Sentences with phrase «edge lighting works»

Edge lighting works very well.

Not exact matches

Working in batches again, refry potatoes until crisp (the edges may brown, but fries will mostly stay pretty light), about 1 minute per batch.

Arsenal make light work of Palace, and Tottenham edge out Stoke to go top on goal difference!

It's brilliant for cleaning those hard to reach places, with the powerful motor and high airflow making light work of edges, stairs and my car interior.

Procedure • Working on your dark surface with the lights still on, stand the CD case on its bottom edge.

Fancy lighting, edge - cutting furniture, impressive lounge that's bigger than the actual room with equipment... nope, this gym wasn't meant for people to really work out there.

when I was a child we had a red light and used it with colds — too long ago to report on how it worked but my mom always was a bit cutting edge back then already

While darker washes (bonus points for trendy fraying along the edges) definitely feel more «fall,» lighter ones can work just as easily with darker accessories.

John Wick: Chapter 2 La La Land A Brave Heart: The Lizzie Velasquez Story A Most Violent Year Adult Beginners Adventures of Power Afternoon Delight Alex of Venice All The Light In The Sky Amy Animal Kingdom Attenberg Avengers: Age of Ultron Bad Turn Worse Beats Rhymes & Life: The Travels of a Tribe Called Quest Bellflower Big Game Birdman Black Blue Ruin Blue Valentine Bones Brigade: An Autobiography Boyhood Brick Mansions Butter C.O.G. Ceremony Charlie Countryman Child of God Cop Car CXL Dark Places Dawn Of The Planet Of The Apes Deadfall Don Jon Don't Think Twice Drive Dumb and Dumber To Embers Escape from Tomorrow Foxcatcher Frank Miller's Sin City: A Dame to Kill For Fubar: Balls to the Wall Fury Godzilla Going the Distance Gone Girl Grey Gardens Gridlocked Guardians of the Galaxy Holy Motors Holy Rollers Hungry Hearts Hunt for the Wilderpeople I Am Chris Farley Imperial Dreams In the Blood Inherent Vice Inside Out Iris Jack Goes Boating Jackass 3 Jersey Boys Joan Rivers: A Piece Of Work Joe Jurassic World Just Jim Kaboom Kill the Irishman Klovn: The Movie (Klown) Let Me In Liberal Arts Life Itself Live Die Repeat: Edge of Tomorrow Lola Versus Louder Than a Bomb Lucy LUV Mad Max: Fury Road Maggie Man of Steel Maps to the Stars Melancholia Men, Women, & Children Miami Connection Middle of Nowhere My Life Directed by Nicolas Winding Refn Nature Calls Nightcrawler Nighthawks Oddsac One & Two Only God Forgives Peep World Pincus Pricecheck Prince Avalanche Rabbit Hole Raze Robot & Frank Rosewater Rubber Rudderless San Andreas Save the Date Scream 4 Sleepwalk With Me Smashed Snowpiercer Somewhere Southpaw Spring Breakers Star Wars: Episode VII - The Force Awakens Submarine Sun Don't Shine Take Shelter Take This Waltz Teenage Mutant Ninja Turtles Terminator Genisys The Amazing Spider - Man The Bastard Sings The Sweetest Song The Cold Lands The Comedy The Equalizer The Expendables 3 The Fault in Our Stars The Gambler The Girl The Girlfriend Experience The Grand Budapest Hotel The Hateful Eight The Hunger Games: Mockingjay - Part 1 The Kids Are All Right The Kings of Summer The One I Love The Raid The Rambler The Revenant The Rover The Second Mother (Que Horas Ela Volta?)

Solid look at how the X-Men came to be - Stellar Cameos - January Jones looks rockin» in go - go boots Cons: - The original X-Men were not used - Some of the dumbest characters were chosen for this film - Azazel» action sequences couldn't hold a light to Nightcrawler» in X2 - The action overall felt held back and the film lacked any «real» edge - The ending was too predictable and too conveniently wrapped up Impressions: Matthew Vaughn is an incredible director and Brian Singer has done solid work with this material.

The all - star ensemble, dominated by actresses who were at their height in the 1970s, works well as an easygoing team, their mutual warmth enhanced by the kind of diffuse, soft - edged light made famous by the director Nancy Meyers.

The dome light even works!The heater works and is operated by a switch mounted to the bottom edge of the dash just below the ignition switch.It has an older radio that still works.Drivetrain: The engine is a very good running 350 with an Edelbrock aluminum 4 barrel intake manifold, electric choke 750cfm Edelbrock carburetor, a pair of new chrome valve covers and air cleaner, factory cast iron exhaust manifolds running through dual exhaust and has a great sound.The transmission is the original 4 speed manual that shifts good, the clutch feels good and doesn't slip and engages easily.The rear end is the factory 12 bolt and the front axle is a Dana 44 with 3.07 gears front and rear so it will cruise down the highway with ease.Suspension: There appears to be around a 3» lift block on the rear and around a 2 - 3» body lift.It has a full set of Rancho shocks front and rear, as well as Rancho steering stabilizer shocks on the front axle.The power steering feels nice and tight and steering feel is very nice.The power brakes work great and stop the truck well.

The illumination feature, which Amazon detailed in a video here, works well and spreads the light evenly over most of the screen; it replicates paper much more naturally than does the Nook with GlowLight, where light creeps in from the edges.

Barnes & Noble delivers the first ebook reader with edge lighting that really works.

You will work with our cutting - edge deferred rendering engine, adding lighting to levels and cut scenes using both real - time and pre-rendered solutions.

Dying Light uses SMAA - T2x (Enhanced Subpixel Morphological Anti-aliasing) anti-aliasing solution on consoles, and the result is that you don't see much jaggies and rough edges, although there are some places where it seems like the solution isn't working properly to eliminate jaggies.

With the broad watercolour brush, load with the hue slightly darker than the ground, but slightly lighter than your dark - edging colour, and work over the majority of the background.

Selected Group Exhibitions 2016 — «Faculty Exhibition», Evanston Art Center, Evanston, IL 2015 — «Wish List», Gallery Project, curated by Gloria Pritschet and Rocco DePietro, Toledo, Ohio and Ann Arbor, Michigan 2015 — «Roots», Linda Warren Projects, Chicago, IL 2015 — Noyes Cultural Arts Center, Evanston, IL 2015 — «Faculty Exhibition», Evanston Art Center, Evanston, IL 2014 — «National Contemporary Painting», Weatherhead Gallery, University of Saint Francis, Fort Wayne, Indiana 2013 — «31st Juried Art Show», Wilmette Public Library, Wimette, IL 2012 — «30th Juried Art Show», Wilmette Public Library, Wimette, IL 2012 — «Narrative Fragments», Quidley & Company, Boston, MA 2011 — «Juxtaposed», juried by Alyssa Monks, Six Summit Gallery, Ivoryton, CT 2011 — «Paintworks», Gowanus Ballroom, curated by Kristin Kunc, Courtney Jordan & Hyeseung Marriage - Song, Brooklyn, NY 2011 — «Space Invaders», co-curated by Virginia Rose and John Nickle, Rose Contemporary, Portland, ME 2011 — «Cinematic Bodies», curated by Jamie Adams, Zolla Lieberman Gallery, Chicago, IL 2010 — «Snow», XL Projects, Syracuse University Gallery, Syracuse, NY 2010 — «Women Painting Women», Robert Lange Studios Gallery, Charleston, SC 2010 — «Remnants», Fuse Gallery, New York, NY 2010 — «Highlights» Island Weiss Gallery, New York, NY 2010 — «Conceptually Sound», Medialia Rack and Hamper Gallery, New York, NY 2010 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2010 — «Looks good on Paper», DFN Gallery, New York, NY 2009 — «Water / Bodies», Eden Rock Gallery, St. Barths, F.W.I. 2009 — «Summer Exhibition 2009», curated by Eric Fischl, Matthew Flowers, Anne Strauss, New York Academy of Art, NY, NY 2009 — «Old School», Jack the Pelican, Brooklyn, NY 2009 — Caldwell Snyder, San Francisco, CA 2008 — «Small Works», Sarah Bain Gallery, Anaheim, CA 2008 — «City Lights», George Billis Gallery, New York, NY 2008 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2008 — «Take Home a Nude» Art Auction at Phillips de Pury & Company, New York, NY 2007 — «Summer Exhibition 2007», curated by Eric Fischl, Jenny Saville, Vincent Desiderio, New York Academy of Art, NY, NY 2007 — «Four Handed Lift: Advocacy, Art, Spirit and Community», Moti Hasson Gallery, New York, NY 2007 — «Small Works», Sarah Bain Gallery, Anaheim, CA 2008 — «Chicago Art Fair», shown by Linda Warren Gallery in Chicago, Illinois 2006 — «Contemporary Imaginings, The Howard A. and Judith Tullman Collection», Mobile Museum of Art, Mobile, Alabama 2006 — «Night of a Thousand Drawings», Group Show, Artist's Space, New York, NY 2006 — «AAF», shown by DFN Gallery, New York, NY 2006 — «Salon 2006», New York Academy of Art, New York, NY 2006 — «LA Art Fair», shown by Linda Warren Gallery in Chicago, Los Angeles, CA 2005 — «New Works», curated by Eric Fischl, Jane Gallery, St. Barthelemy, F.W.I. 2005 — «A Terrible Beauty: Figurative painting in the 21st Century», Grey McGear Modern, Santa Monica, CA 2005 — «Small Works», Sarah Bain Gallery, Brea, CA 2005 — «Cityscapes», Sarah Bain Gallery, Brea, CA 2005 — «Take Home a Nude» Art Auction at Phillips de Pury & Company, New York, NY 2005 — «Go Figure», George Billis Gallery, New York, NY 2004 — «Postcards from the Edge, Visual Aids Benefit», Brent Sikemma Gallery, New York, NY 2004 — «Night of a Thousand Drawings», Group Show, Artist's Space, New York, NY 2004 — «Points of Muse», Linda Warren Gallery, Chicago, IL 2004 — «Separate Visions», Sarah Bain Gallery, Brea, CA 2004 — «Still Life», Sarah Bain Gallery, Brea, CA 2004 — «27th Small Works Exhibition», New York, NY 2003 — «Space Invaders», curated by Peter Drake, Fish Tank Gallery, New York, NY 2003 — «26th Small Works Exhibition», New York, NY 2002 — «National Arts Club 26th Annual Student Show», National Arts Club, New York, NY

In a modest sized rectangular white walled exhibition space, objects of daily use, artifacts ancient and new, paintings and pots, quilts, and kimonos were arrayed on two tiers, hung from the ceiling, against works hung on wall that were subtly dematerialized by natural light coming from unseen skylights along the edges of the dropped ceiling.

Mr. Judd's move to three dimensions is summarized by two very different works from 1963: an aluminum - faced relief drilled with a grid of tiny holes whose top and bottom edges curve outward aggressively, and a floor box painted cadmium red light for maximum visual effect.

Within these years, Boyd worked rigorously on a series of square canvases that explored space and light through the use of hard edges and contrasting gradients.

Also, he works dark on dark, or light on light, to create subtle contrasts of hue and value and allow the visceral quality of the medium, and the physicality of the line's edge, to be as important as investigations of hue, value and form.

In the latter works, the neon light emanates from the center of the panel, rather than its edges, creating a more condensed luminosity.

Ippolito continued to open up the picture plane in his oil on linen 1980s works with the soft diffusions of color and suggestive forms of «Paesaggio» (1980), the floating irregular shapes of «One June Morning» (1988) in a blue / lavender mist, the opposing edges of shapes hanging on within the blue field of «Small Painting» (1982), and the floating orange - on - orange diffusions suspended in «Orange» (1982), all pieces which exemplify Ippolito's belief in «color as light.»

Marden's early paintings box the viewer into the moment of encounter, offering at most a sliver of spattered canvas along a picture's bottom edge — like a faint crack of light beneath a door — as a whispered invitation to ponder the work's material history and creative context.

This Thursday at Ryan Lee Gallery, the noble and light - footed nephew of the late Helen Frankenthaler will showcase two series of silver gelatin photographs from the late»90s in «The Abstract Edge,» beginning with his «Grain Series,» perhaps the most abstract and spare photographic works in Ross» expansive but underappreciated catalogue.

He is an immaculate painter, working carefully by hand with tape and a drywall blade to create seamless planes that seem at once solid and transparent, referential to the modernist architecture that dots the Southern California landscape and to the iconic «light and space» artists and West Coast hard edge abstractionists (Larry Bell, Frederic Hammersley, Robert Irwin, John McLaughlin) who have engaged with these peculiarities and particularities of atmosphere and surface in their work.

The three works, featuring three technologies on the edge of obsolescence, form a sequence about light and the production of visual meaning.

Dissatisfied with paintings trapped within a frame or contained by a canvas» edge, Irwin devised his now - iconic works that merge with the light and air around them.

Eric Firestone Gallery presents works from the late Michael Boyd in «That's How the Light Gets In: 1970 - 1972,» square canvases from the period that explored space and light through hard edges and contrasting gradiLight Gets In: 1970 - 1972,» square canvases from the period that explored space and light through hard edges and contrasting gradilight through hard edges and contrasting gradients.

Here, however, each layer of paint is applied from the far edges of the canvas working inward toward the center, thus resulting in an illusionistic depth, the lighter tones of the composition acting as a framing device.

The exhibition showcases artworks since the 1960's in which light itself is used as material to sculpt and shape space, often creating evocative environments and sensory works that operate at the edges of the viewer's perception.

Sometimes, these juxtapositions provide stark studies in materiality: for instance, the reflective black surface of Johnson's wax, soap and tile work The Collapse (2012), evoking an urban streetscape, hangs near a recent Robert Irwin (Black Painting with Blue Edge, 2008 — 09), which seems, at once, to attract and repel light.

The immersive new work will include edge - lit Perspex and glass, metalwork, light and sound.

Cracco invites viewers into the intimacy and the danger of light, whether it is the low light of a candle, the flash of colliding atoms, or the blinding light of the sun, Blinded highlights the importance of the surface, the value of improvisation and the simple fact that just as light can not turn a corner, when you get to the edges of these new works the illusion breaks down, leaving viewers with the memory of being blinded by the intimacy and the intricacy of color and paint.

Julian Jackson's soft brushwork and inner glowing color, Sharon Brant's light phenomena, and Heidi Glück's expanded edges on the other hand, work to de-materialize paint and the object in favor of a subtle ephemera.

Robin Kandel: Lakewater: A Bay Area painter performs a strenuous balancing act in new work that looks directly descended from the early Op Art of Bridget Riley, consisting wholly of color filaments, but edges toward imagery of light on ruffled water that most abstract painters would consider a pitfall.

Photographer, screenwriter, and producer Carolyn Marks Blackwood works from her studio on the edge of a 120 - foot cliff over the Hudson River, from which she observes the patterns in the water created by the play of light and weather.

With straight - edged light beams, Flavin would often create dynamic arrangements reminiscent of Fred Sandback's work with yarn.

Valentine's work has also been included in a number of important group exhibitions that served to introduce the Light and Space artists to a national audience, including Annual Sculpture Exhibition, Whitney Museum of American Art, New York (1966, 1968, 1970); Sculpture Of The 60's, Los Angeles County Museum of Art (1967); Plastic Presence, Jewish Museum, New York, Milwaukee Art Center, and San Francisco Art Museum (1969); The Industrial Edge, Walker Art Center, Minneapolis (1969); and, more recently, Primary Atmospheres: Works From California 1960 - 1970, David Zwirner, New York (2010); Pacific Standard Time: Crosscurrents In L.A. Painting And Sculpture, 1950 - 1970, J. Paul Getty Museum, Los Angeles; and Phenomenal: California Light, Space, Surface, Museum of Contemporary Art San Diego (2011).

Many of the works showcase cutting - edge lighting technologies.

This accompanying material sheds light on the processes that influence the appearance of the works: the role of supports, hanging devices, methods of paint application, and techniques of painting straight edges and lines.

Levine's work considers light not just as a core aspect of art, but of human experience more widely and a spiritual and philosophical edge permeate his work.

With skylights that run through the gallry, the space «has the advantage of natural top light throughout and this gives us a competitive edge with the artists we work with,» he adds.

Even the most painterly attributes of Ryman's art — color, for instance, which is present in the backgrounds and on the edges of more than a few works — are presented in terms of light.

Rothko's key works include: Slow Swirl at the Edge of the Sea (1944, MOMA); Multiform (1948, National Gallery of Australia, Canberra); Untitled (Violet, Black, Orange, Yellow on White and Red)(1949, Guggenheim Museum, New York); Green and Maroon (1953, Phillips Collection, Washington DC); Untitled (Purple, White and Red)(1953, Art Institute of Chicago); and Light Red over Black (1957, Tate Gallery, London).

Connecting two historical moments strongly tied to Quebec and Southern California, the work of Brian Wills evokes the hard edges of Les Plasticiens and the use of light as an inseparable part of the practice of Southern California's Light and Space artlight as an inseparable part of the practice of Southern California's Light and Space artLight and Space artists.

«River in flood the previous night wet mud and sand worked into four edged drawings catching the light made over two days, Galisteo, New Mexico, 18 - 19 July 1999» Unique cibachrome print by Andy Goldsworthy

He has created works which optically bend the edges of the canvases, creating immense sculptural fields of light.

His work /, \, \, / (the Final Cut) is a wall - mounted square whose straight edges have been oriented 45 degrees to the ground; as such it is similar to Ivan Kliun's untitled black square from 1917, except that Zucconi's piece, rather than absorb light, is made of mirror wrapped in a glossy poster for the science fiction movie Blade Runner.