Sentences with phrase «walls of the gallery»

The latter is seen on opposite walls of a gallery space.

The surrounding white walls of the gallery become the ground for pieces such as Epic.

The back wall of the gallery features an arrangement of ten paintings.

A large wall piece is situated on one of the large walls of the gallery.

, enjoys pride of place along the south wall of the gallery.

Included in the exhibition is a billboard project placed on the outside wall of the Gallery.

It is cast into an outer wall of the gallery space and thus illuminated by daylight.

Most people think those hours sound crazy until they find out about the secret behind the west wall of the gallery.

Due to its massive length, the artwork takes up both the back and right walls of the gallery space, creating an immersive landscape.

Further referencing outdoor spaces, painted banners hang on the brick wall of the gallery.

A large mural print on the central wall of the gallery shows an overhead image of the street market in full swing, commanding the rhythm of the surrounding exhibition.

Each artist claims a room or several walls of the gallery, though there is some interplay.

The photographs are being shown for the first time in the photographer's adoptive city; printed on large scale they will cover inner and outer walls of the gallery.

(Hung high in a narrow, unlit corridor, these thirty - three small square canvases are first visible over the back wall of the gallery in which the «Pavement Karaoke» paintings are installed.)

The first of these will occupy the three large walls of the gallery with a colour palette of red, yellow, blue, orange, purple and green with the second in a strict tonal palette of black, grey and white.

Each is delicately transferred to lightly bent shards of paint peeled from walls of the gallery during its transformation into the current DV.

An incredibly intricate painting in gold leaf that covers an entire wall of a gallery inside Tate Britain like a bolt of the finest damask wallpaper.

Trey Egan's second solo exhibition at Cris Worley Fine Arts includes eight large - scale abstract oil paintings on canvas that animate and transform the white walls of the gallery into a torrential color storm.

In its finest moments, Leap Before You Look exposes the white walls of the gallery as a permeable membrane through which the ideas and creative energies of generations of students can flow alongside some of the finest artists of the last century.

On an adjacent wall of the gallery, five sculptures from Leigh's series Anatomy of Architecture (2016) passively adorn the exhibition space, bearing silent witness.

In Reconstitution, a group exhibition at LAXART in Los Angeles, the U.S. Constitution is painted on the façade and the interior walls of the gallery in the artist's native language, Farsi.

[1] With the «Spot Room», Hirst applied the formulaic grid structure of the paintings directly to the white walls of the gallery foyer.

Barth then extends this plane of composition onto the surrounding walls of the gallery by arranging her photographs in response to the room itself.

A second part of the show occupies the entire southeast wall of the gallery consisting of a pencil - line grid divided into eleven sets of 20 squares each and contains the fingerprints of eleven sets of twins in the Chicagoland area.

Additionally, the exhibition includes her early photo - object, No Door, 1990 — a drop - leaf table affixed to the entrance wall of the gallery, topped with a mountain range of dirt collected at Mont Sainte - Victoire.

In an act of recontextualization, Jennyfer Haddad has altered the entire space with two text boxes on opposing walls of the gallery that she has painted entirely half green and half pink.

Other works include interviews with the Gasworks staff and members, an oversized washing machine made into a projection booth with resin where a new video will be shown as well as a number of «purpose - engineered, vacuum - formed units» along the exterior walls of the gallery.

The side walls of the gallery had elegant, enlarged still images from the indoor performance at St. Mark's Church (New York City).

Across from the Golden series the surrounding white walls of the gallery become grounds for Epic.

Also included is a work from 1969 in which lengths of braided stainless steel wire form a horizontal sequence of five subtly - reflective squares, mounted flat against the wall; and Untitled (Eight - part Vertical Construction), 1992, a composition of black, gray, white, and red lengths of yarn stretched vertically between floor and ceiling in perpendicular and parallel configurations that relate to the surrounding walls of the gallery.

By placing each fragment against opposite walls of the gallery so that the front half appears from one wall, while the back disappears into another, Paolini not only destroys the object quality of the sculpture but in doing so creates an installation which calls attention to the architecture of the particular exhibition space.

The recreation at David Zwirner presents one of the earliest examples of installation art: encompassing all available walls of the gallery, alternating pink and «gold» produces an immersive, site - situational environment of light and color.

As the artist explains,» The space will be filled with sinuous, large, sprawling structures on two opposing walls (units composed of weaving of metal grid and clear, iridescent,» edge glowing» Plexi glass), which transmit, reflect, and refract light while the painted dark walls of the gallery are enclosed with images that echo the shadows and reflections of the gleaming sculpture.

The existing divider wall of the gallery is coated with a gray stucco - like material on both sides.

Just a reminder, that although we always have but one exhibit at a time on view, it is still possible to see examples of all of our artists» works on the office wall of the gallery and in the backroom.

The inner walls of the gallery house Matt Connolly's paintings, the second part of the title, WORK.

With a similar color palette, but with a more subdued and centered energy, Zuisouhen occupied the left and remaining wall of the gallery.

A collection of works with a futuristic forecast of what a far away future of Abstract art might look like enhance the white sterile walls of the gallery.

The works hover behind the glass wall of the gallery as guests hover outside or slip in through the narrow entrances, tiptoeing around the precarious low tables on the floor.

As the protagonists face off in a conceptual and abstracted mixed doubles match, the epically scaled, Parterre, on the north wall of the gallery, gives rise to an impossibly arranged and intricately rendered theater audience.

The strikingly vibrant artworks by artist Jacky Tsai, currently adorn the pristine white walls of gallery Contemporary by Angela Li, for his solo exhibition, Human Nature.

The one chosen by the gallery staff was carrying out of Mr. Kaltenbach's proposal to paint the south wall of the gallery gray... The wall was painted gray.»

Daniel has three interventions from the architectural design of Baró: in one of the works, «Corner Knot», two walls of the gallery gain unexpected elasticity and come together in a knot.

Also similar to Venice, the photos were not aligned in a perfect grid — certain spaces were left empty, the exposed grey wall of the gallery evoking a sense of void.

The rows of floor to ceiling photos adorned one wall of the gallery before turning a corner and following the architectural layout down a hallway.

This site - specific installation features a repeated geometric pattern derived from one of the artist's abstract photographs, printed as a wallpapered lithograph with applied pigment and wrapped around the center wall of the gallery.

Contrary at the large and clean walls of the gallery, which is housed in an amazing classic French building, it would be more crucial if one of the two series of artworks were on show, so that the viewer could feel the security of the communication and the understanding of the artwork, and at the same time, it would be evident the consistent and the dialogue between the artwork with the architecture and the space. - Efi Michalarou