Sentences with phrase «white gallery into»

François transforms otherwise static, white galleries into theatrical settings where holes appear in unexpected places and everyday items, purchased or scavenged, are poignantly juxtaposed.

Not exact matches

The Robert Lehman Wing galleries, on the Museum's first floor and ground level, have been transformed into a building - within - a-building using white scrims.

A fascinating theatrical trailer that plays like a hygiene reel directed by Lynch and a literally exhaustive still gallery split into nine segments (posters, black & white stills, colour stills, wardrobe test stills, behind - the - scenes, pressbooks, storyboards, video, and credits) round out the handsome, essential platter.

Each box contains nine slim accordion books that expand into a 7.5 - foot - long gallery of black and white photographs.

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.

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.

The effect is close to the level of walking into the small rotunda in Washington's National Gallery, where Barnett Newman's Stations of the Cross hang en suite, or the similarly metaphysical immersion in Louise Nevelson's all - white Chapel of the Good Shepherd, tucked into a corner of the Citicorp building in Manhattan's midtown.

If the main aim of the City Sculpture Project was to bring abstract sculpture out into the wider world, the beautifully installed main gallery at the HMI brings it back home to the rarefied atmosphere of the white cube.

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.

Solo Exhibitions 2016 Storied Abstractions, Bockley Gallery, Minneapolis, MN 2015 Dyani White Hawk, Shiprock Santa Fe Gallery, Santa Fe, NM 2014 Into the Light: Paintings and Prints by Dyani White Hawk, Bockley Gallery, Minneapolis, MN 2013 An Exhibition of works by Dyani White Hawk, Gallery 110, University of South Dakota, Vermillion, SD 2012 Dyani White Hawk, Bockley Gallery, Minneapolis, MN 2011 Inseparable, Art Lofts Gallery, Madison, WI

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.

2012 Into the Mystic, Michael Kohn Gallery, Los Angeles, CA Do Your Thing, White Columns, New York, NY Out of Focus: Photography, Saatchi Gallery, London, UK

Titled Charred Landscape (America), the installation will circumnavigate the gallery, surrounding visitors, and dissolving into the white walls.

In response to these works, and others that were not realised in her lifetime, Peter Liversidge (b. 1973), who was a friend of Finn - Kelcey, will create a giant flag for the gallery's entrance with the word «HELLO» stitched in black on a white background, ushering visitors into the show.

The gallery has also made a concerted effort to support artists whose work was initially internet - based but who are transitioning into the brick and mortar world of the white cube.

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.

The best thing in Ms. Anderson's show is «The Chalkroom,» a gallery covered in raw, white - on - black graffiti that expands into a haunting multichambered journey if you use its virtual reality component; her indelible voice on audio serves as the guide.

Walking into the gallery, one is greeted not by a conventional white cube, but rather a disjointed arrangement of white, yellow, black and blue.

Today, however, Hatoum smiles as she strolls into a bright, wide - windowed room at White Cube, the London gallery that represents her.

This element of the installation is an exciting and somewhat subversive reference to the renovation of the space into a gallery, highlighting as it does the hybridisation of styles that the Serpentine Sackler itself displays: the original gunpowder store's red - brick functionality, with its classicised facade, and the organic white plastic and glass extension attached to its left side by Zaha Hadid Architects, 208 years later.

The most striking installation in the Zeeburg gallery is a series of stripes, ranging from black to white, which turn the banal chromatic shift of the venue's floor that occurs over the course of the day into something visible and discrete.

It looks like a major exhibition in a massive commercial gallery with nothing to sell, as if he has tricked White Cube into doing something for the love of art alone.

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.

By moving exhibits into diverse communities, we hope to broaden the reach of contemporary art and show it differently than most «white cube» museums and gallery spaces do.

If white galleries ever find out that they can make a lot of money off of black art, I'm sure they're going to start looking up black art... I'm basically an artist, and I want all my interest to go into doing the art.

Above the video installation, a lavender light transforms the white rooms of the gallery into a vibrating space within which dance and music operate as means of resistance and gestures of remembrance.

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

Stripped of their logos and placed in an empty white gallery, however, these vessels can transcend their intended purpose and dissolve into sheer movement and light.

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.

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.

In the summer of 2013, Raymond Pettibon took over one of David Zwirner's gallery spaces in New York, transforming the high - ceilinged, garage - like white cube into his studio in order to prepare a show of drawings and collages within — and sometimes directly on — its walls.

Camille Rose Garcia took aim at another fairytale a couple weekends ago at Michael Kohn Gallery in Los Angeles with a new body of work based on Snow White, but instead of the seven dwarfs, she brought the whole story into the black lagoon.

Occasionally his ludic concepts drift into more bodily, relational challenges, especially in This Consequence of 2006, that involved the unsettling presence of a gallery owner or invigilator dressed in an all - white Adidas tracksuit, with an additional sinister red stain embroidered into the fabric.

For her latest London show, Pae White has created a hypnotic maze of black, red, blue and purple threads which reach from and terminate into the walls of South London Gallery — as seemingly endless and bewildering as the sleepless nights that conceived it.

In 2002, Sarabia was invited to work at the Cerámica Suro factory in the city's art and gallery district, Tlaquepaque, which prompted him to relocate to Guadalajara from Los Angeles and incorporate the factory's trademark blue and white ceramics into his practice.

For the exhibition at Goodman Gallery, Lou explores the surface normally accepted as the ground for art — the canvas — making it into the subject of the work, but instead of cloth, the «canvas» here is woven out of unified, off - white glass beads.

The South Gallery II of White Cube Bermondsey is turned into a magical, wondrous and captivating space filled with new works by Cerith Wyn Evans.

Jakob & Hammwoehners» installation can be seen as an attempt to celebrate the mystical origins of the white gallery space by transforming it into a circus - like imaginary world.

Anny de Decker, co-founder of the infamous Belgian gallery, Wide White Space, of the 1960s and 1970s, described space as «something mysterious, an element which had only recently found its way into people's consciousness.»

World - class galleries such as White Cube and Galerie Perrotin have moved in and last year Art HK morphed into Art Basel, putting Hong Kong on the world art map.

Unlike artists including Robert Smithson and Mark Dion, who brought live or dead trees into white - cube gallery spaces, Mr. Oliveira has constructed a tree from scratch, using plywood and other materials, as well as wood brought from Brazil.

For his latest site - specific project, which opens on 20 August, the artist has transformed the entire south wing of the Louisiana Museum of Modern Art in Denmark into a convincing riverbed — a messy, stony accumulation of sedimentary rock and watery channels that threatens to silt up the white space of the gallery entirely.

The gallery is constantly looking for ways to reinvent itself and to breathe life into the Montreal art scene, exhibiting works of art that challenge the traditional white cube gallery space.

I look at all these lovely acquisitions, but find myself wondering whether the great art galleries of the West are serious about reflecting today's hugely changed cultures, or whether they prefer to retreat into a simpler, frankly whiter, past.

Hildebrandt's installation continues inside the museum galleries, plunging the Bass Museum's «white cube» into shimmering darkness, extending Cocteau's poetic play with imagery of mirrors and passageways to the Underworld.

For Oliver, «getting into painting» meant a degree in Art History at Bristol University, three intensive years studying in Florence as a portrait painter followed by work experience at notable galleries Hauser & Wirth and White Cube.

In gallery news: David Zwirner now represents the Joan Mitchell Foundation, with an exhibition planned for next year in the gallery's New York space — «The gallery is proud to be entrusted to help with the extraordinary legacy of Joan Mitchell, one of the most important and original American painters to emerge in the second half of the twentieth century», Zwirner commented; Lehmann Maupin have announced representation of the Estate of Heidi Bucher — «Her exploration of spaces — often designated as feminine, particularly domestic environments and objects — is very much in line with Lehmann Maupin's programming and closely ties into the work of artists such as Do Ho Suh and Liza Lou,» director Anna Stothart said; New York's James Cohan Gallery represents Matthew Ritchie; LA's Kayne Griffin Corcoran now represents painter Mary Obering (her work is on show at their booth at Frieze New York); London's White Cube have opened an office on New York's Upper East Side; and Mexico City gallery kurimanzutto also opened a space in New York's Upper East Side yesterday, inaugurated with new work by Abraham Cruzvigallery news: David Zwirner now represents the Joan Mitchell Foundation, with an exhibition planned for next year in the gallery's New York space — «The gallery is proud to be entrusted to help with the extraordinary legacy of Joan Mitchell, one of the most important and original American painters to emerge in the second half of the twentieth century», Zwirner commented; Lehmann Maupin have announced representation of the Estate of Heidi Bucher — «Her exploration of spaces — often designated as feminine, particularly domestic environments and objects — is very much in line with Lehmann Maupin's programming and closely ties into the work of artists such as Do Ho Suh and Liza Lou,» director Anna Stothart said; New York's James Cohan Gallery represents Matthew Ritchie; LA's Kayne Griffin Corcoran now represents painter Mary Obering (her work is on show at their booth at Frieze New York); London's White Cube have opened an office on New York's Upper East Side; and Mexico City gallery kurimanzutto also opened a space in New York's Upper East Side yesterday, inaugurated with new work by Abraham Cruzvigallery's New York space — «The gallery is proud to be entrusted to help with the extraordinary legacy of Joan Mitchell, one of the most important and original American painters to emerge in the second half of the twentieth century», Zwirner commented; Lehmann Maupin have announced representation of the Estate of Heidi Bucher — «Her exploration of spaces — often designated as feminine, particularly domestic environments and objects — is very much in line with Lehmann Maupin's programming and closely ties into the work of artists such as Do Ho Suh and Liza Lou,» director Anna Stothart said; New York's James Cohan Gallery represents Matthew Ritchie; LA's Kayne Griffin Corcoran now represents painter Mary Obering (her work is on show at their booth at Frieze New York); London's White Cube have opened an office on New York's Upper East Side; and Mexico City gallery kurimanzutto also opened a space in New York's Upper East Side yesterday, inaugurated with new work by Abraham Cruzvigallery is proud to be entrusted to help with the extraordinary legacy of Joan Mitchell, one of the most important and original American painters to emerge in the second half of the twentieth century», Zwirner commented; Lehmann Maupin have announced representation of the Estate of Heidi Bucher — «Her exploration of spaces — often designated as feminine, particularly domestic environments and objects — is very much in line with Lehmann Maupin's programming and closely ties into the work of artists such as Do Ho Suh and Liza Lou,» director Anna Stothart said; New York's James Cohan Gallery represents Matthew Ritchie; LA's Kayne Griffin Corcoran now represents painter Mary Obering (her work is on show at their booth at Frieze New York); London's White Cube have opened an office on New York's Upper East Side; and Mexico City gallery kurimanzutto also opened a space in New York's Upper East Side yesterday, inaugurated with new work by Abraham CruzviGallery represents Matthew Ritchie; LA's Kayne Griffin Corcoran now represents painter Mary Obering (her work is on show at their booth at Frieze New York); London's White Cube have opened an office on New York's Upper East Side; and Mexico City gallery kurimanzutto also opened a space in New York's Upper East Side yesterday, inaugurated with new work by Abraham Cruzvigallery kurimanzutto also opened a space in New York's Upper East Side yesterday, inaugurated with new work by Abraham Cruzvillegas.

Like a sea of geometric salt crystal formations they will seem to grow out into the space until 1000's of white porcelain zhezhi fill the gallery.

SELECTED GROUP SHOWS: 2018 Open SpacesKansas City, MO 2018 Color of the Year Presented by Pantone and X-RiteUrban Institute for Contemporary Art, Grand Rapids, MI 2017 Solar Flair: Celestial Bodies in MotionAlbrecht Kemper Museum of Art, St. Joseph, MO 2017Light and ShadowMildred M. Cox Gallery Kemper Center for the Arts William Woods University, Fulton, MO 2017The 19th Annual National Juried Competition,: «Works of Paper» 2017Long Beach Foundation of the Arts & Sciences, Long Beach Island, NJ 2017 - 2018 Teardrops That Wound: the Absurdity of War, George Tsutakawa Art Gallery, Wing Luke Museum of the Asian and Pacific American Experience, Commission Work «Break Into Blossom», In collaboration with Phong Nguyen and Justin Shaw 2016 Vision: An Artist's Perspective, Gutfeund Cornett Art Kaleid Gallery San Jose, CA 2016 Novus Conceptum, Hannah Bacol Busch Gallery Bellaire, TX 2015 Generations: Forty Hues Between Black and White, OCCCA (Orange County Center for Contemporary Art), Santa Ana, CA 2015 Somewhere Between Black and White, Fiber Art Network, Arizona State University, Tempe, AZ 2015 Old Enough To Know Better, Cranes Art Gallery 105, Philadelphia, PA 2014 The 2nd Annual Juried Artist's Book Exhibition, WoCA Projects, Fort Worth, Texas 2014 The Living Mark Verum Ultimum Art Gallery, Portland OR 2014 Subconscious, Flow Art Gallery, St Louis MO 2014 A Dream and a Memory, St. Louis Artist Guild, St. Louis MO 2013 Missouri 50, Fine Art Building Sedalia, MO 2013 Art / Identity, Gallery 263, Cambridge, MA 2013 26th Annual Women's Work, Old Court House, Woodstock, IL 2012 Contemporary Women Artists XVI, Saint Louis University Art Museum, St. Louis MO 2012 UCM Faculty Show, UCM Gallery of Art and Design, Warrensburg, MO 2012 Color!