Sentences with phrase «walls of the gallery become»

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

«In The Hedge, the walls of the gallery become sites for change and renewal,» says David Norr, Chief Curator at MOCA Cleveland.

Not exact matches

As someone who dislikes clutter and too much furniture or a lot of knick - knacks, gallery walls have become my go - to decorating tool to add interest, color, and personality to... [Continue Reading]

A few years ago, a painted black gallery wall appeared on my computer screen and I became a forever fan of the lady behind the idea: Alaina Kaczmarski (also known as the co-founder and editor of The Everygirl) who I'm happy to now call a friend.

A blank board can become a gallery to display student work or a wall full of problem - solving strategies.

Hotel Indigo Berlin City - East Side is set to become the heart and soul of the dynamically growing urban quarter along the East - Side - Gallery (remains of the Berlin wall).

-- NYTimes The Larry Gagosian Effect — Wall Street Journal World's Biggest Museum Opens in China — Studio 360 Top Exhibitions of 2010 — The Art Newspaper Recent Art News - Texas Week of 03/27/11 Ed Ruscha at the Modern Museum of Fort Worth — CBS New: Sunday Morning (Video) Simpsons Takes Shots at Dallas Football, Arts District — FrontRow A work in progress: The Dallas Arts District gathers trophy buildings, but still searches for urban vitality — Chicago Tribune James Turrell mound at Rice University - Glasstire Richard Serra, Pushing the Boundaries of Drawing — ARTnews Recent Art News - National - International Week of 03/27/11 Ed Ruscha Street Photography — LATimes Stephen Colbert Exposes Himself to Art (the Appropriate Way)-- NYTimes (Video) Jerry Saltz on Andy Warhol's Portraits of Liz Taylor — NYMag Eduardo Souto de Moura, Architect from Portugal, Wins Pritzker — NYTimes Recent Art News - Texas Week of 03/20/11 Neiman Marcus to feature artwork in Windows — FrontRow MAC director resigns — Glasstire Recent Art News - National - International Week of 03/20/11 Jerry Saltz: How a Joyride in Gavin Brown's Volvo Became Art — NYMag Walker Art Center to Acquire Merce Cunningham's collection — Art in America Cultural Complex in Santiago di Campostela is expensive mistake - The Art Newspaper Toshiko Takaezu, Ceramic Artist, Dies at 88 — NYTimes Recent Art News - Texas Week of 03/13/11 Artpace San Antonio — YouTube Crow Collection To Expand, Add Asian Sculpture Garden — FrontRow Donor's Son Sues Dallas Museum Over Art Collection, 25 Years Later — NYTimes Recent Art News - National - International Week of 03/13/11 Abramovic wins two - year copyright battle — The Art Newspaper Scents and Sensibility, Artists use scent to create new experience in museums — ARTnews Spark: How Creativity Works, by Julie Burstein, Kurt Andersen — Amazon.com (Book) Michelangelo's David «could collapse due to high - speed train building» — Telegraph Recent Art News - National - International Week of 03/06/11 Norman Foster to Design Huge Hong Kong Cultural District — NYTimes Recent Art News - Texas Week of 02/27/11 AMOA leaving downtown, focusing on Laguna Gloria — Austin 360 Recent Art News - Texas Week of 02/13/11 Amon Carter's Director of Education Named National Educator of the Year — Amon Carter Museum Blanton curator heads to National Gallery of Art — Austin 360 Director Dana Friis - Hansen departs from the Austin Museum of Art — The Austin Chronicle Dallas Architecture Forum wins AIA National Collaborative Achievment Award — Dallas Archicture Forum Recent Art News - National - International Week of 02/13/11 Egyptian Archeological Sites Were Looted, Says Antiquities Minister — NYTimes Tracey Emin, the visionary, emerges as Margate's answer to William Blake — Guardian What's The Matter With Kansas... This Time?

Over the course of three days, the artist created a large drawing on the gallery entrance wall, entitled Once upon a time she said, I'm not afraid and her enemies became afraid of her The End.

As Sarah continued, the empty canvases on the gallery wall became filled with visual representations of value, exchange, and causality.

The finished drawings are then pinned to the surrounding gallery walls, becoming part of the exhibition.

Rectangles of unglazed porcelain upended and attached to the wall become blank scrolls, perfectly new, waiting for words in the Buddhist works of Liu Janhua; and quite possibly invoking the memory of all the white abstract paintings seen in an earlier gallery.

Each class becomes a community of figurative artists whose interest in storytelling encompasses all 21st - century media: graphic and illustrated novels, children's books, comic books, and painting series for gallery walls.

Viewers are invited to sit, observe, and draw from the model using the easels and materials provided, and the finished drawings are pinned to the gallery walls to become part of the exhibition, challenging conventional expectations of authorship.

These original pieces, Kadar's paintings of expression, are then «negated and disenchanted» by a long process of layering and breaking down to become what we see hung on the walls of galleries, his hole - y, three - dimensional, deconstructed post-paintings.

In the work of Ann Veronica Janssens and Diana Thater, colored light is projected onto the walls of the gallery whereby the architectural space becomes the arena for an experience that melds physical and immaterial / mental coordinates.

There's still no avoiding the experimental spatial illusionism in the works of Valledor and Fleming that punctuate the walls of the gallery — and it becomes obvious that other artists who have until now rarely been associated with the gallery's history, namely Linda Fleming and Patsy Krebs, shared the concerns of their contemporaries.

It becomes a thin colored line bordering the portals that connect the different sections of the exhibition, it interacts with the building surfaces — highlighting the description texts printed on the gallery walls, creating video - projections, reflecting the window frames in a visual dialogue which poetically emphasize their role in architecture.

Upon seeing «Natural History» (2011), a wall - size painting by Linda Cross at the Carrie Haddad Gallery in Hudson, New York, I became further convinced of this phenomenon.

The paintings make dialogue with you which is space - consuming, and the overall effect of the show is that the works, not the gallery walls, become the environment.

2009 Mayer, Sally, Straight Man, Wonderland, April - May Sculptor Shows his Own Poetry in Motion, The Southland Times, March Sherwin, Skye, Exhibitionist: The Best Art Shows to See this Week, The Guardian, 18 September De Wilde, Femke, Room With a Political View, Frame, March - April Lutticken, Sven, Taped Together: On The Bijlmer Spinoza Festival by Thomas Hirschhorn, Texte Zur Kunst, September Weiner, Emily, ArtForum (Review of show at Gladstone Gallery, NYC), March ArtForum (Review of show at Galerie Susanna Kulli), April Thomas Hirschhorn to Present his First Ever Solo Exhibition in a UK Public Art Gallery, Art Daily, 8 September Indepth Art News: Anschool by Thomas Hirschhorn, Absolute Arts, April 2008 Rappott, Mark, Strange Love, Art Review, June Stroh, Frank, Thomas Hirschhorn: Hotel Democracy, Creative Europe Online, June Thomas Hirschhorn's «Hotel Democracy» at Art Basel 2008, Designboom, June Art Basel Becomes More Global, Swissinfo.com, 5 June Basel Art Blow - Out, Artnet, 30 May Art 39 Basel: El Dorado of the International Art World Set to Open in Switzerland, Art Daily Online, June Art Basel Opening, Zimbio.com, June Bowes, Elena, Thomas Hirschhorn, Indagare, June Vogel, Carol, Hotel Democracy, New York Times, 21 March Crow, Kelly Culture Clash: Soccer Fans, Art Elite Butt Heads, The Wall Street Journal, 30 May Vogel, Carol, New York Times, 21 March Harris, Gareth, Art Basel, Financial Times, 24 May Reust, Hans Rudolf, Infinite Glass: The Arts Beyond the Discipline, Parkett, No. 84 2007 Demos, T. J., On the Ground - London, Artforum, December Nesbit, Molly, Le plan d'amitie entre art et philosophie, Le Monde Diplomatique, August Kultureflash.net, no. 124, 3 August Downey, Anthony, Thomas Hirschhorn, Flash Art, July - September, p. 134 Pennell, Arden, This is Your Brain on Reality, Whitehot magazine of contemporary art, Issue 3, May Icon, issue 046, April Sam, Serman, Thomas Hirschhorn, The Brooklyn Rail, April Kulture Flash, issue 198, 28 March Jones, Jonathan, How War Made Art Better Again, Guardian Unlimited Art Blog, 26 March Thomas Hirschhorn - Substitution 2 at Stephen Friedman Gallery, www.artvehicle.com, Issue 12, 23 March Coomer, Martin, Thomas Hirschhorn, Time Out London, 20 March Hubbard, Sue, This is the father of all battles, The Independent, 14 March Westcott, James, ArtReview: blog, 13 March Hirschhorn, Thomas, Eternal Flame, Artforum, Vol.

As we become increasingly accustomed to turning on our screens to be entertained, the potential grows for art to extend outside of the gallery walls and into the digital formats that are already ingrained in the ways we ingest content on a daily basis.

The Gallery's grand double staircase framing views of formal gardens will become the location for a site - specific scenic - painting intervention, transforming the central interior wall of the mansion into a sort of enormous, fragmented sky.

Other historical highlights came from the freshly christened Lévy Gorvy gallery, whose offerings included a chilled - out 1970 installation by Enrico Castellani with his trademark white textured panels becoming walls of a room and a legendary suite of 14 haunting self - portraits that Adrian Piper made in the summer of 1971, when, as Kaelen Wilson - Goldie once succinctly put it, the artist was «holed up alone in her apartment, reading Immanuel Kant's Critique of Pure Reason (1781), practicing yoga, and subsisting on nothing but juice and water.»

The works no longer exist, they become ephemeral and the print on the gallery wall is the result of a Chinese whisper from the original image.

Considering the whitewashed, boxy nature of contemporary gallery spaces, Metz began by posing a question: «How can these walls and the movement of a person navigating through the exhibition become part of the work?»

Once you reach the main gallery floors, the experience becomes more focused: the rhythm through the rooms is broken only occasionally, when a wall peels back to allow glimpses of the city.

Postcards From The Edge, Metro Pictures, New York, US New York / New Drawing 1946 - 2007, Museo de Arte Contemporáneo Esteban Vicente, Segovia, ES Monuments With A Horizon Line II, Buchmann Galerie, Berlin, DE Desenhos [Drawings]: A-Z, Museu da Cidade, Pavilhão Preto, Lisbon, PT The Porn Identity, Kunsthalle Wien, Vienna, AT A Bit of Matter And A Little Bit More, screening Performatik 09, Cultuurcentrum Strombeek and Performatik, Brussels, BE Regift, The Swiss Institute, New York, US Cut & Paste, Galleri Susanne Ottesen, Copenhagen, DK Down To Earth (Ceramics), Cultuurcentrum Strombeek, Grimbergen, BE Double 40 Jahre Kabinett für Aktuelle Kunst, Bremerhaven, MMK, Frankfurt, DE The First Stop on the Super Highway, Nam June Paik Art Center, Gyeonggi - do, KR Feedbackstage, Galerie Thomas Schulte, Berlin, DE Sharjah Biennial 9: Provisions For The Future (curated by Isabel Carlos), Sharjah Arts Museum, Sharjah, UAE Two in One Contemporary Art from Witte De With & De Appel, Christie's, Amsterdam, NL 40th Anniversary Benefit Exhibition, White Columns, New York, USA Écritures Silencieuses, curated by Herve Mikaeloff, L'Éspace Louis Vuitton, Paris, FR Carnival Within - An Exhibition Made in America, curated by Sabine Russ, Gregory Volk, Uferhallen, BE Espèces d'Espaces, Yvon Lambert, New York, US Take The Money And Run, Brouwergracht 196, Appel, Amsterdam, NL Double Participation, Museum für Moderne Kunst, Frankfurt / Main, DE Beginnings, Middles, And Ends (cur.Gianni Jetzer), Christine Koenig Galerie, Vienna, AT Dematerialised: Jack Wendler Gallery 1971 to 1974, curated by Teresa Gleadowe, Chelsea Space, London, UK Time As Matter, MACBA, Barcelona, ES 15 Years of Collecting Against the Grain, Kunstmuseum Wolfsburg, Wolfsburg, DE Artist Rooms Tate St Ives Summer Season, Tate St.Ives, UK Au Pied De La Lettre, Centre d'Art Contemporain, Chamarande, FR Art - Athina, Galerie Hubert Winter, Faliro Pavillion, Athens, GRSerralves 2009 The Collection: An Exhibition in Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrinth.

Each sculpture will be lit so that its shadows become the exhibition's subject: wire will become oscillating line drawings and flat metal forms will become independent presences that dance along the walls, ceiling, and floor of the gallery.

As New York became the centre of the 1960s and 70s art world with abstract expressionism and pop, artists on the east coast had different adventures, represented here by Larry Bell's Cube # 15 (Amber)-- a translucent plastic box full of thin air — and Robert Irwin, whose white disc nearly disappears into the gallery wall.

1969 0 Objects, 0 Painters, 0 Sculptors, 4 Artists..., Seth Siegelaub at McLendon Building, New York, US One Month Exhibition, Seth Siegelaub Contemporary Art, New York, US Op Losse Schroeven / Situaties en Cryptostructuren (Square Pegs in Round Holes), Stedelijk Museum, Amsterdam, NL (Verborgene Strukuren), Folkwang Museum, Essen, DE When Attitudes Become Form, Live in Your Head, Kunsthalle Bern, Bern, CH; Museum Haus Lange, Krefeld, DE 18» 6» x 6» 9» x 11» 2 1/2» x 47» x 11 3/16» x 29» 8 1/2» x 31» 9 3/16», San Francisco Art Institute, San Francisco, California, US; traveled to Simon Fraser Center for Communication and the Arts, Simon Fraser University, Vancouver, CA No. 7, Art Workers Federation Benefit, organised by Lucy Lippard, Paula Cooper Gallery, New York, US May - June 1969, Center for Communication and the Arts, Simon Fraser University, Vancouver, CA Language III, Dwan Gallery, New York, US July, August, September 1969, Seth Siegelaub Contemporary Art, New York, US Conception, Perception, Eugenia Butler Gallery, Los Angeles, California, US 0 - 9, Issue # 6, New York, US Wall Show - Part 1, Ace Gallery, Los Angeles, California, US When Attitudes Become Form, Institute for Contemporary Art, London, UK Place and Process, Edmonton Art Gallery, Edmonton, CA; Kineticism Press, New York, US 557,087, Seattle Museum of Art, Seattle, Washington D.C., US Prospect 69, Stadtische Kunsthalle Düsseldorf, Düsseldorf, DE Project Class, Nova Scotia College of Art and Design, Halifax, CA Konzeption / Conception, Stadtisches Museum Leverkusen, Schloss Morsbroich, DE Groups, The Visual Arts Gallery, School of Visual Arts, New York, US Pläne und Projekte als Kunst (Plans and Projects as Art), Kunsthalle Bern, Bern, CH Art Without Space, WBAI - FM, New York, US Art in Process IV, Finch College Museum of Art, New York, US Mail Exhibition, Nova Scotia College of Art and Design, Halifax, CA

The facade, floors and walls of the Lisson Gallery will become a showcase for Julian Opie's nudes and portraits.

Working inside in the narrow width where that wall would be, the otherwise invisible perimeter becomes a frame and framework for looking inside and outside of the gallery.

The walls of 80WSE Gallery have not been opened since its construction in 1974 and following the close of the exhibition the new powder coated steel studs will be plastered over to reinstate the gallery walls, becoming a permanent yet unseen presence in the gGallery have not been opened since its construction in 1974 and following the close of the exhibition the new powder coated steel studs will be plastered over to reinstate the gallery walls, becoming a permanent yet unseen presence in the ggallery walls, becoming a permanent yet unseen presence in the gallerygallery.

Art is fast becoming recognised as an essential component of a modern home, with influencers and interior designers singing the praises of gallery walls and the like

And I realized I had to do something 1983 Rammelzee vs K Rob «Beat Bop» 1984 First shows at Clarissa Dalrymple and Nicole Klagsbrun's Cable Gallery (artists of Wool's generation who begin showing same period include Philip Taaffe Jeff Koons Mike Kelley Cady Noland and James Nares 1984 produces first book photocopied edition of four: 93 Drawings of Beer on the Wall 1984 Warhol Rorschach paintings 1986 First pattern paintings 1987 Joins Luhring Augustine Gallery 1987 First word paintings 1988 Collaborative installation with Robert Gober one painting by Wool (Apocalypse Now) one sculpture by Gober (Three Urinals) one collaborative photograph (Untitled) and a mirror Gary Indiana contributes a short piece of fiction to the accompanying publication 1988 In Cologne sees show of Albert Oehlen's work meets Martin Kippenberger 1988 First European shows Cologne and Athens 1988 Collaborates with Richard Prince on two paintings: My Name and My Act 1989 Museum Group shows in Amsterdam Frankfurt am Main and Munich Whitney Biennial 1989 One year fellowship at the American Academy in Rome 1989 Starts taking photographs 1989 Publishes Black Book an oversized collection of 9 - letter images 1989 Fall of the Berlin Wall 1990 Meets Larry Clark 1991 First survey mounted at Boymans - Van Beuningen Museum Rotterdam publishes accompanying artist's book Cats in Bag Bags in River color photocopies of photographs of black and white paintings 1991 Creates edition of small paintings for ACT - UP New York Needle Exchange 1991 Participates in Carnegie International includes painting and billboard with truncated text announcing «THE SHOW IS OVER» 1991 Meets Jim Lewis 1991 Relocates studio to East 9th Street in New York 1992 LA riots 1992 DAAD residency in Berlin 1993 Publishes Absent Without Leave 160 black - and - white images from travel photographs taken over previous 4 years 1993 Begins silkscreened flower paintings 1993 Meets Michel Majerus 1994 Makes road - signs for Martin Kippenberger's Museum of Modern Art Syros 1994 New York Knicks lose to Houston Rockets in Game 7 NBA Finals 1995 Organizes retrospective of the New Cinema late 70's New York underground Super-8 films 1995 First spray - paintings 1995 Kids 1996 East Village studio severely damaged in building fire leaving Wool without a working space for 8 months artist's insurance photos become portfolio Incident on 9th Street 1997 Marries painter Charline von Heyl 1998 Museum of Contemporary Art Los Angeles mounts mid-career retrospective travels to Carnegie Museum of Art Pittsburgh and Kunsthalle Basel 1998 Begins silkscreen re-imaging of own work 2001 Solo exhibition at Secession Vienna 2002 «Grey» paintings 2003 East Broadway Breakdown photos of New York City 2005 First digital drawings 2006 Contributes art to Sonic Youth Rather Ripped 2007 Collaborates with Josh Smith on Can Your Monkey Do the Dog 2008 Collaborates with Richard Hell on Psychopts 2008 Christopher Wool lives and works in New York and Marfa Texas

Seen out of context — within the gallery's whitewashed walls rather than on the lush green grounds of Vashon Island, Washington, where they were made — Julie Speidel's twelve sculptures became exquisitely intricate abstractions and, with that, lost something of their larger meaning and purpose, if not their aesthetic magic.

Chimes for a Wall Drawing Visitors are invited to become immersed in the sound of Sol LeWitt's Wall Drawing # 1136 as composer and sound artist Will Bolton performs in the gallery.

Gallery walls have become interactive environments, where a mix of paintings, photography, and decorative objects can all be displayed in impeccable fashion.

Desiring to rid art of its potential to become a burdensome object, he began to paint directly onto the walls of exhibition galleries, thus harmoniously integrating the work into the architectural space.

Between 1972 and 1982, he undertook a number of in situ projects, adapting his characteristic lines to specific locales: his stripes took form on the street in front of the Philadelphia Museum of Art, in the front windows of the Willard Hotel in downtown Washington, on the walls of the Corcoran Gallery Rotunda, on the ground of the parking lot at Artpark in Lewiston, New York, and even became colored tubes of water for the Muscarelle Museum of Art in Williamsburg, Virginia.

Ravaged paitings, melting canvas, cracked walls, weathered works are all the characteristics of Hegarty's work, who we became familiar with when the work was exhibited on the High Line and then in Marlborough Gallery in NYC in 2012.

When creating your gallery wall, start with a large cluster of works on one end and become more sparse as you go.

The beautiful blue wall that dominates this space might run the risk of becoming too overwhelming if not for the equally colorful gallery wall that complements this electrifying shade while keeping it manageable at the same time.

A gallery wall can become the highlight of your home!