Sentences with phrase «way out of the gallery»

«I gave a lot more money last year,» one gentleman said, making his way out of the gallery.

Not exact matches

For instance, one of the simplest ways to reach out to local artists is to designate a gallery space and invite them to submit work to be shown.

Eric Pickles at a press gallery lunch today did just that, as he artfully bumbled his way out of questions on the Bedroom Tax, further cuts and UKIP's threat, and charmingly addressed the audience of Leveson - battle - scarred journalists as «chums», reserving his strongest message for his own party's increasingly poor translation to the pavement.

«The bottom line is, remember this: lead or get the hell out of the way,» he said to cheers from the gallery.

Many couples Iâ $ ™ ve counseled fall into a rut of using food as their primary way of spending time together — going out to dinner, or for ice cream, ordering pizza, making brunchâ $ ¦ Try mixing things up and plan activities that don't revolve around food (go to a play, art gallery or museum, or do something active, like hiking, biking, or indoor rock climbing), or involve healthy eating (visit a farmerâ $ ™ s market instead of a food court).

And like a gallery wall, you can do a mix of photography prints, abstracts, and typographic art... If the thought of accumulating enough framed pieces to pull off the look scares you, just take it one piece at a time (like the last photo), start out symmetrically (like the first photo) and work your way ledges and large groupings (all the photos in between!).

Whether you'd rather be playing hockey or screaming your lungs out at a Sabres game, strolling one of Buffalo's 50 + art galleries, or noshing your way through our fleet of gourmet food trucks, there is someone special waiting to share those experiences with you.

Tony is pretty much an everyman character going about his daily business when he happens to see what he sees, which leads to one of Argento's more memorable set pieces as Tony is trapped between the two glass doors of the art gallery, unable to help the victim inside who is bleeding on the floor and unable to escape outside to fetch help, and his and Julia's situation and relationship is played out in a very natural way, the scenes in their apartment with just the two of them interacting being as integral to the plot as the more violent scenes.

One of the most discerning and revered actors in Hollywood, her public persona radiates with soft - spoken, good - humoured charm — and yet what stands out most prominently from her eclectic film career is the robust gallery of visceral, vinegary and headstrong characters who are unendingly encouraged to change their ways by those behind and in front of the camera.

,» «Marmato» John Akomfrah — «The Stuart Hall Project,» «The Nine Muses» Natalia Almada — «The Night Watchman (El Velador),» «The General» Mirra Bank — «The Only Real Game,» «LastDance» Geof Bartz — «A Girl in the River: The Price of Forgiveness,» «Crisis Hotline: Veterans Press 1» Diane Becker — «We Are X,» «Jujitsu - ing Reality» Edet Belzberg — «Watchers of the Sky,» «Children Underground» Don Bernier — «An Inconvenient Sequel: Truth to Power,» «Audrie & Daisy» Ruby Chen — «Plastic China,» «The Rocking Sky» S. Leo Chiang — «Out Run,» «Mr. Cao Goes to Washington» John Davey — «In Jackson Heights,» «National Gallery» Keiko Deguchi * — «God Knows Where I Am,» «Captivated The Trials of Pamela Smart» Abigail E. Disney — «The Armor of Light,» «Pray the Devil Back to Hell» Ezra Edelman — «O.J.: Made in America,» «Cutie and the Boxer» Bob Eisenhardt — «Meru,» «Shut Up & Sing» Diana El Jeiroudi — «The Mulberry House,» «Dolls — A Woman from Damascus» Jihan El - Tahri — «Nasser,» «Cuba: An African Odyssey» Geeta Gandbhir — «Which Way Is the Front Line from Here?

Encountering a typical gallery of Rudolph eccentrics — jaded, booze - soaked lounge singer (Nathan Lane), inept lothario (Dermot Mulroney in the Keith Carradine role), boorish real estate tycoon (Will Patton)-- she soon picks up threads of crime and coverup that lead all the way up to a lecherous, cant - spouting senator (Nick Nolte, pulling out all the comic stops as only he can).

Striking Out Stress: A «Gallery Walk» Activity This lesson actively involves students in grades 6 - 12 in a discussion about the causes and effects of stress, and helps them find ways to cope with it.

That solitude gives Rebecca plenty of time to figure out whether her camera is still the best way to share what she sees with the world — and to determine who she is outside of the context of high - end art galleries and New York City.

So please find enclosed in today's 70 + photo gallery the last 30 photos in the gallery Ketut shot out of the back seat of the car on the way home and has quite a few of the «Ogoh Ogoh» monsters.

The AI in charge of the enemies has also seen some improvement making them a bit more challenging to fight, although it does still need work as foes are prone to acts of sheer stupidity and bandits tend to stick their heads out way to much, turning what should be a tense, cover - based shootout in a shooting gallery where headshots rule supreme.

However, Nico can not enter the art gallery as the investigator's guard has been instructed to not allow anyone in; when you figure out a rather amusing way past the guard, you will find that the investigator is only interested in blood related evidence which you deliberately falsify using tomato source from the underside of a pizza box that was conveniently dropped on the floor by George earlier on, although the tomato source does have a piece of chewing gum stuck in the centre of it that has to be removed with Nico's press card.

Peach appears on a swing in the Modern version of Rain Shower in Game & Watch Gallery 4 if the player gets a high enough score, and as such, Mario needs to move her out of the way of Bowser's water balloons.

You'll also find out what the Best Way to Spend # 50 on PSN is, a Blu - Ray review of Scott Pilgrim vs. the World, and screenshot galleries of El Shaddai: Ascension of the Metatron, Fight Night Champion, L.A. Noire and Mindjack, as well as a couple more free avatars.

It's also a nice way to get around the problem of going through a gallery to get your work out there.

I don't know what's «industry standard practice» for fine art galleries these days, regarding pricing works on paper vs. works on canvas, but my suspicion is that the reason for the * historical * difference between the two is that works on paper are perceived to be less «serious» (after all, watercolor started out as a quick way for oil painters to sketch out drafts), and less long - lasting (historically, a lot of watercolors were fugitive, and tended to fade with time, unlike varnished oil paintings).

For someone who spends all of their time in a very tactile, analog world, digital communication can seem ephemeral and fleeting.It's tempting to abandon the medium as so much dross and go back to doing things the way that they've always been done: send out mailings, find an artist's representative, and hope your gallery works out.

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.

Sikkema Jenkins & Co. is pleased to announce It Didn't Turn Out the Way I Expected, a memorial exhibition of work by Tony Feher on view at the gallery from November 17 through December 23, 2016.

I knew fellow Yalies like Peter Halley, who had figured out ways of marketing their work by starting galleries like International with Monument.

In an era when art was reaching out to the masses with pop culture, this huge mural was Knox Martin's way of touching a public that would never venture into an art gallery.»

2006 Renegades: 25 Years of Performance Art at EXIT ART - A Selection From The Archives, Exit Art, New York, NY Do Not Stack, Roberts & Tilton, Los Angeles, CA One Way or Another: Asian American Art Now, The Asia Society, New York It's Time for Action (There's No Option), The Migros Museum für Gegenwartskunst, Zurich, Switzerland New York, New York: Fifty Years of Art, Architecture, Photography, Film and Video, Curated by Lisa Dennison and Germano Celant, Grimaldi Forum, Monte - Carlo, Monaco Still Points of the Turning World, Site Santa Fe, Sixth International Biennial, curated by Klaus Ottmann, New Mexico Into Me / Out of Me, P.S. 1 Contemporary Art Center, Long Island City, NY Six Degrees of Separation, STUX Gallery, New York, NY LOVE!

In a major shift away from tradition, the largest gallery is devoted to the sort of small pieces that are normally crammed into an out - of - the - way corner.

Now, with Wheeler bringing another one of his immersive light installations to the gallery this month (an approximation of the engulfing light the artist sees out his airplane window flying over New Mexico), Zwirner staffers have innovated a way to contend with the expected crush: a reservation system that will allow visitors to call ahead to reserve a spot in the work.

Through filming out - of - the - way galleries and non-headline personalities, his work documents an artistic network we might not otherwise see and broadcasts it to the greater public, without costing a dime (and without so far earning him a penny).

in Art News, vol.81, no. 1, January 1982 (review of John Moores Liverpool Exhibition), The Observer, 12 December 1982; «English Expressionism» (review of exhibition at Warwick Arts Trust) in The Observer, 13 May 1984; «Landscapes of the mind» in The Observer, 24 April 1995 Finch, Liz, «Painting is the head, hand and the heart», John Hoyland talks to Liz Finch, Ritz Newspaper Supplement: Inside Art, June 1984 Findlater, Richard, «A Briton's Contemporary Clusters Show a Touch of American Influence» in Detroit Free Press, 27 October 1974 Forge, Andrew, «Andrew Forge Looks at Paintings of Hoyland» in The Listener, July 1971 Fraser, Alison, «Solid areas of hot colour» in The Australian, 19 February 1980 Freke, David, «Massaging the Medium» in Arts Alive Merseyside, December 1982 Fuller, Peter, «Hoyland at the Serpentine» in Art Monthly, no. 31 Garras, Stephen, «Sketches for a Finished Work» in The Independent, 22 October 1986 Gosling, Nigel, «Visions off Bond Street» in The Observer, 17 May 1970 Graham - Dixon, Andrew, «Canvassing the abstract voters» in The Independent, 7 February 1987; «John Hoyland» in The Independent, 12 February 1987 Griffiths, John, «John Hoyland: Paintings 1967 - 1979» in The Tablet, 20 October 1979 Hall, Charles, «The Mastery of Living Colour» in The Times, 4 October 1995 Harrison, Charles, «Two by Two they Went into the Ark» in Art Monthly, November 1977 Hatton, Brian, «The John Moores at the Walker Art Gallery, Liverpool» in Artscribe, no. 38, December 1982 Heywood, Irene, «John Hoyland» in Montreal Gazette, 7 February 1970 Hilton, Tim, «Hoyland's tale of Hofmann» in The Guardian, 5 March 1988 Hoyland, John, «Painting 1979: A Crisis of Function» in London Magazine, April / May 1979; «Framing Words» in Evening Standard, 7 December 1989; «The Famous Grouse» in Arts Review, October 1995 Januszcak, Waldemar, «Felt through the Eye» in The Guardian, 16 October 1979; «Last Chance» in The Guardian, 18 May 1983; «Painter nets # 25,000 art prize» in The Guardian, 11 February 1987; «The Circles of Celebration» in The Guardian, 19 February 1987 Kennedy, R.C., «London Letter» in Art International, Lugano, 20 October 1971 Kent, Sarah, «The Modernist Despot Refuses to Die» in Time Out, 19 - 25, October 1979 Key, Philip, «This Way Up and It's Art; Key Previews the John Moores Exhibition» in Post, 25 November 1982 Kramer, Hilton, «Art: Vitality in the Pictorial Structure» in New York Times, 10 October 1970 Lehmann, Harry, «Hoyland Abstractions Boldly Pleasing As Ever» in Montreal Star, 30 March 1978 Lucie - Smith, Edward, «John Hoyland» in Sunday Times, 7 May 1970; «Waiting for the click...» in Evening Standard, 3 October 1979 Lynton, Norbert, «Hoyland», in The Guardian, [month] 1967 MacKenzie, Andrew, «A Colourful Champion of the Abstract» in Morning Telegraph, Sheffield, 9 October 1979 Mackenzie, Andrew, «Let's recognise city artist» in Morning Telegraph, Sheffield, 18 September 1978 Makin, Jeffrey, «Colour... it's the European Flair» in The Sun, 30 April 1980 Maloon, Terence, «Nothing succeeds like excess» in Time Out, September 1978 Marle, Judy, «Histories Unfolding» in The Guardian, May 1971 Martin, Barry, «John Hoyland and John Edwards» in Studio International, May / June 1975 McCullach, Alan, «Seeing it in Context» in The Herald, 22 May 1980 McEwen, John, «Hoyland and Law» in The Spectator, 15 November 1975; «Momentum» in The Spectator, 23 October 1976; «John Hoyland in mid-career» in Arts Canada, April 1977; «Abstraction» in The Spectator, 23 September 1978; «4 British Artists» in Artforum, March 1979; «Undercurrents» in The Spectator, 24 October 1981; «Flying Colours» in The Spectator, 4 December 1982; «John Hoyland, new paintings» in The Spectator, 21 May 1983; «The golden age of junk art: John McEwen on Christmas Exhibitions» in Sunday Times, 18 December 1984; «Britain's Best and Brightest» in Art in America, July 1987; «Landscapes of the Mind» in The Independent Magazine, 16 June 1990; «The Master Manipulator of Paint» in Sunday Telegraph, 1 October 1995; «Cool dude struts with his holster full of colours» in The Sunday Telegraph, 10 October 1999 McGrath, Sandra, «Hangovers and Gunfighters» in The Australian, 19 February 1980 McManus, Irene, «John Moores Competition» in The Guardian, 8 December 1982 Morris, Ann, «The Experts» Expert.

Curatorial Hub offers a clean and simple way to get works out into the world while giving artists an opportunity outside of the traditional gallery setting to create supplemental income between exhibitions and projects.»

Writing about the Corcoran Gallery exhibition of 1967, Andrew Hudson, an art critic in Washington, D.C., wrote»... Olitski has been able to maintain the quality of his work while experimenting in things that one would expect to turn out «wrong»... the expansion of his vision and of the possibilities of painting that his recent work offers has effected an expansion in my way of looking.»

Past group shows and screenings include: Rêve du Pierre, curated by Alexandra Fau, Centre Pompidou, Paris (screening)(2016); Night Walk, with Erin Shirreff, deCordova Sculpture Park and Museum, Lincoln, MA (2015); A Night of Philosophy, Ukrainian Institute of America, New York, NY (Screening)(2015); The Daily Show, Bureau, New York NY (2015); The Built Environment: Lower Side in Istanbul, Mixer, Istanbul, Turkey (2014); It Narratives: The Movement of Objects as Information, Franklin Street Works, Stamford, CT, USA (2014); A Tale of Two Islands: Beatrice Gibson with Alex Waterman, and Frank Heath, High Line Art, NY, NY (2014); Two Hours Two Minutes, The Power Plant, Toronto, Canada (2014); Kool - Aid Wino, Franklin Street Works, Stamford, CT, USA (2013); Matter Out of Place, Kitchen, NY, NY (2012); Somebody has stolen our tent, Simon Preston Gallery, NY, NY (2012); The Way Things Go (Part 3), Frutta, Rome, Italy (2012); Single Channel, Soho House, Miami, FL, USA (2011); Forcemeat, Wallspace, NY, NY (2011), and Suddenly: Where We Live Now, Cooley Gallery — Reed College, Portland, OR and Pomona College Museum of Art (2008, 2009).

Yet the most magical thing is the way the decadent sound of Warhol's band spills out into the excellent nearby gallery of his early paintings.

On my way out, Fabiola urged me to visit the new Upper East Side outpost of Powers's own Half Gallery, which is located right next door.

But by actively searching out provocative new work, by understanding the nexus between art and fashion, and art and commerce, and by creating tentacles of affiliate galleries to promote his artists worldwide, this slight, diffident man changed the way the art world worked.

Just when the city empties out, galleries have a way of filling up — for those long, lazy summer days of long, lazy summer group shows.

Even creepier was his installation at the Hayward in 2008, where his To the Memory of HP Lovecraft (pictured above) gouged and clawed its way along, as though an animal, a poltergeist, a something had ravaged and ripped out the pristine white box of the gallery.

Private auctions may benefit auction houses, galleries, buyers and sellers, but there are people out there who believe this way of conducting business may hurt the overall state of the art market.

But, as Marc Steene of Pallant House Gallery points out, it's still a long way behind Europe and the USA, where such art has been exhibited and collected for years.

Alternating tubes of purplish blue, lime green, and lemon yellow in the large - scale work «Pacific Jazz» enliven the gallery, while the sage and gold of «Way Out West» evoke a desert at sunset.

KB: I think a great aspect of the Affordable Art Fair is the way they put extra effort into supporting galleries who are championing emerging artists as well as well bigger names, it's so important to be given these platforms to exhibit your work when you're starting out as an artist.

This juvenilia gave way to a game of agitprops, what this writer has called «I Hate My Mom and My Room» art, that played out in soon - to - be-abandoned galleries, and by force, museums.

The Malaysian - born, London - based artist uses the overly precious setting of the gallery space to pull objects — cooking utensils, kitchen fittings, plastic tubs, sheets of jute, etc — out of their utilitarian context in such a way as to force viewers to think about them as discrete objects, or things in and of themselves, while in the process challenging the assumptions we make about their functionality and attendant concerns such as, for example, the social status of the person who might own such an object, its role in their lives and that relation in respect to one's own style of living.

In its first edition, in May 2012, galleries went out of their way to establish Frieze New York's commercial bona fides.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

The Way Things Go (Part 3), Curated by Frances Loeffler, Frutta, Rome, Italy In Search Of..., Clough - Hanson Gallery, Rhodes College, Memphis, TN and Kansas University Art and Design Gallery, Lawrence, KS Matter Out of Place, curated by Lumi Tan, The Kitchen, New York, NY Someone Has Stolen Our Tent, Simon Preston Gallery, New York, Of..., Clough - Hanson Gallery, Rhodes College, Memphis, TN and Kansas University Art and Design Gallery, Lawrence, KS Matter Out of Place, curated by Lumi Tan, The Kitchen, New York, NY Someone Has Stolen Our Tent, Simon Preston Gallery, New York, of Place, curated by Lumi Tan, The Kitchen, New York, NY Someone Has Stolen Our Tent, Simon Preston Gallery, New York, NY

When the new installation opens in November, says chief curator Darsie Alexander, curators will hold in - gallery office hours — giving visitors insights into the way exhibitions happen, and giving the staff a chance to find out «how visitors encounter work in space — the kinds of questions they ask about art, what they find interesting, and how long they stay.»

The Darren Bader video at the booth of his London gallery Sadie Coles HQ starts innocently enough: a computer - animated helicopter flies out of a giant computer - animated mouth, with some string trailing it in a way that makes it look like... Read More

(Of course, history has a way of revising itself, and Prince is now one of Gagosian's superstar artists; the gallery recently sold blown - up screen grabs of Prince's Instagram out of its New York bookshopOf course, history has a way of revising itself, and Prince is now one of Gagosian's superstar artists; the gallery recently sold blown - up screen grabs of Prince's Instagram out of its New York bookshopof revising itself, and Prince is now one of Gagosian's superstar artists; the gallery recently sold blown - up screen grabs of Prince's Instagram out of its New York bookshopof Gagosian's superstar artists; the gallery recently sold blown - up screen grabs of Prince's Instagram out of its New York bookshopof Prince's Instagram out of its New York bookshopof its New York bookshop.)