Sentences with phrase «walls view in gallery»

Not exact matches

decorative wall mirrors for bedroom view in gallery large curtains target decor cheap floor liam payne lyrics, bedroom curtains on sale ideas contemporary bathroom design with decorative wall mirror large furniture sets full, bedroom floor lamps wall mirrors decorative unique design mirror lyrics ideas for kids, bedroom sets on sale curtains blackout decorating tips surprising design ideas wall mirror mirrors decorative, bedroom furniture stores curtains target decorative wall mirrors for great in the 7 sets girls, bedroom sets on sale mirror decorative mirrors wall awesome exterior with full, wall mirrors decorative full length cheap contemporary popular bedroom ideas for men furniture in spanish kids, bedroom ideas for couples curtains short eyes 2017 watch online decorative living room wall mirrors, modern ideas bedroom floor mirror decorative wall mirrors at decor video vocabulary in spanish, image of bedroom wall mirrors for sale modern amazing eyes meme furniture ideas sets full.

green and turquoise bedroom view in gallery lime green at the top of a bedroom paired with white walls green turquoise decor.

It can be seen and felt in New York galleries, on the walls of major art institutions like the Museum of Modern Art and the New Museum, watching a Trisha Brown performance on Chelsea's High Line, and even viewed on TV — take the HBO production Cinema Verite, about the world's first reality show, An American Family.

Meanwhile, downtown, at Bridget Donahue, older works from Burgin's «UK76» series, in which advertisement - like images of British society are pasted directly onto the gallery wall, will be on view.

This past winter, Hendricks's triple - portrait masterpiece, all too rarely on view, presided over one of the most bracing permanent collection installations Washington has ever seen, one that filled two galleries behind Jackson Pollock's Mural (1943), a refugee wall - surfing through eleven museums around the world since it was left homeless in 2008 by extreme flooding at the University of Iowa Museum of Art.

They were stacked in clusters against the gallery walls, back - to - back and face - to - face and sometimes separated by sheets of cardboard or covered by plastic, suggesting they were on their way in or out of storage and weren't yet meant for public viewing.

Before we enter Gallery Six in the distance, we stop to view a small dark painting at the end of the wall...

Here, clockwise from left: Fred Sandback's «Untitled,» at David Zwirner; an installation view of Sol LeWitt's «Wall Drawing # 368» from its 1984 installation at the Walker Art Center in Minneapolis; Sean Scully's «By Night and by Day,» 1983, at Mnuchin Gallery.

Installation view of Katharina Grosse, This Drove my Mother up the Wall, acrylic on wall and floor, in the main galleries, 2Wall, acrylic on wall and floor, in the main galleries, 2wall and floor, in the main galleries, 2017.

At the museum, 30 of his colorful, dynamic and sculptural Soundsuits are on view, along with seven new mixed - media commissions, video work, a site - specific wall tapestry, and a special «Map in Action» gallery will capture the Chicago - based artist's public performances in Detroit — displaying the Soundsuits worn and featuring video documentation of the activities.

If painting as a practice is viewed with far more skepticism today, the sense of conversation evoked by the works on this wall — and in a smaller room off the main gallery, which is also filled with the art of Schloss's friends and acquaintances — rings eerily familiar.

Sol LeWitt's «Wall Drawing # 352,» a mural that has been hidden from public view while used in an office for the Amistad Center, will be part of the Sol LeWitt and friends gallery at the Wadsworth Atheneum.

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.

In fact, the gallery had moved a wall to separate the street entrance from the exhibition, making the viewing space narrower than it normally was.

The first and most physically imposing work in Thomas Houseago's exhibition, «The Ridge,» on view at Gagosian Gallery, is Open Wall (Beautiful Wall)(2016).

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, Parin 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, Parin 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, ParIn 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, Parin 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

There were a few arresting installations, nonetheless, such as Danh Vo's floating gilded cardboard segments that comment on moral transgressions, for which the Marian Goodman gallery eliminated its walls; Liu Wei's architectural Library at Lehmann Maupin that collapses a metropolis to outrageous effect and, among the young artists who showed gripping promise, Aki Sasamoto's Luncheon Field, which livened the Focus section with a table perforated to suspend forks that bobbed in the breeze of a fan, and Eddie Peake's rumination on past and future that filled the Lorcan O'Neill booth with a tinted Plexiglas and steel installation involving a bear, a robot and lost Atlantis viewed through a meandering cut - out.

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.

With the help of children's book author, illustrator and artist Jon Buller, Lawler made vector files — enlarged without loss of quality — from the images, printed them on vinyl and adhered them to the gallery walls, offering a new way to view her oeuvre and the original works that appear in it.

On view September 30, 2016, through March 5, 2017, Photography Reinvented: The Collection of Robert E. Meyerhoff and Rheda Becker presents seminal works by 18 artists, including Thomas Demand, Thomas Struth, Hiroshi Sugimoto, and Jeff Wall, who in the last two decades have created pictures that expand our understanding of the nature of photography and greatly enhance the Gallery's holdings of contemporary photography.

May 9, 2006, Philadelphia, PA — A selection of Lynda Benglis's wall sculpture in various media will be on view at Locks Gallery from May 19 through June 30, 2006.

A selection of Judd's horizontal wall works are on view in Chinati's special exhibition gallery until August 2017.

In celebration of a pledged gift of 33 photographs from this important collection and the reopening of the East Building galleries, seminal works by Thomas Demand, Thomas Struth, Hiroshi Sugimoto, and Jeff Wall, among others, will be on view.

Please note, two additional works are on view outside of the Ballroom Gallery: Adrián Villar Rojas's Two Suns (II)(2015), a monumental replica of Michelangelo's David, can be viewed in the backstage of the ground floor theater, and Erika Verzutti's new work, Centipede (2017), hangs on the building's north wall, beside the parking lot.

A figure, at once robotic and lifelike, is isolated in a clean gallery space, behind a forbidding block wall that restricts the view to the outside world.

Curators researched the collections, finalized new storylines and layouts for the galleries, and collaborated with educators to rewrite every wall text and object label in ways that deepen your engagement with the artworks on view.

To foster an ambience akin to the artist's own bedroom in Detroit, the normal white cube aesthetic of the gallery space has been transformed: its walls have been painted a pink similar to that of Soda's bedroom and its space decorated with pink - hued furniture pieces which have the dual function of both providing gallery visitors with a physically comfortable environment in which to view the work, while also replicating the «girly - pink - warm» atmosphere associated with the artist's work.

Works on view experiment with physicality, spatial integration, and unexpected materials, utilizing the gallery walls and floors in their compositions.

The version hosted by Manchester Art Gallery was developed with Peter Saville and Richard Wentworth, a coupling that explains why the design of the show is an odd but likeable mix of slick graphics (instructions stencilled in large font on the wall of the main gallery) and DIY support structures, such as Wentworth's clunky viewing ramp, which also doubles as a display platform for piles of A4 take - home instruGallery was developed with Peter Saville and Richard Wentworth, a coupling that explains why the design of the show is an odd but likeable mix of slick graphics (instructions stencilled in large font on the wall of the main gallery) and DIY support structures, such as Wentworth's clunky viewing ramp, which also doubles as a display platform for piles of A4 take - home instrugallery) and DIY support structures, such as Wentworth's clunky viewing ramp, which also doubles as a display platform for piles of A4 take - home instructions.

So when Wright has completed the painstaking process of painting one of his neat abstract patterns on to a wall, ceiling or piece of coving in the gallery space, he insists that after an appointed viewing time, it must all be painted over again.

In terms of the wide range of media employed, the show looks like it could have been made by several different artists: sculptures similar to the ones shown a the Whitney occupy one gallery; another room boasts huge, scribbly pencil drawings on walls that surround a replica of a hearth («the traditional focal point of the American home»); in another, stacks of mannequins wearing identical outfits and wigs create a chute through which you can walk to view floor - facing monitors screening videos featuring the real - life character the mannequins seem to be modeled after (the artist's motherIn terms of the wide range of media employed, the show looks like it could have been made by several different artists: sculptures similar to the ones shown a the Whitney occupy one gallery; another room boasts huge, scribbly pencil drawings on walls that surround a replica of a hearth («the traditional focal point of the American home»); in another, stacks of mannequins wearing identical outfits and wigs create a chute through which you can walk to view floor - facing monitors screening videos featuring the real - life character the mannequins seem to be modeled after (the artist's motherin another, stacks of mannequins wearing identical outfits and wigs create a chute through which you can walk to view floor - facing monitors screening videos featuring the real - life character the mannequins seem to be modeled after (the artist's mother).

When I first thought about an exhibition at Night Gallery my instinct was to tear down all the walls, which I thought created difficult triangular areas and didn't offer long distance viewing of the work that would be possible in an emptier space.

Other recent curatorial ventures have included Sol LeWitt: A Wall Drawing Retrospective, a collaboration of the Yale University Art Gallery, MASS MoCA, and the Williams College Museum of Art, which opened in November of 2008 and will remain on public view through 2033.

Four galleries devoted to Ellsworth Kelly span the artist's whole career; Agnes Martin's refined, ethereal works are in an octagonal room with a central sofa because «they need time»; a Frank Stella print series runs along a wall that breaks open to give views over the city.

Her photographs, drawings, and collages of women bellow beyond the walls of Lehmann Maupin's Chrystie Street gallery in New York where her exhibition «More Than Everything» is currently on view through October 29th.

Among the works on view at Gladstone gallery will be Reality Painting # 6 (A Wall in My Bedroom) part of Aldrich's «Reality Painting Series,» a body of work that playfully adopts the art - historical idea of a series as a way to organize ideas, and which depicts scenes from Aldrich's everyday life.

His work is currently on view in To The Wall, Aspen Art Museum, Aspen, Colorado (through December 2007) and Cult Fiction, Hayward Gallery touring exhibition, travelling to various venues within the UK (2007/2008).

On view in the CCS Bard galleries will be the Objects created by the artist shortly after he graduated from Joseph Beuys's class at the Düsseldorf Art Academy in 1964; Cloth Pictures, dating from 1968; and documentation of his Wall Drawings and Paintings.

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.

Image 1: Rebecca Ackroyd, installation view of work in Walled Gardens in an Insane Eden, Z2O Sara Zanin Gallery, Rome, 2017.

Freiburg created a hand - crafted telescope for the public to view a constellation of drawings made in succession by the harmonograph and placed 20 feet up on the two - story gallery walls.

Koons and the Pompidou have not responded to Bauret - Allard's letter, but «Naked» is not on view in the exhibition, though wall text in the Pompidou galleries suggests it was intended to be.

On view in Gallery One, is a new wall installation from Paine's Replicant series.

Subsequent to Gaudin's kinetic installation titled Rites and Aftermath on view at the Palais de Tokyo, Paris, through May 8, 2017, the artist's first show at the gallery in Berlin introduces a performance - activated sculpture at its center and a series of aggressively distorted planes of aluminum and plaster dominating the walls of the gallery at Linienstraße 23.

In isolating this window view, silk - screening it as a series in different shades of gray, and hanging it on both walls next to their own version of Ensor's painting, BHQF made what would have otherwise evoked nothing more than a gallery after an opening when it's ready for the cleaning crew feel instead like some kind of eerie contemporary chapeIn isolating this window view, silk - screening it as a series in different shades of gray, and hanging it on both walls next to their own version of Ensor's painting, BHQF made what would have otherwise evoked nothing more than a gallery after an opening when it's ready for the cleaning crew feel instead like some kind of eerie contemporary chapein different shades of gray, and hanging it on both walls next to their own version of Ensor's painting, BHQF made what would have otherwise evoked nothing more than a gallery after an opening when it's ready for the cleaning crew feel instead like some kind of eerie contemporary chapel.

For his most recent work, which is on view in a solo exhibition at Anita Rogers Gallery in SoHo, he has used premixed hardware store paint and discarded cardboard, pieces of which are stacked and superimposed and pinned to the wall.

, Light Museum, Eindhoven, The Netherlands Gadgetry and Rites, Yuz Museum, Jakarta, Indonesia 2009 Entrance — Li Hui Solo Exhibition, Beijing Art Now Gallery, Beijing, China Dialects of Void & Substance, Tang Contemporary Art Center, Hong Kong, China Between Dimensions, Kuandu Museum of Fine Arts, Taipei, Taiwan 2008 Shiny Li Hui, A Art Contemporary Space, Taipei, Taiwan Samsara, Bund18 Creative Center, Shanghai, China 2007 Spin, Tang Contemporary Art Center, Beijing, China GROUP EXHIBITIONS 2015 Myth / History II: Shanghai Galaxy, Yuz Museum, Shanghai, China Future, Now, SomoS, Berlin, Germany 2014 Outside the Lines, New Work From China, RH Contemporary Art, New York, NY Sharks & Humanity, Musee Oceanographique de Monaco, Monaco, Monaco Re-View — Opening Exhibition of Long Museum West Bund, Long Museum West Bund, Shanghai, China the 8 Paths, Ufferhallen Berlin, Berlin, Germany MYTH / HISTORY - YUZ COLLECTION OF CONTEMPORARY ART, YUZ Museum, Shanghai, China Welcome to Parkview Green - Parkview Contemporary Art Collection, Parkview Green Exhibition Hall, Beijing, China Sensorium 360, Singapore Art Museum, Singapore, Singapore By Destiny, Arario Museum Tapdong Cinema, Jeju, Korea 2013 @WHAT: Selected Works of Contemporary Chinese Art, Arko Art Center, Seoul, South Korea Artificial Natures, Maubeuge Espace Sculfort, Maubeuge, France Artificial Natures, Maison des Arts de Creteil, Paris, France Artificial Natures, Lille St Sauveur, Lille, France Uneasy Trip in Asia, Star Gallery, Beijing, China 2012 CHIMERA - THE COLLECTORS SHOW, Singapore Art Museum, Singapore Licht Linien Light Lines (un) wirklich (un) real, Centre for International Light Art, Unna, Germany Water Stains on the Wall - The Carrier of Formation, Zhejiang Art Museum, Hangzhou, China I Light Marina Bay 2012, Marina Bay, Singapore Lust and Love of the Young and Liberated, 798 Space, Beijing, China Modern @ Modeng - Gallery Hotel Art Project, Gallery Hotel, Beijing, China Future Pass, Today Art Museum, Beijing, China Future Pass, National Taiwan Museum of Fine Arts, Taichung, Taiwan Open Sky, Changjiang Art Centre, Chongqing, China 2011 Dual Senses and Dynamic Views - Contemporary Art Exhibition across the Taiwan Straits of 2011, National Art Museum of China, Beijing, China Dual Senses and Dynamic Views - Contemporary Art Exhibition across the Taiwan Straits of 2011, National Taiwan Museum of Fine Arts, Taichung, Taiwan Matière - Lumière Matter - Light, Béthune 2011 Capitale Régionale de la Culture, Béthune, France CAR CULTURE.

Lining walls, ceilings, and floorboards with a tabulation of the room's dimension, Bochner called viewers» attention to the gallery as a spatial container, indeed, positing the work as coincident with the container in which it is viewed.

True to the effect of Neff's earlier installations, A Prologue proffers an uncanny phenomenon of viewing: the main gallery acts as a literal reflection of itself — a section of wall is mirrored in a photomural across the room, while other photographs depict Neff's poetic images posed here in the gallery space or in her Philadelphia studio.

Extending this line of thought, «Home / Museum Arranged for Living and Viewing,» Lawler's 1984 exhibition at the Wadsworth Atheneum Museum of Art in Hartford, Connecticut, transformed a gallery into a genteel domestic interior, complete with a grandfather clock and lemon yellow walls.