negotiation and interpretation of its spaces, and its geographic context.

Although there is no big heavy object and much of the work is wall bound this show for me epitomized the significance of sculpture and sculptural space.

The film will simultaneously be shown through four synchronized projectors onto the main gallery walls and will fill the space with an extraordinary sensorium of color, light, music and sound.

«The game changer is the space,» said Donna De Salvo, the Whitney's chief curator, standing in one of the raw galleries on a recent wintry afternoon as workmen were erecting walls for the opening show.

Yet Scott Wolniak's recent show, dispersed across the walls among domestic fixtures, felt peculiarly fitting within this unorthodox space (now in its sixth year of operation).