Sentences with phrase «white space of the gallery»

Alastair Mackie's new and largest installation to date, created in response to the AVA's converted gallery space twenty seven pine trees stand incongruously in mid-transformation creating a pseudo-forest within the stark white space of the gallery.

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.

Farmer's planet is a rotating open stage where both the sense of sight and the one of hearing are softly cradled, also through a wise use of the white space of the gallery itself.

It is marvellous to see and enter such forms crammed as they are, slightly surreally, within the white space of a gallery that is not quite big enough.

Not exact matches

The cover story of today's The Australian Financial Review Magazine features Judith Neilson whose White Rabbit art gallery, Phoenix performance space, and Indigo Slam house, represents more $ 100 million in investment in culture.

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.

As the last embers of daylight burn away on a warm April evening, a crowd bubbles around a large glass case commanding a prime spot on the National Mall — the Air and Space Museum on one side, the National Gallery of Art on the other, in the background the Capitol's dome gleaming marble - white under a wash of flood lamps.

Nearly a year after leaving its long - time Greene Street gallery because of concerns relating to development, New York's Artists Space has found a new home, at 80 White Street in TriBeCa.

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.

On show at G.F Smith's White Space gallery until the end of June, the sculpture is made from Takeo paper and was put together by a team of envelope makers off - site, while more than 20 university design students helped to install the piece in London.

Viewed within the modern monastic space of the Paul Kasmin Gallery, with its cool white walls, polished floors, and concrete ceiling, the visceral earth tones and frantic forms of Lee Krasner's «Umber Paintings» emerge as fields of boundless energy.

Collection, Museum of Art, Fort Lauderdaie, FL; travelled to Oklahoma Museum of Art, Oklahoma City, OK; Santa Barbara Museum of Art, Santa Barbara, CA; Grand Rapids Art Museum, Grand Rapids, MI; Madison Art Center, Madison, WI; Montgomery Museum of Fine Arts, Montgomery, AL 1981 Drawing Invitational, Harm Bouckaert Gallery, New York, NY 1981 New Work, Roy Boyd Gallery, Chicago, IL 1981 Artists Books, Metrònom, Barcelona, Spain 1980 Little Books, Franklin Furnace, New York, NY 1980 New York 1980, Banco - Massimo Minini, Brescia, ltaly 1980 Pool Project Documentation, Artists Space, New York, NY 1980 New York Painters, University of Rochester, Rochester, NY 1980 Works of Art, Patricia Sneed Gallery, Rockford, IL 1980 Group Show, Roy Boyd Gallery, Chicago, IL 1980 Collection of Dr. Milton Brutten and Dr. Helen Herrick, Ben Shahn Gallery, William Patterson College, Wayne, NJ 1980 Group Exhibition, Susan Caldwell, Inc., New York, NY 1980 Pool Projects, Wake Forest University, Winston - Salem, NC 1980 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post College, Greenvale, NY 1979 Prospectus, Aldrich Museum, Ridgefield, CT 1979 New Wave Painting, The Clocktower, MoMA P.S. 1, New York, NY 1979 Artist's Postcards, Ananas Gallery, Abrau, Switzerland 1979 Poets and Painters, The Denver Art Museum, Denver, CO; traveled to Atkins Museum of Fine Art, Kansas City, MO; La Jolla Art Museum, La Jolla, CA 1979 14 Painters, Lehman Gallery, CUNY, Bronx, NY 1979 Drawings, Hal Bromm, New York, NY 1979 Summer Show, Hal Bromm, New York, NY 1979 Drawings, Pyramid Gallery, Providence, MA 1978 Detective Show, Gorman Park, Jackson Heights, NY 1978 Works on Paper, Studio La Citta, Verona, Italy 1978 Group Exhibition, Arte Fiera, Bologna, Italy 1978 Group Exhibition, Art - 9, Basel, Switzerland 1978 Black and White on Paper, Nobe Gallery, New York, NY 1978 Paperworks, Galerie Wirz, Milan, Italy 1978 Selections from the Collection, Aldrich Museum, Ridgefield, CT 1978 Artists Books: USA, New Gallery, Cleveland, OH 1977 Fine / Fleishman / Stamm, Franklin Furnace, New York, NY 1977 Painting 75,76,77, Sarah Lawrence College, Bronxville, NY; traveled to American Foundation for the Arts, Miami, FL; Contemporary Arts Center, Cincinnati, OH 1977 Book Objects, Albright - Knox Art Gallery, Buffalo, NY 1977 A Painting Show, MoMA P.S. 1, Long Island City, NY 1977 New York Group Show, Galerie Denise Rene, New York, NY 1977 Group Exhibition, Art Fiera, Bologna, ltaly 1977 Group Exhibition, Documenta - 6, Kassel, Germany 1977 Collection in Progress, Moore College of Art, Philadelphia, PA 1977 Ideas — Images, Eugenia Cucalon Gallery, New York, NY 1977 Postcards and Other Mail, Jock Truman, New York, NY 1977 Wrapping Paper Invitational, Nobe Gallery, New York, NY 1977 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1976 Group Exhibition, Art Fiera, Bologna, Italy 1976 Summer Group, Max Protetch Gallery, Washington D.C. 1976 SoHo and Downtown Manhattan, Akademie Der Kunste, Berlin, Germany 1976 Selections SoHo - Berlin, Louisiana Museum, Humlebaek, Denmark 1976 Works on Paper, Hal Bromm, New York, NY 1976 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1975 Contemporary Reflections 1971 — 1974, AFA; travelling exhibition Spare, Central Hall Gallery, Port Washington, NY 1975 Group Indiscriminate, 112 Greene Street, New York, NY 1975 A Collection in Progress (Herrick - Brutten Collection), The Clocktower, MoMA P.S. 1, New York, NY 1975 Group Exhibition, International Art Fair, Cologne, Germany 1975 Five from SoHo, Rose Art Museum, Waltham, MA 1975 Spare, Central Hall Gallery, Port Washington, NY 1975 Abstraction Alive and Well, SUNY, Potsdam, NY 1975 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1974 Tight and Loose, State University, Albany, NY; travelled to State University, Potsdam, NY 1974 Black as Color, Reed College, Portland, OR 1974 Drawings, Albright - Knox Art Gallery, Buffalo, NY 1974 Paperworks, Rosa Esman Gallery, New York, NY 1974 10th Anniversary Exhibition 1964 — 1974, Aldrich Museum, Ridgefield, CT 1974 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1973 Painting in America, Decorative Arts Center, New York, NY 1973 Black Paintings, Nancy Hoffman Gallery, New York, NY 1973 DiDonna / Stamm, O.K. Harris Gallery, New York, NY 1973 Nine New York Artists, Hartwick College, Oneonta, NY 1973 Recent Acquisitions, Phoenix Museum, Phoenix, AZ 1972 Contemporary Reflections 1971 — 1972, Aldrich Museum, Ridgefield, CT 1971 What's Happening in SoHo, University of Maryland, College Park, MD 1971 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1971 Alumni Show, Hofstra University, Hempstead, NY 1970 Young Artists: New York 1970, Greenwich, CT

The crown moldings and wood floors and banisters that make the space familiar have become part of his narrative here, yet each gallery is made distinct, and the intimate effect of his works would result even working within a white - cube gallery space.

2007 Weather Report, Centro Atlantico de Arte Morderno, Las Palmas de Gran Canaria Absent Without Leave, Victoria Miro Gallery, London, UK Unholy Truths, Initial Access, Frank Cohen Collection, Manchester, UK Effigies, Stuart Shave / Modern Art, London, UK Fractured Figure, Curated by Jeffrey Deitch, Deste Foundation, Athens, Greece Beyond the Zero, Peres Projects, Athens, Greece Destroy Athens, The First Athens Biennale, Athens, Greece Get Lost: Artists Map Downtown New York, The New Museum, New York, NY How Much Longer, Belkin Staellite, Vancouver, B.C., Canada Out of Art, Centrepasquart, Kunsthaus Centre D'art, Biel Bienne, Switzerland Sweet Bird of Youth, Curated by Hedi Slimane, Arndt & Partner, Berlin, Germany Chi Peng's Journey to the West, White Space, in association with Alexander Ochs Gallery, Beijing, China New York — States of Mind, Haus der Kulturen der Welt, Berlin, Germany Terence Koh and AA Bronson, Galerie Fredric Giroux, Paris, France Between Two Deaths, Zentrum Für Kunst and Medietechnologie, Karlsruhe, Germany Time Difference, Initial Access, Frank Cohen Collection, Wolverhampton, UK Body Politix, Witte De with Center for Contemporary Art, Rotterdam, Netherlands

Flying Cube, a white cube floating in the center of the exhibition space, challenges gravity and activates the traditional gallery space.

In the confusing serenity of the space, encircled by glossy white surfaces, viewers are challenged to distance their minds from the imagery of the other exhibition galleries.

The artist creates works as signifiers of the destruction of the natural world by «colonial powers», via a series of tabletops containing mineral fragments and photographs of equatorial scrublands.The minerals are representative of the original environment now re-contextualized within the white cube of the gallery space becoming «art», and forming a dialectic concerning «value».

Arlen Austin (b. 1981, Winooski VT), has worked on an uncompensated or below minimum wage basis for: Columbia University School of the Arts, Scaramouche Gallery, Chinese Staff and Workers» Association, Brooklyn is Burning, Public Art Fund Development Grant, Daniele Ugolini Contemporary, National Mobilization Against Sweatshops, Lower Manhattan Cultural Council, Mole Vanvitelliana, Ancona, Sweatshop Free Upper West Side, Volta NYC, Creative Time / Queens Museum, 6 - 9 Months Project Space, Fischer - Landau Center for Contemporary Art, Barefoot in the Head at Bruce High Quality Foundation, White Box and Frederich Petzel Galleries.

Selected Group Exhibitions 2017 Ted Stamm / Gerrit Rietveld, OV Project, Brussels, Belgium 2017 Painting on the Edge: A Historical Survey, Stephen Friedman Gallery, London 2012 Times Square Show Revisited, Hunter College Art Galleries, New York, NY 2010 Black & White, Galleri Weinberger, Copenghagen, Denmark 1987 Recent Acquisitions, Guggenheim Museum, Brooklyn, NY 1987 Recent Acquisitions, Brooklyn Museum, New York, NY 1985 Art Heritage at Hofstra, Emily Lowe Gallery, Hofstra University, Hempstead, NY 1985 Constructures: New Perimetries in Abstract Painting, Nohra Haime Gallery, New York, NY 1984 Fourth Annual Anniversary Show, John Davis Gallery, Akron, OH 1984 Fifteen Abstract New York Painters, Susan Montezinos Gallery, Philadeiphia, PA 1984 Small Works, Muhlenberg College, Allentown, PA 1984 Mail Art, Franklin Furnace, New York, NY 1984 Artists Call, Judson Memorial Church, New York, NY 1984 Process Black, LIU South Hampton, New York, NY 1984 A Decade of Art, Artists Space 105 Hudson, New York, NY 1984 Offset: A Survey of Artists Books, New England Foundation for the Arts, Wakefield, RI 1983 David Reed, Sean Scully, Ted Stamm; Zenith Gallery, Pittsburgh, PA 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; 1708 East Main Street, Richmond, VA 1983 Abstraction Two Views: Davis and Stamm, The Contemporary Arts Center, Cincinnati, OH 1983 Second Anniversary Exhibition, Harm Bouckaert Gallery, New York, NY 1983 Hundreds of Drawings, Artists Space, New York, NY 1983 A More Store, Jack Tilton Gallery, New York, NY 1983 Donald Alberti, Russell Maltz, Olivier Mosset, Ted Stamm; Condeso / Lawler Gallery, New York, NY 1983 Artists for Nuclear Disarmament, Colburn Gallery, Burlington, VT 1982 A Look Back: A Look Forward, Aldrich Museum, Ridgefield, CT 1982 Pair Group, Art Galaxy, New York, NY; travelled to Jersey City Art Museum, Jersey City, NJ 1982 Destroyed Prints, Pratt Manhattan Center, New York, NY 1982 Annual Holiday Invitational, A.I.A. Gallery, New York, NY 1982 Group Exhibition, Roy Boyd Gallery Chicago, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL 1982 Pair Group II, Jersey City Museum, Jersey City, NJ 1982 Black and White, Freeport Mc Mo Ran, New York, NY 1982 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post, Greenvale, NY 1981 Drawings, Roy Boyd Gallery, Chicago, IL 1981 Abstract Painting: New York, Hofstra University, Hempstead, NY 1981 Arabia Felix, Art Galaxy, New York, NY 1981 Words and Images: Contemporary Artist's Books, Southern Alleghenies Museum of Art, Loreto, PA 1981 Love: Hate: Fear and Suicide, University of Brussels, Brussels, Belgium 1981 New Directions, Commodities Corp..

McQueen's films as an artist were typically projected onto one or more walls of an enclosed space in the gallery space, and often in black - and - white and minimalistic in nature.

SELECTED GROUP EXHIBITIONS 2008 for what you are about to receive, Gagosian Gallery c / o Red October, Moscow Oranges and Sardines: Conversations on Abstract Painting with Mark Grotjahn, Wade Guyton, Mary Heilmann, Amy Sillman, Charline von Heyl, and Christopher Wool, curated by Gary Garrels, Hammer Museum, Los Angeles, CA Painting Now and Forever: Part II, Matthew Marks Gallery and Greene Naftali Gallery, New York Not So Subtle Subtitle, curated by Matthew Brannon, Casey Kaplan Gallery, New York That social space between speaking and meaning, by Fia Backstorm, White Columns, New York God is Design, curated by Neville Wakefiled, Galerie Fortes Vilaca, San Paulo A New High in Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Bspace between speaking and meaning, by Fia Backstorm, White Columns, New York God is Design, curated by Neville Wakefiled, Galerie Fortes Vilaca, San Paulo A New High in Getting Low, John Connelly Presents, New York Nina In Position, curated by Jeffrey Uslip, Artists Space, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, BSpace, New York Sculpture and Concepts of Spacial Illusion: 1967 - 2007, curated by Don Desmett, Western Michigan University, Kalamazoo Records Played Backwards, curated by Daniel Bimbaum, Modern Institute, Glasgow Blasted Allegories: Work from the Ringier Collection, Luzern Zuordnungsprobleme, Galerie Johann Konig, Berlin

It's an interesting way to deal with the defined parameters of a white cube gallery space.

With One wall removed, 1980, Irwin replaces the outside wall of the Malinda Wyatt Gallery with an extensible, sheer screen in a delicate white canvas to reveal the infinite light variations cast two skylights in empty space.

Through audio interviews with founders and key staff, a reading room of magazines and publications, documentation, ephemera and narrative descriptions, the exhibition will tell the story of pioneering spaces — like P.S. 1, Artists Space, Fashion Moda, Taller Boricua, ABC No Rio, The Kitchen, Franklin Furnace, Exit Art, 112 Greene Street, White Columns, Creative Time, Electronic Arts Intermix, Anthology Film Archives, Storefront for Art and Architecture, Just Above Midtown, and many more — as well as document a new generation of alternative projects such as Cinders, Live With Animals, Fake Estate, Apartment Show, Pocket Utopia, Cleopatra's, English Kills Art Gallery, Triple Candie, Esopus Space, and others.

The Geoffrey Young Gallery is pleased to present «The Place of Things,» a three - person show featuring the paintings and drawings of Joshua Marsh, the «longitude - location» paintings of Mike Glier, and new black and white photographs of complex spaces by James Welling.

But the works also pressure the standard white cube gallery, since Sánchez presented them in a dentist's office, a sanitary space which, as he points out, is another kind of white cube.

Although I have always had an interest in art outside of the gallery space, it was actually only after visiting a friend in a mental health unit a little while ago that we (the curator Niamh White and I) decided to start Hospital Rooms.

Over the course of the exhibition, the blank white space of the New Museum's Fourth Floor gallery will be transformed through the gradual accumulation of drawings and paintings by Museum visitors and a wide array of invited community organizations.

At ABMB, Pace showed (and sold, at prices ranging from $ 75,000 to $ 1m) 16 signature black Louise Nevelsons; Mitchell - Innes & Nash gave a wall to Jessica Stockholder's 14 - element assemblage; Rosalyn Drexler's canvas collages of magazine strips took over Garth Greenan's Survey booth; a Kiki Smith white car - painted bronze anchored Timothy Taylor's space; Noga, the sole Israeli gallery (why?)

Duchamp extended his provocations in the art world to exhibition - making, by designing installations that countered the white walls and rectilinear spaces of modernist galleries.

Sous la Lune at Institute of Contemporary Arts Singapore, Lasalle College of the Arts, by Adeline Chia Vandy Rattana at Sa Sa Bassac, Phnom Penh, by Vera Mey aaajiao at Gallery Yang, Beijing, by Edward Sanderson Peepshow at Long March Space, Beijing, by Li Bowen Yeh Wei - Li at Hanart TZ Gallery, Hong Kong, by Stephanie Bailey Thinking Tantra at Jhaveri Contemporary, Mumbai, by Niru Ratnam Discordant Harmony at Hiroshima City Museum of Contemporary Art, by Dean Kissick Ken Kagami at Misako & Rosen, Tokyo, by Dean Kissick Seoul Babel at Seoul Museum of Art, by Tiffany Chae Heri Dono at Mizuma Gallery, Singapore, by Sherman Sam A Fact Has No Appearance: Art Beyond the Object at National Gallery Singapore, by Mark Rappolt Ni Youyu at Museum of Contemporary Art, Taipei, by Aimee Lin White Cube... Literally at Gallery Isabelle van den Eynde, Dubai, by Kevin Jones Corruption: Everybody Knows... at e-flux, New York, by Ming Lin Tadanori Yokoo at Albertz Benda, New York, by Joshua Mack Song Yige at Marlborough Fine Art, London, by Matthew McLean Maria Taniguchi at Ibid, London, by Ming Lin

Fontana also saw that in a more concrete sense, as with Robert Rauschenberg's White Paintings of the early 1950s, a pure white surface could be a receptor for the movements of light and shadow in the gallery space, furthering his quest for direct interface between viewer and White Paintings of the early 1950s, a pure white surface could be a receptor for the movements of light and shadow in the gallery space, furthering his quest for direct interface between viewer and white surface could be a receptor for the movements of light and shadow in the gallery space, furthering his quest for direct interface between viewer and work.

BLACKLEY: I'm interested in asking you about your situation at Participant now, with commercial galleries or other more institutionalized or long - standing nonprofits, such as White Columns or Artists Space, and this kind of peer group or any sort of commonality or common practice that you may share.

Artists Space, the nonprofit gallery and pioneer of New York's downtown art scene that was forced to move from its SoHo home last year when its landlord planned to build a penthouse on the building, has found a place to put down roots: 80 White Street, in TriBeCa.

Inside the lobby of the building, a grand staircase leads up to a series of three gallery spaces with concrete floors and white walls and ceilings.

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.

A grand staircase takes visitors to a series of gallery spaces, which feature concrete floors with white walls and ceilings to allow the extensive collection to take center focus.

Some of the many strong solo exhibitions around the country this month include: Angelbert Metoyer at Deborah Colton Gallery in Houston; Donald Moffett at Lora Reynolds Gallery in Austin; a beautiful show of figurative works on paper by New York School founding member Jack Tworkov at Valerie Carberry Gallery in Chicago; Brian Bress at Cherry and Martin and a major show of new work by Jonas Wood in David Kordansky's cavernous new gallery space, both in Los Angeles; and Whiting Tennis at Greg Kucera Gallery in SGallery in Houston; Donald Moffett at Lora Reynolds Gallery in Austin; a beautiful show of figurative works on paper by New York School founding member Jack Tworkov at Valerie Carberry Gallery in Chicago; Brian Bress at Cherry and Martin and a major show of new work by Jonas Wood in David Kordansky's cavernous new gallery space, both in Los Angeles; and Whiting Tennis at Greg Kucera Gallery in SGallery in Austin; a beautiful show of figurative works on paper by New York School founding member Jack Tworkov at Valerie Carberry Gallery in Chicago; Brian Bress at Cherry and Martin and a major show of new work by Jonas Wood in David Kordansky's cavernous new gallery space, both in Los Angeles; and Whiting Tennis at Greg Kucera Gallery in SGallery in Chicago; Brian Bress at Cherry and Martin and a major show of new work by Jonas Wood in David Kordansky's cavernous new gallery space, both in Los Angeles; and Whiting Tennis at Greg Kucera Gallery in Sgallery space, both in Los Angeles; and Whiting Tennis at Greg Kucera Gallery in SGallery in Seattle.

White Cube's exhibition programme extends across its four gallery spaces, two of which are in London; Mason's Yard in St. James's and Bermondsey Street in South London, and two further galleries recently opened in Hong Kong and São Paulo.

White Cube's exhibition program now extends across its four gallery spaces: Mason's Yard in St. James», Bermondsey Street in South London, Hong Kong and the recently opened gallery in São Paulo, the second location outside of the UK.

The gallery will be installed with images of color photographs of great lushness and black & white photographs of frozen desolation, while the center of the space will be occupied by a wall - mounted aluminum plaque with the original Russian text of Brodsky's A Part of Speech, a poem about the memory of his lost homeland.

The Sunroom Project Space provides an alternative to the kind of white - box setting a contemporary gallery might typically offer.

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.

Tags: Don Voisine, Ford Institute for Visual Education, Francis Celentano, Jeff Jahn, Mel Katz, Museum of Contemporary Craft, Nancy White, Oregon, Oregon College of Art and Craft, P.S. 1, Pacific Northwest College of Art, Patricia Zarate, Philip Feldman Gallery + Project Space, PORT, Rossana Martinez, Steve Karlik

His work has been widely exhibited at venues such as the Sundance Film Festival, Park City, Utah; The Indianapolis Museum of Contemporary Art, Indianapolis; 303 Gallery, New York; Wesleyan University, Middletown, Connecticut; Artsonje Center, Seoul; Context Galleries, Derry; The Hospital, London; PKM Gallery, Beijing; Kunst - Werke, Berlin; Palacio de Bellas Artes, Mexico City; Participant Inc, New York; Centre de Cultura Contemporània, Barcelona; White Box, New York; Galerie Chez Valentin, Paris; Smart Project Space, Amsterdam; The Islip Art Museum, Islip, New York; and Momenta Art, Brooklyn, New York.

In particular he seems to have sought specific settings for exhibitions of his early wall - mounted sculptures, which, seen together, gave the impression of amply spaced pops of primary color in otherwise white rooms.6 Following the precisely scaled galleries he created for his 1984 exhibition at MoCA's Temporary Contemporary, he made a rotating exhibition of such works at Leo Castelli's New York gallery in 1986 — 87, sometimes forgoing the main gallery spaces for a more intimate basement.7

Her work has been featured in distinguished group exhibitions including Reactivation - the 9th Shanghai Biennale at the Shanghai Museum of Contemporary Art, N Minutes Video Art Festival, Shanghai, Decade of the Rabbit, White Rabbit Gallery, Sydney, and DAS ICH IM ANDEREN, Stiftung Mercator, Essen, in 2011; Double Act — 2010 Chinese Contemporary Art Exhibition, Red Town Warehouse, Shanghai, and Centennial Celebration of Women in Art, Shanghai Art Museum, in 2010; and in solo exhibitions at James Cohan Gallery, Shanghai, in 2012, and White Space, Beijing, in 2010 and 2013.

At the cavernous Castello di Borghese Vineyard gallery space — an artist's dream with tons of sunlight and vast new white expanses of wall for hanging colorful canvases — I found myself riding along on a wave of blues from painting to painting as I thoroughly enjoyed the sun - drenched work of Mattituck Impressionist Patricia Feiler.

And finally, in the show's namesake, «The Velocity of Change» (2015), which appears directly on the right wall as one enters the gallery, the intervals of white space between the clearly defined, occasionally fractured sets of colored wedges simultaneously pause and accentuate the rhythmic momentum within the mural.