Flattering your work histories is no problem if you use the right type of format.
Not exact matches
Flat, blank facades on buildings conceived as commodities — or just oddities — rather than works of civic art; flat modernist pictorial abstractions; the flattening of cultural history into pseudo-history packaged as what Henry dismissed as «applied sociology» — all spoke to him of something far more ominous, the abasement of man and the crude negation of his proper relationship to nature as embodied in the great tradit
Flat, blank facades on buildings conceived as commodities — or just oddities — rather than
works of civic art;
flat modernist pictorial abstractions; the flattening of cultural history into pseudo-history packaged as what Henry dismissed as «applied sociology» — all spoke to him of something far more ominous, the abasement of man and the crude negation of his proper relationship to nature as embodied in the great tradit
flat modernist pictorial abstractions; the flattening of cultural
history into pseudo-
history packaged as what Henry dismissed as «applied sociology» — all spoke to him of something far more ominous, the abasement of man and the crude negation of his proper relationship to nature as embodied in the great tradition.
Six - wheeled Austin Seven — Paul Shinton on the background to this conversation / Norwich Union RAC Rally — We report on an event that drew /
Flat racing and hill climbing — Tom Threfall on the VSCC events at Curborough and Wiscombe Park /
History of McKenzie cars — Part two of the article by Ian McKenzie / The story of a London Garage — Fred Hislop recalls his memories of
working at Delaney and Sons / Ramble in an Edwardian Rover — The Editor drives a 1912 model on this month's «excursion» / The Anderson specials — Brian Demaus tells the story of the pre-war Humber - based specials / Restoration of the Charabus — Mike Sutcliffe's saga of the rebuild of this dual purpose vehicle / Sandwell Parade and Manchester - Blackpool run — We report on two popular events — one in the Midlands the other in the North.
As a bit of
history it
works but as a drama it falls
flat.
Moreover, if one considers the alternate
history of Schapiro's having continued to
work in this vein of geometric abstraction, given the typical narratives of the time, her career would likely have plateaued in relation to a colleague like Held, in part because he was a male artist, with all the privileges that brought, and in part because he was, in that mode, perhaps a stronger artist: as impressive as «Byzantium» is, it can't compete with the impact of Held's paintings as paintings, their literal physicality — the extra thick stretchers and larger size and the paint handling, which manages to be
worked even when
flat — and their composition, which bends vision into sci - fi space but also retains the power of the overall ground.
If Marshall's
work considers the erasures of
history, Casteel's is very much set in the present tense (though her paintings are less a literal transcription of real life than they may seem: «I like to think of them as being able to wobble in and out of these
flat and hyperrealistic spaces»).
Witty though they are, these
works are too big, too
flat, and suffer the same mechanical failings as grand 18th - and 19th - century
history paintings.
Henry Hudson will be exhibiting a series of
works that depict Van Gogh?s
flat in Brixton, a reminder of London?s ongoing historic internationalism, whilst Nick Hornby will be exhibiting an edition of his version of Michelanelo?s David, shortlisted for the Victoria and Albert Cast Courts, further highlighting London as a city committed to
history as it faces its future.
These two approaches articulated very early on in its
history this kind of
work's almost paradoxical dynamic: that one can read a monochrome either as a
flat surface (material entity or «painting as object») which represents nothing but itself, and therefore representing an ending in the evolution of illusionism in painting (i.e. Rodchenko); or as a depiction of multidimensional (infinite) space, a fulfillment of illusionistic painting, representing a new evolution — a new beginning — in Western painting's
history (Malevich).
In the most introspective of
works «Self - Portrait In Front of Art
History,» the Indonesian artist is in conversation with the American giants: the maximalist style of Frank Stella, the
flat color sections of Ellsworth Kelly, and the rust of John Chamberlain.
Wilson is one of the young artists
working today who is helping us to understand the capacity of photography to move beyond its
flat and static
history.
The
Flat Field
Works includes multifaceted works of sculpture, painting and textile that are simultaneously beautiful, functional and referential to art his
Works includes multifaceted
works of sculpture, painting and textile that are simultaneously beautiful, functional and referential to art his
works of sculpture, painting and textile that are simultaneously beautiful, functional and referential to art
history.
A great resume is ATS - optimized and gives an honest view of your
work history shown in the most
flattering light possible.
I have 5 years of
flat bed
work and 1 year of dryvan
work also 3 years of 100000 lb live floor
work history so I'm looking for a cdl a job with same pay as current job or better and home nightly like I have now...