Sentences with phrase «walls of the exhibition space with»

[14] Kanso displays his works by covering the entire walls of the exhibition space with his paintings.

Kanso displays his works by covering the entire walls of the exhibition space with his paintings.

Not exact matches

wall space gallery is pleased to present a new exhibition featuring gallery artist Barbara Parmet paired with guest artist Christa Blackwood expanding the notion of photographic object and image.

At the center of the space is a cube, its outer walls lined with what she calls «Tête - à - Tête,» a constantly changing group exhibition of pieces by artists — Derrick Adams, Malick Sidibé, Carrie Mae Weems, among others — whose work has influenced Thomas's.

Sarah Crowner: Wall (Hot Blue Terra Cotta) Sarah Crowner's gorgeous 10 x 20 foot tile mural Wall (Hot Blue Terra Cotta)(2014 - 2016)-- fabricated for her recent MASS MoCA exhibition Beetle in the Leaves — now guides visitors in and out of the museum's new gallery spaces, along with a companion work, Tile Painting (Terra Cotta)(2016).

In this overdue exhibition, Toroni has cunningly hung twenty - five square paintings from 1987, each one marked with fourteen orange strokes, at the height of the gallery's mezzanine: in the main space, the canvases are a tick below eye level, while in the upper space they're propped against the wall, as they rest on the floor.

The fact that Terence Haggerty's large site - specific wall paintings in the main space will remain on view during Greet Billet's exhibition, will provide the public with an excellent opportunity to reflect on the state of digital - based research and its application in the field of non-objective art today.

Stretching over every single wall in the vast exhibition space (including the front desk), this rich display somewhat echoes the Ethiopian - born American painter's aesthetic impulse to cover her surfaces almost entirely (apart from the edges) with a dense multilayering of restless scrawls and graphic shapes.

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.

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.

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.

1993 Les Amis des Musées de Verviers: Aspects de la mouvance construite internationale, Fondation Pro Mesures Art International, Verviers, Belgium (catalogue) Yale Collects Yale, Yale University Art Gallery, New Haven, CT Skowhegan 93, Colby College Museum of Art, Waterville, ME (booklet) Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston, MA Artists» Photographs: A Private View, Blum Helman Gallery, New York Live in Your Head, Hochschule für Angewandte Kunst and Galerie Metropol, Vienna (curated by Robert Nickas, catalogue) The Tradition of Geometric Abstraction in American Art 1930 — 1990, Whitney Museum of American Art, New York 15th Anniversary Group Exhibition, Arthur Roger Gallery, New Orleans, LA Drawing the Line Against AIDS, AmFAR Art Against AIDS, Venice Biennale, Venice Looking at Collecting Today, Chateau de Tanlay, Burgundy, France Legend In My Living Room, Rhona Hoffman Gallery, New York I Love You More than My Own Death, Venice Biennale, Venice Italia - America, L'Astrazione Ridefinita, Galleria Nazionale d'Arte Moderna, San Marino, Italy (curated by Demetrio Paparoni, catalogue) New York Painters, Sammlung Goetz, Munich (catalogue) Legend in My Living Room, Rhona Hoffman Gallery, New York Wall Works, Edition Schellmann, Cologne, Germany Works on Paper, Kohn Abrams Gallery, Los Angeles Twenty Years, Daniel Weinberg Gallery, Santa Monica, CA Peter Halley, Todd Levin, Thread Waxing Space, New York (video project) Living with Art: The Collection of Ellyn & Saul Dennison, The Morris Museum, Morris, NJ (catalogue) Color, Pamela Auchincloss Gallery, New York New York on Paper, Galerie Thaddaeus Ropac, Paris

Curated by LeVine, Urban Alchemists will occupy a 2,200 square - foot space within Goldman Properties» Wynwood Walls — a project that began in 2009 as an open - air art park, which will expand its permanent exhibition this year with the addition of several new murals and museum - quality works of art.

«After more than 20 years of staging exhibitions around the world, my husband said he thought it was about time we do something permanent in Milan,» Miuccia Prada said on a recent afternoon, sipping tea in a conference room at her office near the new site, a spare space with just one artwork, Gerhard Richter's «Five Doors,» dramatically consuming an entire wall.

Featuring a 24 carat gold leaf wall painting, a 13 - storey high design on a tower block and 5000 - word film script handwritten directly onto the gallery walls, the exhibition draws visitors through the SLG's new and existing spaces with a variety of approaches to making art directly on the walls.

RA Summer Exhibition Tracey Emin and Gary Hume are among the eminent academy members sharing wall space with Sunday painters in this democratic festival of art.

In works like Darkytown Rebellion (2000), the artist uses overhead projectors to throw colored light onto the ceiling, walls, and floor of the exhibition space; the lights cast a shadow of the viewer's body onto the walls, where it mingles with Walker's black - paper figures and landscapes.

You really played with scale in this exhibition — a wall - to - wall carpet filling every square inch of the exhibition space, a tiny silk pillow in the corner and a dainty but outsized upholstered chair fit for an eight - foot giant.

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!

The exhibition space will be presented in the form of a palace, a treasury of art, a palazzo with golden walls, in the corridors of which the spectator can find all those stylistic paradoxes, riddles and adventures that the modern Russian painter is capable of creating.

In her often mythic work, Schimert selects iconic figures - Ophelia, Sir Lancelot, Neil Armstrong, Nixon, and, for her MATRIX exhibition at the Berkeley Art Museum, Oedipus - and merges their stories with her own in an abstractly narrative space composed of drawings, sculpture, wall drawings, and film.

For Shiraga's first solo exhibition in Hong Kong, Axel Vervoordt Gallery showcased three carefully selected paintings, with one on each wall of its intimate space.

Running the length of these galleries is a sloping sort of gangway that gradually brings the visitor into the largest exhibition spaces and, combined with glassed - in ceiling and window walls, rather gives one the feeling of being on a cruise ship — especially on an appropriately dark and stormy night like the one that witnessed the opening of Gray Matters, the maiden voyage of newly appointed Senior Curator Michael Goodson.

For her first solo exhibition in L.A., Cameron - Weir expands the scale of her dystopian sculptures, which fill the sprawling 14,500 - square - foot space with a curved adobe wall affixed with neons, a hydrotherapy tub brimming with white sand, and other works that eerily blend the natural and the artificial.

The result is an exhibition divided into twelve individual spaces for each of the 12 women with a biographical wall text featuring a quote, a brief bio and images of the artists from the period.

In White Walls, Andy Goldsworthy will cover the entirety of the walls in the main space of Galerie Lelong with a smooth, white porcelain that will dry and crack over the course of the exhibiWalls, Andy Goldsworthy will cover the entirety of the walls in the main space of Galerie Lelong with a smooth, white porcelain that will dry and crack over the course of the exhibiwalls in the main space of Galerie Lelong with a smooth, white porcelain that will dry and crack over the course of the exhibition.

In the main exhibition space, Grosse has made the void the dramatic centre of her project, masking the floor with a large foam stencil, then painting over it and the surrounding walls.

The exhibition will also include work from the artist's Neon Wrapping Neon series, in which Sonnier extends glass enclosed tubes of neon from the walls outward with leg - like extensions into the center of the space.

His new exhibition Anxiety Generation fills the walls of this bright new space with electric colour and a pop art vibe that draw you in before hitting you hard with the less than comfortable messages at their core.

With the brushstroke as the artist's signature, here the acrylic sheets form the point of departure for a larger installational whole framed by a raised gangway along the walls of the exhibition space from which the audience can look at the work from above.

The new site - specific work occupies all four walls and the floor of the gallery's main exhibition space, with immersive room - wraps and several new vinyl works.

Upon entering the «Navate» exhibition space at HangarBicocca, visitors are immediately confronted with the work How Can We Know the Dancer from the Dance, 2013, consisting of a circular stage and a curved white wall that slowly moves along the perimeter of the stage.

In Armando Andrade Tudela's latest exhibition, «Alto sorto sopra» (Rising High Above), two sculptural installations inhabit the far left corner of the gallery's rectangular subterranean space, with the second of these wedged between a column and two radiators jutting out from the wall.

The former furniture factory was converted into a three floor gallery with 10,000 square feet of exhibition space, a high - ceilinged main gallery, and a glass wall facing the Hudson River.

Satoshi Ohno has often transformed the whole exhibition spaces with installations, including large paintings of several meters wide, sand drawings on the floor, or wall paintings.

In the South London Gallery's main exhibition space, Grosse has made the void the dramatic centre of her project, masking the floor with a large foam stencil, then painting over it and the surrounding walls.

Solo Exhibitions 2015 If this walls had ears, Chert, Berlin Concrete Ribs, Govenhill Baths, Glasgow 2014 DOCU - PRESS 4, Frans Masereel Centrum, Belgium 2013 II Stile, with Nathan Peter, PSM, Berlin Occupying Forms, Glasgow Print Studio, Glasgow 2012 Hard edge, Soft line, David Dale Gallery, Glasgow Every friend of my friend is my friend, with Jérémie Gindre, Norma Mangione Gallery, Turin 2011 Every Which Way, Chert, Berlin The Royal Standard Presents: Cut - Fill - Skim, Liverpool Immovable Parts, with Karin Stewart, Project room 103, Glasgow 2010 Lines have edges, presented by ten til ten, 6 Dixon Street, Glasgow International Festival, Glasgow Open Space, Art Cologne, curated by Jacob Fabricius, Matthias Mühling and Heike Munder, solo presentation with Chert, Berlin 2009 Breadthless Lines, Glasgow Sculpture Studios, Glasgow Cut Line, Ten Til Ten, Glasgow Lines and Pours, Chert, Berlin 2005 The Factory, The Factory, Impact Arts, Glasgow

The sixth exhibition space for the New York City - based gallery, Pace London opened in 2010 with an exhibition of Sol LeWitt's wall drawings.

A cynic might say that galleries with cavernous exhibition spaces are compelled to fill their walls with over-sized works and that the quality of the art often does not justify their square footage.

The creation of the exhibition space itself is similarly deliberate: For each of the last six years in which Mr. Jetzer has led Unlimited, he has begun with an empty hall and created roughly a mile of wall space to accommodate the artworks.

Supercaliforniagilisticexpialibodcious Human Resources By Lorraine Heitzman Through September 10th A cynic might say that galleries with cavernous exhibition spaces are compelled to fill their walls with over-sized works and that the quality of the art often does not justify their square footage.

The custard - yellow colour scheme of the Venice exhibition was inspired in part by the walls of Soane's drawing rooms, and Lucas's contemporary bodies will here be set in a powerful dialogue with the Soane's intimate spaces and extensive collection of classical casts.

The main space of the exhibition presents reader - looker - responders with an array of handwritten classroom exercises and lesson plans, scrawled on large papers with interconnecting arrows and bubbles — «WRITE ON YOUR WALLS (Right on your walls)» — instructions along with diagrams, protest posters, and a limited selection of pieces by some of the artists referenced or implicated by Stein and Miller: Anni Albers, Jasper Johns, Eduardo Paolozzi, Yves Tanguy, Bridget Riley, and a few otWALLS (Right on your walls)» — instructions along with diagrams, protest posters, and a limited selection of pieces by some of the artists referenced or implicated by Stein and Miller: Anni Albers, Jasper Johns, Eduardo Paolozzi, Yves Tanguy, Bridget Riley, and a few otwalls)» — instructions along with diagrams, protest posters, and a limited selection of pieces by some of the artists referenced or implicated by Stein and Miller: Anni Albers, Jasper Johns, Eduardo Paolozzi, Yves Tanguy, Bridget Riley, and a few others.

2010 We / Edition, Print Exhibition, These Four Walls Gallery, Cape Town, South Africa 2010 Edge of the Table — fourteen Cape Flats youths tell their stories, a book and exhibition in collaboration with the Human Rights Media Centre, Independent project space, Claremont, Cape Town, South Africa 2010 Time On Our Hands, curated by Justin Brett, V&A Waterfront, Cape Town, South Africa 2010 Grey Matter, collective performance artwork, Infecting the City public arts festival, curated by Brett Bailey, Cape Town, South Africa 2010 Taking Pictures, Telling Stories, curated by Paul Weinberg, Exposure Gallery, Cape Town, SoExhibition, These Four Walls Gallery, Cape Town, South Africa 2010 Edge of the Table — fourteen Cape Flats youths tell their stories, a book and exhibition in collaboration with the Human Rights Media Centre, Independent project space, Claremont, Cape Town, South Africa 2010 Time On Our Hands, curated by Justin Brett, V&A Waterfront, Cape Town, South Africa 2010 Grey Matter, collective performance artwork, Infecting the City public arts festival, curated by Brett Bailey, Cape Town, South Africa 2010 Taking Pictures, Telling Stories, curated by Paul Weinberg, Exposure Gallery, Cape Town, Soexhibition in collaboration with the Human Rights Media Centre, Independent project space, Claremont, Cape Town, South Africa 2010 Time On Our Hands, curated by Justin Brett, V&A Waterfront, Cape Town, South Africa 2010 Grey Matter, collective performance artwork, Infecting the City public arts festival, curated by Brett Bailey, Cape Town, South Africa 2010 Taking Pictures, Telling Stories, curated by Paul Weinberg, Exposure Gallery, Cape Town, South Africa

One of these events will continue into Curious Duke Gallery with a brick wall being built in the gallery space for Tyrimos to paint throughout the exhibition in June.

Prominently on one wall, beside the exhibition title, a paragraph states: «Sometimes called Finish Fetish or Light and Space, this movement is characterized by works with slick surfaces and atmospheric colors influences by surf culture, custom cars, and the legendary climate of Southern California.»

In an Otto Zitko exhibition, one usually expects a wall drawing that covers the entire interior of the space, and this is precisely what occurred here (with Untitled, 2009) in the artist's first solo show in Italy.

In order to make the upcoming exhibition as immersive as possible, the museum space has been transformed into an environment inspired by the traditional architecture of Moroccan medinas, buildings which are typically walled and riddled with many narrow, maze - like streets.

The main room of the Hufkens gallery for this exhibition from floor to ceiling and wall to wall will be entirely filled with a polyhedral space - frame into which the body of the viewer is invited to wander.

Barker places these bulbous cauldrons precariously atop wafer - thin slivers of wood, with polished surfaces and natural undersides, and sets them loose across the gallery: accompanied by press - moulded leaves mounted on the wall, the effect is of clusters of inverted landscapes carving through the exhibition space, shimmering under streams of daylight.