Sentences with phrase «walls of the gallery into»

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.

The exhibition will also include a recent series of portraits and expand beyond the walls of the gallery into the park with a new cut - out sculpture.

Not exact matches

Photos return expired birds to flight at the Peggy Notebaert Nature Museum - Chicago Reader - May 9, 2016 When you walk into the second - floor gallery space of the Peggy Notebaert Nature Museum you might be surprised to see Art Fox's photographs of birds literally hovering off the wall.

The gallery wall is one of the most creative and fun home design elements of 2016 that's carried into 2017.

So, beyond sharing our own gallery walls, I'm breaking it down into a sort of Gallery Walls 101 — An A to Z and top to bottom guide to creating your own beautiful galleries, from picking pieces to designing the wall and hanging up the whole sgallery walls, I'm breaking it down into a sort of Gallery Walls 101 — An A to Z and top to bottom guide to creating your own beautiful galleries, from picking pieces to designing the wall and hanging up the whole shewalls, I'm breaking it down into a sort of Gallery Walls 101 — An A to Z and top to bottom guide to creating your own beautiful galleries, from picking pieces to designing the wall and hanging up the whole sGallery Walls 101 — An A to Z and top to bottom guide to creating your own beautiful galleries, from picking pieces to designing the wall and hanging up the whole sheWalls 101 — An A to Z and top to bottom guide to creating your own beautiful galleries, from picking pieces to designing the wall and hanging up the whole shebang.

Transform your wall into an instant gallery of your favorite photos with this exquisite portrait frame set from Real Simple.

When we moved into our home a couple of years ago, I was thrilled to finally have a space for a gallery wall, and my instinct was to use a lot of bright, vibrant art.

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bedroom wall sconces gallery of adding dim light into your bedroom with some bedroom wall sconces bedroom wall sconces with on off switch.

Because Mom can never have enough family pictures in the house, this well - made set of seven frames will turn any blank wall into a photo gallery.

As I'm changing up my gallery wall in my living room to a more Christmas - y collection, I made a simple printable into a more festive piece of art.

The local gem gallery offers the material needed for the article, but the discovery of an old diary, hidden inside the wall of a historic hotel, soon sends her on a detour into the underworld of art and deception.

The stone building, with walls of half a metre thick has been restored and renovated into a real character B&B and art gallery.

So instead of hushed museum spaces or white gallery walls, visitors experience a multi-sensory journey into this sublime imaginary world; through Christopher Robin's bedroom, to the Hundred Aker Wood and beyond.

The 150 - foot - long C - print turns a digitally stretched image of a Buddhist monk who has publicly immolated himself into a river of flame that flows off the wall and ripples across the gallery floor.

It's a good sign when you walk into a gallery and you see an artist has a huge chunk of wall in a gallery — it's because they're selling well.

We wanted to keep some of these architectural features to provide some visually interesting points and it helps us not to stumble too far into the typical white walls / grey floor of the usual gallery and studio spaces.

Pae White has created a maze of black, red, blue and purple threads which reach from and terminate into the gallery walls as endless and bewildering as the sleepless nights that conceived it.

Commissioned by The Ballroom as a component of the Fire Into Music presentation, the silkscreened mural was printed directly onto the gallery walls.

Take Michel Majerus's Tron 3 (ocker Pantone 143)(1999), which dovetails a silk - screened vignette of early digital - era graphics into the corner of a square of yellow emulsion: if you removed the silk - screened canvas and completed the square, it could have been a wall painting by Günther Förg, an artist of the gallery's original programme.

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).

Upon entering the exhibition, the viewer passes through a threshold of a floor to ceiling installation of paint, images and process and into a gallery of walls painted bands of the color spectrum that dissolves to white.

By Stephanie Cristello > click here to download PDF You walk into an empty gallery — white walls, fluorescent lights — to encounter a series of electronic diffusers, each containing a molecule formulation designed to trigger certain olfactory receptors.

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

Philodendron Xanad is a repeating site - specific installation by Belgium - based artist Ruben Bellinkx that physically imbeds a common houseplant into the walls of galleries and homes.

Womack, too, works some of the same territory as Leslie Hewitt, who dismembers flooring, leans slabs against the walls, or adds thick frames to displace the gallery into memory.

The 40 works on display in the solo exhibition at the Jamesport, NY venue fill the walls, stacked and nestled into the corners of the small gallery.

As her Whitechapel Gallery review show throws open its doors, Gillian will be here every day telling Guardian readers what makes her tick, and letting you into her world of confessions and obsessions, from cross-dressing photographer Claude Cahun (the subject of a new work by Wearing) to a notorious 1960s Frederick Wiseman fly - on - the - wall film about a mental institution, Titicut Follies.

Rituals Since 1851», Triennale di Milano, Italy (2015); «Visual Deception II: Into the Future», The Bunkamura Museum of Art, Shibuya - ku, Japan; touring to Hyogo Prefectural Museum of Art, Kobe, Japan; Nagoya City Art Museum, Nagoya, Japan (2015); «Room by Room: Monographic Presentations from the Faulconer and Rachofsky Collections», The Warehouse, Dallas, Texas, USA (2014); «Study from the Human Body», Stephen Friedman Gallery, London, England (2014); «Seismic Shifts», The National Academy Museum, Manhattan, New York, USA (2013); «Lifelike», Museum of Contemporary Art San Diego, San Diego, USA (2013); «Invisible Art: About the Unseen, 1957 - 2012», The Hayward Gallery, London, England (2012); «Paper», Musée d'Art Moderne et d'Art Contemporain, Nice, France (2012); «All that Glisters», Stephen Friedman Gallery, London, England (2011); «Floor Corner Wall», Fort Worth Contemporary Arts, Fort Worth, Texas, USA (2010); and «Chasing Napoleon», Palais de Tokyo, Paris, France (2009).

Temporary walls have turned a section of the studio into a full - scale model of Gagosian's 21st Street gallery.

The Statue's torch is provocatively thrust into the gallery wall, slowly drilling through into the adjacent room over the course of the show.

There are also disembodied legs protruding from the walls, fixture-less sinks that oddly seem to smile at you, a headless Christ spouting water from his nipples, a gallery transmuted into a mirrored autumn forrest, and other hints that you have entered the land of the suburban surreal — the mesmeric realm occupied by Robert Gober, the artist now receiving a career retrospective at the Modern.

Representative of his continued experimentation with computer language, one black and one uncolored, embossed print of a computer graphic used in Poemfield minimally preface one's entrance into the main gallery where Poemfield No. 1, No. 2, No. 3, No. 5, and No. 7 vibrantly and loudly pulsate across surrounding walls.

With Eric Beltz's series of graphite - drawn needlework, Beltz calls the concept of Americana and nostalgia into crisis, by recrafting traditional female work (often considered lowbrow), into male - made High Art (with a capital «A») for the gallery wall.

Here, Burgin continued his reorientation of photography from floor to wall, but rather than transform his pictures into precious prints, matted and framed, Burgin fixed his images to the gallery as a series of posters, pasting them straight to the wall (although not, as with Possession, out in the streets).

Los Angeles - based artist Brody Albert presents three works, expanding beyond the gallery walls of the PMCA Project Room and into the Museum's lobby and stairwell.

This attention to detail elevated the mere simple boxes that jutted out of the gallery wall into sublime works of art.

The northern façade, in contrast, features a curtain wall of windows that bring natural light into the museum's galleries and allow visitors to take in views of the sculpture garden and the surrounding cityscape.

His gallery installations are cabinets of curiosities featuring intricate wall paintings of beautiful women, indigenous statues and deities, collages crafted from vintage magazines penned and inked by the artist, human - like insect heads encased in vitrines, dolls that have been transformed into gang members, and images of pin - up girls with full tattoo sleeves.

Opened in 1993 under the direction of Masami Shiraishi and situated in a former bathhouse building located in a charming neighborhood of Ueno Park in Tokyo's Yanaka district, SCAI The Bathhouse gallery features simple white walls combined with excellent natural light which turn it into a bright and airy space.

This bent shape is curved into the recess of two gallery walls and creates a new walkway for exiting and entering a part of the gallery.

Doubling as installations, his sculptures incorporate images of nature and found objects including rocks and house plants to create literal portals into nature against the gallery walls.

Taking advantage of an ancient optical principle that a ray of light entering through a small hole into a dark room will project an upside - down view of the outside world, Leonard covered one of the Whitney's distinctive «eyebrow» windows with a lens board, throwing a ghostly, inverted image of the street onto the walls, floor and ceiling of an unlit gallery.

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

The next day, I head East for a meeting at the hip and happening Ace hotel in Shoreditch and afterwards popped into Hales Gallery in the Tea Building, where there is a fantastic and rather intimate show of Hew Locke's work entitled «Beyond the Sea Wall».

To renovate the building artist Robert Irwin collaborated with the architecture firm OpenOffice, working with the building's original design, emphasizing natural light, and essentially converting the space into a white - walled, hardwood floored (I was wearing wooden heels and each step echoed through the spacious galleries) heaven of a museum.

For his first gallery exhibition in New York since 2012, Neto will present a new body of finger - crocheted immersive sculptures, installations and wall works that fill both floors of the gallery's space, inviting the viewer into an all - encompassing sensorial experience.

With orange, pink and white striped walls, Apfelbaum turns the second floor of the gallery into an immersive environment and expands the visuals of the political landscape surrounding the 2017 election and the women's march that it inspired.

Nothing is Forever marks an important and transitional moment in the South London Gallery's history as the institution expands into a formerly derelict house and a new building incorporating the surviving walls of a former lecture theatre and library.

The wall partially obscures the view into the gallery space, hiding a life - sized sculpture of an androgynous adolescent that is suspended from the ceiling of the main gallery room.