Sentences with phrase «opening wall frame»

Accessed by private bridged walkways, these enormous, flowing suites have an open wall framing the view, with either a spacious outdoor infinity pool or Jacuzzi to lounge in.

Not exact matches

The wall separating the interior from the 2,800 - square - foot al fresco dining area is punctuated with stone - framed arches that open up to the terrace, enhancing an indoor - outdoor experience that is as Mediterranean as it is Californian.

We got the wall framed in and hung the corrugated metal on the 36» south side except for the skylights, which are still open.

Striking bathroom with ivory double sink vanity with open shelving paired with a white counter which highlights dual porcelain sinks with modern faucets below wood mirrors illuminated by black enamel wall sconces framed by white and beige horizontal striped walls over light tiled floors layered with jute herringbone rugs.

Buy «Black Wall Picture Frame» products like Malden ® 4 - Opening 4 - Inch x 6 - Inch Family Memory Stick Collage Picture Frame, Malden ® «Family» 4 - Photo Collage Picture Frame in Black, Malden ® 4 - Inch x 6 - Inch «Grandkids» Memory Stick Picture Frame in Black, Malden ® 4 - Opening 4 - Inch x 6 - Inch Memories Memory Stick Collage Picture Frame

Fabulous kitchen features light hardwood floors alongside wall to wall cabinets framing an integrated microwave over a single wall oven situated beside a paneled two door refrigerator next to faux cabinet doors opening up onto a secret butler's pantry.

Nearly every shot in the film could be framed and hung on a wall as Lubezki makes maximum use of the wide frame and raw, open country.

Nice navy - blue sofa, very large desk, executive - style conference table, framed pictures and posters on the walls, floor - to - ceiling windows on two corners, and doors that open onto a rooftop deck.

It's what everyone pictures when they think of Machu Picchu — the verdant network of stone terraces, temples, and open - walled houses; the soaring peaks of Huayna Picchu framing the dramatic scene.

This luxury penthouse at Crystal Springs Condominiums features an open floor plan framed by beautiful cedar posts and beams, with a spacious living room anchored with two - story gas - burning fireplace, large leather sectional sofa, flat - screen TV, vaulted ceiling, and massive wall - to - wall windows with French doors opening to a private balcony.

An innovative sliding door opens to reveal a large bedroom, where a curved wall of windows presents stunning views similar to those in the lounge, and an upholstered headboard and bedside tables frame a plush king - size signature Luxury Collection bed.

The villa's sleek, open - concept great room is lined on one side with a glass wall framing sea views.

Two walls of sliding glass doors frame views of the hillside and ocean — and open the space to the wraparound deck — while a vaulted ceiling lends a breezy feel.

The Open Plan Lounge features a mix of Limestone and Black Dadoed walls with Ralph Lauren Striped Wallpaper above same, a Gorgeous Gas Log Fire surrounded by a beautiful Mahogany carved Mantlepiece with Gold Gilded Framed Mirror, complimented by an eighteen candle chandelier above and with an elegant Black Velvet Victorian Style lounge suite.

2004 Open House: Working in Brooklyn, Brooklyn Museum of Art, Brooklyn, NY Beginning Here: 101 Ways, Curated by Jerry Saltz, Visual Arts Gallery, New York, NY Tokyo - Chicago - New York, Tokyo National University of Fine Art and Music, Japan Sympathetic Nerve, Capsule Gallery, New York, New York The Truck Stops Here, Plus Ultra Gallery, Brooklyn, New York Six Outdoor Projects, Long Island University, NY Slice and Dice, Visual Arts Gallery, New York, NY Transmotion, Lower Manhattan Cultural Council, NY 1800 Frames 2004, City Without Walls, Newark, NJ

In keeping with the empty - frame motif, Tania Pérez Córdova's We focus on a woman facing sideways, Evening (2014) is a delicate open triangle affixed to a corner of the wall — a bit like a Richard Tuttle but with a small gold earring dangling from it.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greaWall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

Judd's forms seem to generate their own arrangements, and in metal he makes extensive use of repetition: four to eight cubes in horizontal rows on the wall or floor; horizontal wall boxes repeated on a single vertical row up the wall; and open steel frames which, in repetition of five or eight units, define an open volume.

With the interconnected fabric mats shaped to evoke biological cells or chemical flasks, each of these sculptures assumes a vital role in some form of organic circuit that flows through a portal - like shape mounted against the wall and framed with head - like ovoids, elongated staffs and open circles.

Join us for the opening reception of Deck The Walls, an unjuried show where members are invited to bring framed prints to the Gallery to sell during the holiday season.

2009 Mayer, Sally, Straight Man, Wonderland, April - May Sculptor Shows his Own Poetry in Motion, The Southland Times, March Sherwin, Skye, Exhibitionist: The Best Art Shows to See this Week, The Guardian, 18 September De Wilde, Femke, Room With a Political View, Frame, March - April Lutticken, Sven, Taped Together: On The Bijlmer Spinoza Festival by Thomas Hirschhorn, Texte Zur Kunst, September Weiner, Emily, ArtForum (Review of show at Gladstone Gallery, NYC), March ArtForum (Review of show at Galerie Susanna Kulli), April Thomas Hirschhorn to Present his First Ever Solo Exhibition in a UK Public Art Gallery, Art Daily, 8 September Indepth Art News: Anschool by Thomas Hirschhorn, Absolute Arts, April 2008 Rappott, Mark, Strange Love, Art Review, June Stroh, Frank, Thomas Hirschhorn: Hotel Democracy, Creative Europe Online, June Thomas Hirschhorn's «Hotel Democracy» at Art Basel 2008, Designboom, June Art Basel Becomes More Global, Swissinfo.com, 5 June Basel Art Blow - Out, Artnet, 30 May Art 39 Basel: El Dorado of the International Art World Set to Open in Switzerland, Art Daily Online, June Art Basel Opening, Zimbio.com, June Bowes, Elena, Thomas Hirschhorn, Indagare, June Vogel, Carol, Hotel Democracy, New York Times, 21 March Crow, Kelly Culture Clash: Soccer Fans, Art Elite Butt Heads, The Wall Street Journal, 30 May Vogel, Carol, New York Times, 21 March Harris, Gareth, Art Basel, Financial Times, 24 May Reust, Hans Rudolf, Infinite Glass: The Arts Beyond the Discipline, Parkett, No. 84 2007 Demos, T. J., On the Ground - London, Artforum, December Nesbit, Molly, Le plan d'amitie entre art et philosophie, Le Monde Diplomatique, August Kultureflash.net, no. 124, 3 August Downey, Anthony, Thomas Hirschhorn, Flash Art, July - September, p. 134 Pennell, Arden, This is Your Brain on Reality, Whitehot magazine of contemporary art, Issue 3, May Icon, issue 046, April Sam, Serman, Thomas Hirschhorn, The Brooklyn Rail, April Kulture Flash, issue 198, 28 March Jones, Jonathan, How War Made Art Better Again, Guardian Unlimited Art Blog, 26 March Thomas Hirschhorn - Substitution 2 at Stephen Friedman Gallery, www.artvehicle.com, Issue 12, 23 March Coomer, Martin, Thomas Hirschhorn, Time Out London, 20 March Hubbard, Sue, This is the father of all battles, The Independent, 14 March Westcott, James, ArtReview: blog, 13 March Hirschhorn, Thomas, Eternal Flame, Artforum, Vol.

The centerpiece of Harrod's solo show at NURTUREart (a selection from our 2015 open calls) is her large - scale installation, The Ranger Series, consisting of individual welded and powder - coated frames with netted parachute cord (aka paracord) assembled together into a large - scale modular installation to create a wall of leaning «bodies.»

As I enter my house, I see my studio and the work therein framed by the open pocket doors, slices of ceiling, and receding floor and walls.

After Memling's Portrait of Man with a Coin of the Emperor Nero, 2013, Kehinde Wiley, American, b. 1977, oil on wood panel in artist - designed hand - fabricated frame with 22k gold - leaf gilding; with doors open: 24 1/2 x 29 x 5 in., Phoenix Art Museum; Museum purchase with funds provided by The Marshall Bequest, Contemporary Forum, Dr. Eric Jungermann, Ann and Michael Wall, Mr. and Mrs. James G. Bazlen, BMO Private Bank, Dr. and Mrs. Marshall Block, Iris Cashdan - Fishman, Mr. and Mrs. Richard N. Goldsmith, Clark Olson and Nick Butler, Norman McLash, Mr. and Mrs. Charles G. Watts and others, 2013.526, © Kehinde Wiley, Photo: Max Yawney, courtesy of Roberts & Tilton, Culver City, California.

For «Case Work: Sculptures and Drawings by Allied Works Architecture» (opening at the Denver Art Museum on Jan. 24), the founder Brad Cloepfil decided to create a piece of architecture: an open - frame, walk - in steel structure — a building within the gallery walls — with custom - designed walnut drawers and cases to hold the 17 study models that are the centerpiece of the exhibition.

While several works are framed, much of the work in the exhibition is intentionally left bare or open to the elements, simply being pinned to the walls.

Listing Information: Mitchell - Innes & Nash: 534 West 26th Street T: [phone] www.miandn.com Opening reception: Thursday, May 7, 6 - 8 pm Gallery Hours: Tues - Sat, 10 am — 6 pm Flooded Chambers Maid: May 1 — August 15 Madison Square Park: Fifth Avenue at 23rd Street Press Contact: Mamie Tinkler T: 212 744 7400 E: [email protected] Caption: Jessica Stockholder, 2009, Framed image, oil and acrylic paint, embroidery, plastic parts, rubber molding, plexi glass, hardware, duct tape, socks, metallic bubble wrap, plywood, bracket, paint on the wall, tulle

Part 2 - Construction details that your plan should cover Trailer Foundation Wall Framing Sheathing Windows And Door Rough Openings Roof Framing and Sheathing Skylights Doors Siding Trim Work Install Roofing Rough Plumbing Insulate Install Major Appliances Flooring Walls Kitchen Bathroom Sleeping Loft Main Room

Wall Insulation: Fully advanced framed structure; R - 25 wall with R - 20 open cell spray foam and 1» foil faced polyisocyanurate sheathWall Insulation: Fully advanced framed structure; R - 25 wall with R - 20 open cell spray foam and 1» foil faced polyisocyanurate sheathwall with R - 20 open cell spray foam and 1» foil faced polyisocyanurate sheathing.

This construction uses 2x4 framed wall offset 2.5» from concrete with 6» open cell low density spray foam (R - 21) between and behind the stud wall.

1 The Rochestown House flats prior to the refurbishment; 2 aerated concrete blocks were chosen to form new build elements, including a new third storey that allows for more generous apartment sizes; 3 new triple - glazed windows were installed outside the masonry layer so that the external insulation could wrap around them, and help prevent thermal bridging; 4 the airtightness layer was moved to the outside of the structure by taping the joints of the existing concrete panels, then extending that tape up onto the aerated blocks in the new floor; 5 Aerobord platinum EPS external insulation being fitted to the original concrete panel walls; 6 & 7 the new window frames visible here in the external insulation layer, including Rockwool fire breaks; 8 openings for exhaust and supply intakes for the new Zehnder heat recovery ventilation system, seen here prior to being insulated and airtightened; 9 installation of the Bauder bitumen roofing membrane.

Dug and installed footings, frame walls and roof structures, and install windows, points of entry, and doors and door openings; installed siding and roofing materials such as hi - rib steel, shingles, wood, and other sidings, and mortarless masonry units.

Cathedral ceilings with painted shiplap walls and plenty of windows frame out this space, which is bright, airy and open despite its relatively small size.

I want scattered books, some worn but cozy second hand chairs, signs of our travels, our maps in a nook, a gallery wall of some of my photography of our travels, layered linen, texture, baskets to corral our everyday life things, and signs of life that children live here, their art hanging in open frames, maybe even a little crooked because that's how real life is!

Instead of having wall frames, open storage is good.

For open space dining rooms, you can create an accent wall that will frame the fireplace in a dark shade for more emphasis.

On the other side the living room opens to the pool area framing the concrete faceted wall, bringing in diffused light through the slits.

A doorway opens to a bathroom flanked by nooks filled with his and hers washstands adorned with glass knobs under framed mirrors lit by nickel and glass wall sconces.

It'll help open up the space a little more visually, and since there's not a lot of wall space to hang frames or accessories on, pretty dishes can act as art instead!

I have always liked hanging open frames on a wall but never knew how to do it so it looked good.

By choosing fabrics which are just a little lighter or a little darker than the paint colour chosen for the walls, you will create a soft look to frame the windows and help to visually keep the space appearing open.

To keep the doors sliding smoothly, it's important that the walls above don't transfer any weight onto the door frame — a steel support beam may be required in wide openings.

31 Days of Favorite Spaces: Day 30 -LCB- part of the 31 Days Challenge -RCB- A Favorite Dark and Dreamy Space: -LCB- via Ashlina Kaposta -RCB- My Because: Gray and Midnight / / Velvet and Gold / / The sheen in the velvet / / The contrast of the white fur / / Open shelving that matches the wall / / The grand art with the gilded frame / / Those -LSB-...]

Rockview Homes: contracting Ikea: Haggeby cabinetry, Sinnerlig pendant light in dining area Caesarstone: countertops in «pure white» Taps / Blanco: sink, Taps / Brizo: faucet Creekside Tile: backsplash 3x6 beveled subway tile Top Knobs: hardware Muuto: Unfold Pendant light Rove Concepts: dining table Alanna Cavanagh: pear print Woven Treasures: kilim runner in kitchen, vintage Persian rug in dining area Sarah Richardson Design: napkins and tea towels in dining area Vintage Fine Objects: bar cart, framed etchings on counter and open shelving Saudade: Casa Cubista black & white pitcher on open shelving Benjamin Moore: wall colour (Chantilly Lace OC - 65) Farrow & Ball: door colour (Down Pipe No. 26)

Sun filled cottage bathroom features archway opening to nook filled with upper walls painted camel and lower walls clad in tongue and groove paneling framing around porthole window over a bank of window dressed in beige striped roman shades over claw foot tub paired with floor mounted tub filler atop mosaic marble tiled floor alongside a black spindle folding table flanked by built - in shelves.

A larger space can take bolder displays, like the farily close together frames on this open and airy wall.

An open - framed glass and metal shelving unit along the back wall provides not only a great spot to display decorative pieces but also plenty of storage for cookbooks and a mini-bar to serve guests.