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Gallery in sentence

334 examples of Gallery in a sentence

And I did my first "expo de rue," which means sidewalk gallery.
I mean, the city's the best gallery I could imagine.
I would never have to make a book and then present it to a gallery and let them decide if my work was nice enough to show it to people.
Even in my gallery shows, I try and revisit historic events like Babri Masjid, distill only its emotional residue and image my own life.
So, life has changed dramatically since I hear color, because color is almost everywhere, so the biggest change for example is going to an art gallery, I can listen to a Picasso, for example.
When I'm walking around an art gallery, rooms and rooms full of paintings, after about 15 or 20 minutes, I realize I'm not thinking about the paintings.
I'm suffering from gallery fatigue.
And that's not a good experience, to leave a gallery like that.
How come, then, it's not so expected to be selective when we go to an art gallery?
And there's two things I do: When I go into a gallery, first of all, I go quite fast, and I look at everything, and I pinpoint the ones that make me slow down for some reason or other.
This year, I launched an online gallery of portraits and firsthand accounts for a project called Enodi.
So in early prototypes I built these surfaces to try to see how the curl would react to temperature and possibly allow air to ventilate through the system, and in other prototypes did surfaces where the multiplicity of having these strips together can try to make bigger movement happen when also heated, and currently have this installation at the Materials & Applications gallery in Silver Lake, close by, and it's there until August, if you want to see it.
And so what we're doing is making a broad array of different ways for people to actually engage with the material inside of these galleries, so you can still have a traditional gallery experience, but if you're interested, you can actually engage with any individual artwork and see the original context from where it's from, or manipulate the work itself.
And so we created this idea of an opening gallery called We Remember.
Hundreds of these brightly-colored sculptures decorated the park for a number of weeks, and unlike work that's exhibited in a more neutral space, like on the walls of a gallery or a museum, this was work that was really in dialogue with this place, and in a lot of ways, The Gates was really a celebration of Frederick Olmsted's incredible design.
No museum or gallery in the United States, except for the New York gallery that carries Botero's work, has dared to show the paintings because the theme is the Abu Ghraib prison.
This is our gallery.
We have a world class gallery because we believe that poor kids need a world class gallery, so I designed this thing.
I wanted you to see this gallery because it's as good as it gets.
So the local news started writing about it, which was great, and then even The Guardian wrote about it: "Notorious slum becomes open-air gallery."
I wanted to create a stack of books so that somebody could come into the gallery and think they're just looking at a regular stack of books, but then as they got closer they would see this rough hole carved into it, and wonder what was happening, wonder why, and think about the material of the book.
I just heard a story the other night: a woman owns a gallery and she has these workers.
During this summer, I visited different museums and gallery spaces, and as I went from one place to the next, I noticed there was no visual art there.
There is the gallery somewhere in the world, and there is a young girl, age 23, standing in the middle of the space.
Because I haven't really seen young kids really excited to go to a portrait gallery.
People often ask me how I choose the art that I showcase online or feature in gallery shows.
The school of architecture that I studied at some 30 years ago happened to be across the street from the wonderful art gallery designed by the great architect Louis Kahn.
But life as an artist in New York was not easy, because I was broke, no money, no gallery agents, no representation, so no gallery would show my work.
And then Colour in Faith was launched at a gallery event that invited an incredible mix of gallerygoers and religious leaders and artists and businesspeople.
So eventually holes on both sides of the wall aligned, opening views from gallery to gallery.
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