Sentences with phrase «white framed gallery»

I can't get enough of black and white framed gallery walls.

Not exact matches

Sofa — Home Center Gallery wall frames and big frames — Ikea Wall Shelf — Home Box Curtain — Ikea Office Desk — Ikea (but I bought it from someone on Dubizzle) Corner Shelf — Home box Mustard yellow throw pillow cover — Home Box Black and Big Black & White throw pillow cover — Ikea Smaller Striped Black & White throw pillow cover — Gift from a Client Lamp Stand — Home Box Rug — Dragon Mart White office chair and Mustard Yellow chairs — Dragon Mart Flower Vase and life plants — Ikea Fake Plants and other vases — Discount Center in Ajman White board — Day to Day White fur Rug — Ikea Wall Papers — Discount Center Sharjah (You can also find them in Day to Day)

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The white frames pull everything together, and the blue is the perfect backdrop for the gallery!

A large gallery wall has different types of art in black and white, including a trio of framed butterfly prints to complement the space's color scheme.

Buy «Gallery Wall Frames» products like Gallery Wood Tassel 5 - Inch x 7 - Inch Picture Frame in Black, Real Simple ® 11 - Inch x 14 - Inch Wood Float Frame in White, Gallery 5 - Inch x 7 - Inch Matted Brushed Metal Frame in White, Gallery Wood Tassel 5.5 - Inch x 11 - Inch Document Frame in Black

Living room with PB Comfort Square Slipcovered Sofa in White, Barbara Barry Poetical Linen Pillows, Ballard Designs Durham Bunching Table, Jayson Home Gold Athena Tray, hydrangeas, Anthropologie Capri Blue Mercury Glass Candles, Pottery Barn Lamp, West Elm Jute Boucle Rug, Pottery Barn Gallery Single Opening Frames, Chanel and Her World by Edmonde Charles - Roux, Glamorous Rooms by Jan Showers and Face Forward by Kevyn Aucoin.

PB Comfort Square Slipcovered Sofa in White, Barbara Barry Poetical Linen Pillows, Ebay white leather Moroccan pouf, Ballard Designs Durham Bunching Table, Jayson Home Gold Athena Tray, hydrangeas, Anthropologie Capri Blue Mercury Glass Candles, Pottery Barn Lamp, West Elm Jute Boucle Rug, Pottery Barn Gallery Single Opening Frames, Chanel and Her World by Edmonde Charles - Roux, Glamorous Rooms by Jan Showers and Face Forward by Kevyn AuWhite, Barbara Barry Poetical Linen Pillows, Ebay white leather Moroccan pouf, Ballard Designs Durham Bunching Table, Jayson Home Gold Athena Tray, hydrangeas, Anthropologie Capri Blue Mercury Glass Candles, Pottery Barn Lamp, West Elm Jute Boucle Rug, Pottery Barn Gallery Single Opening Frames, Chanel and Her World by Edmonde Charles - Roux, Glamorous Rooms by Jan Showers and Face Forward by Kevyn Auwhite leather Moroccan pouf, Ballard Designs Durham Bunching Table, Jayson Home Gold Athena Tray, hydrangeas, Anthropologie Capri Blue Mercury Glass Candles, Pottery Barn Lamp, West Elm Jute Boucle Rug, Pottery Barn Gallery Single Opening Frames, Chanel and Her World by Edmonde Charles - Roux, Glamorous Rooms by Jan Showers and Face Forward by Kevyn Aucoin.

Alaina Veronica Kaczmarski Home - Bathroom features above the toilet shelf filled with fragrances paired with black and white photo framed in black gallery frame.

Bringing in some simple white frames helped to finalize the gallery wall in the living room and tie back to the white Lulu and Georgia pillows.

Paint, Benjamin Moore in Super White Gold wire word art, Turn Left Designs Curtains, IKEA Blue bench, Target Pink pillow, IKEA Gold pillow, Hobby Lobby Desk, IKEA Shelves, IKEA Black shell chairs, Zoetico Blue wingback, thrifted from Craigslist Gold desk lamp, Urban Outfitters Baskets, IKEA Shelving unit, IKEA Frame gallery wall, IKEA Gold stapler, Target Gold scissors, Target Lucite desk accessories, The Container Store White trash can, IKEA Gold side table, Target

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Props: (Optional) toy or student - made microphone (paper, cardboard or other available materials) for Ms. Watercolor; student - made picture frames for the gallery; student - researched pictures of numerous White House pets including Millie the Springer Spaniel, Macaroni the Pony, Socks the Cat, Buddy the Labrador Retriever, Liberty the Golden Retriever, Fala the Scottish Terrier, and Woodrow Wilsons sheep; pictures of an alligator, silkworm and hounds.

They were asking for white gallery frames long before I had the right matte white and tall stem shape that such frames required.

The organizers of Wendel White's Manifest exhibition at Blue Star Contemporary had the gallery walls and wall labels rendered in all - black, framing the show in a somber and funereal atmosphere.

Here's what did work: Glenn Kaino's glittering mass of arrows in flight at Honor Fraser's booth, a demure suite of gelatin silver prints showing Carrie Mae Weems dancing in a nearly transparent white nightgown, Galerie Brandstrup's laser - focus on young painters (including Michael Kvium and Christer Glein), and Chris Wiley's quirky photographs mimicking and framed with quotidian substances (never has Astro - Turf served a better purpose than a picture frame) as part of Nicelle Beauchene Gallery's entry into Armory Presents.

A white - haired woman looks unnervingly across a huge white space in the Saatchi Gallery from ashen eyes magnified by huge tortoiseshell - framed spectacles.

, silver gelatin photograms mounted to sheets of aluminum stand upright on the gallery floor, stabilized by rectangular white frames.

A total of 14 black and white photographic works, framed in white and unmatted, and hung against cream colored walls in the main gallery space, the smaller side room, and the entry area.

Image Credits: Untitled, 2010, Silkscreened acrylic on dye - printed linen with vinyl ribbon, 78 x 51 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; A Line (Almanac), 2013, Eight felt double page spreads with «a» line cut; White felt end pages; Hard cover, hand - bound, 20.1 x 13.2 x 3 inches, Edition of 10 + 3 Aps, Collection of Thea Westreich Wagner and Ethan Wagner; A Line (Cover Letter), 2015, Synthetic felt, acrylic on canvas, 79 x 48 inches, Collection of Eleanor and Bobby Cayre, New York; Work Description, 2010, Glass, vodka, wood, cardboard, and plant, 33 1/2 x 45 x 32 1/2 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Untitled, 2009, Acrylic, gesso, spray paint on linen with lacquered wood frame, 71 x 50 inches, Private Collection, NY; Untitled, 2010, Acrylic on canvas, 69 x 53 inches, Private Collection, NY; Untitled, 2007, Airbrush and oil and acrylic on linen, 71 x 164 inches Courtesy of Daniel Lewis and Campoli Presti, London / Paris; Untitled, 2012, Vodka, pigment, urethane, gesso, and cotton, 24 x 18 inches, Courtesy of Dylan Lewis and Campoli Presti, London / Paris; Untitled, 2011, Silkscreened acrylic news print and felt on wood - mounted dibond, 30 x 40 inches, Courtesy of the artist and Miguel Abreu Gallery, NY; Yogurt Cinema, 2014, Cardboard, concrete, Pyrex bowl and lid, yogurt, video projector, and 108 min.

black - pained gallery walls and white window frames act as a canvas for the bike «drawings» etched onto the interior surroundings as though the faux - vehicle has been ridden on the walls.

He's referring to his recent exhibition at Paul Kasmin Gallery where at first glance, it looks like a photography show, down to the flat white mat board that frames eleven portraits of his friends and family.

The gallery includes several large, elegantly framed black - and - white Polaroids with textiles draped in the background that recall the studio portraits of Seydou Keita (except that his subjects were generally clothed).

His solo show at White Cube this summer, Breathing Room III, will consist of a «self - illuminating nest of 15 space frames» each identical in volume and together occupying one fifteenth of the total volume of the gallery.

Wilson's «Sala Longhi» installation, which he premiered at the 2011 Venice Biennale, takes up the second gallery, with a white glass chandelier emerging from a wall - mounted picture frame surrounded by smaller frames filled with black glass out of which face - shaped circles have been cut.

Wooden wallboards, water - based paint, three video cameras, scanner, frame, five monitors, video recorder, video player, videotape, black and white, silent, Dimensions variable (11 × 40 × 30 ft. as installed at Nicholas Wilder Gallery, Los Angeles, in 1970).

«Speaking out: Siting the Voice in Contemporary Asian Art», Courtauld Institute of Art and Kings College, University of London 2017 Conceptualism — Intersectional Readings, International Framings Conference, AHRC Black Artists and Modernism project in collaboration with Van Abbemuseum, NL, 7 - 9 December 2017 Trinh T Minh - ha Symposium, ICA London, 3 December 2017 Women in Collections Symposium, Contemporary Art Society / Sackler CPD Programme, Leeds City Art Gallery, 19 October 2017 Deviant Researching Symposium, part of Demodernising the Collection, Van Abbemuseum, NL, 21 - 23 September 2016 Now and Then, Here and There Conference, AHRC Black Artists and Modernism, Chelsea College of Art and Design, UAL / Clore auditorium, Tate Britain, 6 - 8 October 2016 Kung Fury: Contemporary Debates in Martial Arts Cinema Symposium, AHRC Martial Arts Studies Network, Birmingham City University, 1 April 2015 Martial Arts Studies Conference, with Luke White, Cardiff University, 10 - 12 June 2015 How to See the World Panel discussion & book launch, with Nicholas Mirzeoff, Jon Bird, Sonia Boyce, Nadja Milner - Larsen, ICA, London 4 June 2015 (In) Direct Speech: «Chineseness» in Contemporary Art Symposium, University of Lisbon, 16 - 19 March 2014 Thinking with Berger Conference, with Juliette Kristensen, Cardiff Metropolitan University, 4 - 5 September 2014 Mega Events & Culture: Arts & Artists Engagement in Events - based Regeneration, Resistance & Research Regional Studies Association, Research Seminar, Queen Elizabeth Olympic Park, London, 17 June 2014 Image — Movement — Story Conference, University of Roehampton, 14 June 2014 SPSL / A to Y Public Lecture, MAI (Montreal Arts Interculturels / University of Concordia, Montreal QC, 12 April 2013 Inter-Asian Connections IV Conference, in the strand «Contemporary Art and the Inter-Asian Imaginary», Koç University, Istanbul.

With minimalistic white frames on every artwork, Michael Rosenfeld, founder of The Michael Rosenfeld Gallery has created an inspiring and ambitious exhibition of exceptional artworks by the masters of the 20th century American art.

With minimalistic white frames on every artwork, Michael Rosenfeld, founder of The Michael Rosenfeld Gallery has created an inspiring and ambitious exhibition...

The lower gallery is occupied by Looking for One (2015), a 120 x 405 x 195 cm white ceramic tile intervention reminiscent of a toilet or shower area featuring a still life (comprising a polished steel laptop - shaped item, an ashtray with cast popcorn sprouting from it and a multi-purpose cleaner cast in resin) and Taken by Your Equivocal Stance I, II and III (2015), three metal and glass installations framing hoodies and puffer jackets, adorned with eggs balanced on the edges of the sculpture.

Of course, there were many thematic and visual references to poverty and exclusion that were framed by the discourse of art history — as in a metal construction by Jannis Kounellis [who died in February this year] that combines a hard - edged steel - cast minimalist frame with multicoloured rags of Arte Poveraat White Cube, for example; or in a an arresting display of Sadie Benning's «drawings» made of wood, Aqua - Resin, casein and acrylic gouache with motifs reminiscent of African textilesat Susanne Vielmetter Los Angeles Projects; or works about otherness framed by the formerly excluded, or on their behalf — as in a display from the Goodman Gallery in Johannesburg, South Africa; or Andres Serrano's unforgettable photographs of notable figures in American pop culture, such as his portrait of Snoop Dogg (America)(2002) placed next to that of Donald Trump, on view at Galerie Nathalie Obadia.

4/5 + 2 AP Frank Stella Untitled, 1959 Enamel on canvas board 17 3/4 x 11 3/4 inches Collection of Bill and Sheila Lambert Dan Flavin «monument» for V. Tatlin, 1967 cool white fluorescent light 96 x 28 x 5 inches Robert Morris Untitled, 1976 - 1980 Felt with metal grommets 96 x 85 x 20 inches Back Gallery Richard Serra Untitled, 1975 Paintstick on paper 37 3/8 x 49 5/8 inches Private collection, Switzerland Ad Reinhardt Black Painting, 1960 - 1966 Oil on canvas 60 x 60 inches Tony Smith New Piece, 1966 Welded bronze, chemically treated black 20 3/4 x 43 1/2 x 42 inches Jo Baer Untitled, 1972 Oil on canvas 72 x 72 inches Second Floor (left to right) Rotunda Agnes Martin Untitled, 1965 Black ink on paper 11 x 11 inches David Hammons Untitled (Basketball Drawing), 2006/7 Dirt on paper, wood frame, asphalt Overall: 120 1/2 x 100 x 27 inches Robert Indiana Love, 1966 - 1999 Stainless steel 36 x 36 x 18 inches Front Gallery Andy Warhol Ambulance Disaster, c. 1963 Silkscreen ink on paper 40 x 30 inches Anselm Reyle Untitled, 2006 Mixed media on canvas, acrylic box 92 x 78 1/2 inches Mark Grotjahn Untitled (White Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4 iwhite fluorescent light 96 x 28 x 5 inches Robert Morris Untitled, 1976 - 1980 Felt with metal grommets 96 x 85 x 20 inches Back Gallery Richard Serra Untitled, 1975 Paintstick on paper 37 3/8 x 49 5/8 inches Private collection, Switzerland Ad Reinhardt Black Painting, 1960 - 1966 Oil on canvas 60 x 60 inches Tony Smith New Piece, 1966 Welded bronze, chemically treated black 20 3/4 x 43 1/2 x 42 inches Jo Baer Untitled, 1972 Oil on canvas 72 x 72 inches Second Floor (left to right) Rotunda Agnes Martin Untitled, 1965 Black ink on paper 11 x 11 inches David Hammons Untitled (Basketball Drawing), 2006/7 Dirt on paper, wood frame, asphalt Overall: 120 1/2 x 100 x 27 inches Robert Indiana Love, 1966 - 1999 Stainless steel 36 x 36 x 18 inches Front Gallery Andy Warhol Ambulance Disaster, c. 1963 Silkscreen ink on paper 40 x 30 inches Anselm Reyle Untitled, 2006 Mixed media on canvas, acrylic box 92 x 78 1/2 inches Mark Grotjahn Untitled (White Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4 iWhite Butterfly), 2002 Acrylic on canvas 30 x 30 inches Sol LeWitt Progressive Structure, 1997 Painted wood 49 1/4 x 49 1/4 x 49 1/4 inches Agnes Martin Untitled, 1960 Oil and ink on linen 12 x 12 inches Liza Lou Comfort Blanket, 2005 Cotton and glass beads 29 1/2 x 53 1/8 inches Private collection, New York Günter Uecker Gegenstroemung II, 1965 Nails on canvas, painted with white color 32 1/4 x 32 1/4 x 2 3/4 iwhite color 32 1/4 x 32 1/4 x 2 3/4 inches

Evan Whale, «Sunset Overlooking White Wolf, 06/02/2016, 08:21 pm,» 2016, Seismogram on Chromogenic Print, Museum Glass, Painted Frame, 61 x 31 inches, Unique Image courtesy of Evan Whale and 321 Gallery, Brooklyn, NY.

In 1915, Kiev - born artist Kazimir Malevich painted the first version of his revolutionary work, Black Square (in the exhibition is the 1929 version from the State Tretyakov Gallery, Moscow)-- an eponymous black square floating within a white painted frame — and declared it to be the beginning of a new kind of non-representational art.

Chuck close's grids, Gabriel Orozco's checkered patterns, the frame itself, or the smooth white walls of a gallery space all strive to achieve the same end as a pencil guided along a straight edge - respite from the expressive responsibility of mark - making, submission to something sure, inert, and objective.

He often organized his photographs in the form of a grid on white gallery walls, sometimes framed and sometimes hung with clips, tape, or pushpins.

Instead, an expansive wall painting is framed by the white walls of the gallery.

Changing Colors: a workshop on toning black and white photographs; Crow Shadow Institute, Pendleton, OR, April, 1999 What Geologists Call an «Explanation» - Terry Toedtemeier: on his photography, Portland Community Colleges, Rock Creek, Sylvania, and Cascade campuses, Portland, OR Peculiar to Photography, slide lecture for the exhibition, «Seeing Through Photography,» Sheehan Gallery, Whitman College, Walla Walla, WA, March 5, 1999 About Photographing Basalt, slide lecture at Blue Sky Photography Gallery, Portland, OR February 11, 1999 Hope Photographs: Thought from an Historic Perspective, slide lecture at the University of Oregon Museum of Art, Eugene, OR, February 17, 1999 Framing the Frontier - 19th Century Photography in the American West, slide presentation at Cheney Cowles Museum of Art, Spokane, WA, November, 1998 Photography and Censorship, slide presentation, Portland State University, Portland, OR, March, 1998 Mysteries on a Plate Glass - Early Photography of Egypt, slide presentation, the Portland Art Museum, Portland, OR

Rudolf Stingel, Untitled (# 4), 1989 Oil and enamel on black and white photograph Image size: 7 5/8 x 9 5/8 inches Frame size: 18 1/2 x 14 1/4 inches February 20 — March 21, 2009 Paula Cooper Gallery presents an exhibition of new work by internationally acclaimed artist Rudolf Stingel.

1990 Information, Terrain, San Francisco, California, US The 60s Revisited - New Concepts / New Materials, Leo Castelli Gallery, New York, US Various Small Fires in the Gutenberg Galaxy, Galerie Maier - Hahn, Dusseldorf, DE Time Span, Fundacio Caixa de Pensions, Barcelona, ES Aquarian Artists, University of Rhode Island, Kingston, Rhode Island, US Fragments, Parts, Wholes / The Body and Culture, White Columns, New York, US Che Fare: Concept Art / Minimal / Art Povera / Land Art, Kunsthalle Bielefeld, Bielefeld, DE Kunstenaarsboeken uit de verzameling A.S.P.C., Provinciaal Museum Hasselt, Hasselt, BE Group Show, Mai 36 Gallerie, Germany: Art Frankfurt, CH MeaMemphis Collezione» 89, Art to Use, Frankfurt A.M., DE Group Show, Galeria Marga Paz, Madrid, ES 5 Galerien zu Gast bei Breuninger, Brigitte March Galerie, Stuttgart, DE The Readymade Boomerang - 8th Biennale of Sydney, Art Gallery of New South Wales, Sydney, AU Saga 90, Eric Linard Editions, Grand - Palais, Paris, FR Concept Art, Deichtorhallen, Hamburg, DE Dreams of Artists, A Metamemphis Collection, 121 Art Gallery, Antwerpen, BE Two Decades of American Art: The 60s & 70s, Nassau County Museum of Art, Roslyn Harbor, US RE: Framing / Cartoons, Loughelton Gallery, New York, US; Wexner Center for the Arts, Ohio, US; Gallery A, The Ohio State University, Columbus, Ohio, US Robert Gober, Craigie Horsfield, Lawrence Weiner, Barbara Gladstone Gallery, New York, US Wir Nehmen an der Art, Mai 36 Galerie, Basel Art Fair, Basel, CH Word as Image: American Art 1960 - 1990, Milwaukee Art Museum, Milwaukee, Wisconsin, US; Oklahoma City Art Museum, Oklahoma, US; Contemporary Art Museum, Houston, Texas, US A Group Show, Marian Goodman Gallery, New York, US Selected Prints and Multiples, Mai 36 Gallery, Lucerne, CH Red, Galerie Christine and Isy Brachot, Brussels, BE Un Choix d'Art Minimal dans la Collection Panza, ARC, Paris, FR Children's Aids Project, Daniel Weinberg Gallery, Santa Monica, California, US Interventions / An Exhibition from the Collection of Delfryd Celf, Art Gallery of Ontario, Toronto, CA Savoire Faire / Savoire Vivre, Centre International d'Art Contemporain de Montreal, Montreal, CA Art Billboards in the Hague - Southwest, The Hague, NL The Readymade Boomerang Print Portfolio, Galerie Vorsetzen, Hamburg, DE Time Space Place, Galerie Ghislaine Hussenot, Paris, FR High Season I...

There was nothing outwardly difficult about Talia Chetrit's second New York solo show; eight modestly scaled, soberly framed black - and - white photographs — all but one made this year — ranged evenly around the walls of a small gallery.

The main walls of the first gallery are framed in several layers of paint, with dark brown, white, and light green delineating only the corners.

Frieze is divided into two primary categories: the main portion occupied by more well - known galleries such as Lisson Gallery, White Cube and Wallspace, among many others, and Frame, a section devoted to young galleries presenting a single artist's work.

Gillian Wearing, Self Portrait as My Mother Jean Gregory, 2003, framed black and white print, 1.5 x 1.3 m. Courtesy: Maureen Paley, London, Tanya Bonakdar Gallery, New York, and Regen Projects, Los Angeles © Gillian Wearing

The mother and daughter on horseback, their quiet faces implacably black against the blue and white of the sky; the marchioness in her chair (the walls in the gallery have been painted the same rich red as the room in this painting); and Selective Histories, a wry close - up of a wall of heavily framed paintings, hung salon - style and surrounding a tribal mask.

2006 Gregos, Katarina, «Eve Sussman, The Rape of the Sabine Women», Flash Art, Jan / Feb Cacoulidis, Cleo, «Sabine Modern: On Location with Eve Sussman & The Rufus Corporation», Art Papers, Jan / Feb Coulson, Amanda, «Spontaneous Combustion», Modern Painters, Dec. 2005 / Jan 2006 2005 Spyridaki, Alexandra, «Video Art», Epsilon, April 17th Schumacher, Mary Louise, «Homage to the Master», Milwaukee Journal Sentinel, February 17th Mays - Powell, Harriet and Eve Sussman, «Frieze Frame», New York Magazine, February 14th Hoban, Phoebe, «Into the Mosh Pit with Velasquez and David ``, The New York Times, February 6th, Snider, Suzanne, «Eve Sussman», The Believer, February Maclaren, Becca, «Another look at Velasquez», Bennington, Fall 2004 / Winter 2005 2004 Stevens, Mark, «Beyond the Frame», New York Magazine, December 13th Gopnik, Blake, «Whittling Down the Whitney», The Washington Post, March 14th Saltz, Jerry, «Being There», The Village Voice, May 7th 2003 Sussman, Eve, «The Paper Sculpture Book», Goggles for Kaleidoscope Eyes, Cabinet 2001 Sussman, Eve, Cabinet Instant Replay, Fall 2001 2000 Sussman, Eve, «The Whites Were a Mystery», Peirogi Press, Fall 1999 Anton, Saul, «Eve Sussman, China / White (Art Reviews)», Time Out, September «Goings on about town, Eve Sussman», NewYorker, October 1997 Halle, Howard, «Eve Sussman, Ornithology» (Art Reviews), Time Out Smith, Roberta, «Despite Changes a Gallery Scene that's Resilient», The New York Times, May Schwendener, Martha, «Eve Sussman, Ornithology», The New Art Examiner, July Fritz von Klinggäff, Die Tagezeitung, «Das Verschwinden des Barbiers», November Gear, Josephine, «Eve Sussman @ Bronwyn Keenan Gallery», Review, May Berger, Laurel, «In Their Sights», Art News, April 1996 Coen, Eva, «Casa tua «e Casa mia», Guiliette, September 1996 1995 Glueck, Grace, «Prowling the City for Public Art», The New York Observer, August 1995 Cotter, Holland, The New York Times, August 1995 1994 Melrod, George, Sculpture, (NYC exhibition review), January 1994 Mattei, Peter, «Who has enlarged this hole?»

In the late 1950s, Smith and Newman helped to remodel Parsons» gallery, creating an almost cube - shaped main space framed by white walls with subtly curved corners and a concrete floor whose proportions fitted their ordered works.

The gallery, typically the white cube, is understood as an architectural and intellectual frame that determines the activities and interpretations of a space.

I've made a dent in my gallery wall, using a white shelf, and frames painted white, and it's looking so pretty against my green Crocodile Tears!