Sentences with phrase «white surface great»

White surface great for decorating.

Not exact matches

Sunlight tends to bounce off the white, reflective surfaces of glaciers and ice sheets, but the darker surfaces of dirty ground ice can absorb greater amounts of solar radiation.

SEE a great white shark while scuba diving, and you'll want to flee, even if surfacing quickly may cause decompression sickness — the bends.

Witnesses said the fisherman struggled for about 30 minutes to an hour to get the shark up to the surface of the water before the shark broke the line Great white sharks are a protected species and by law must be released if inadvertently hooked.

Two stand - out sequences include Lisa swimming out over a massive open trench with nothing but blackness below and a headlong rush for the surface lit only by a red flare as Great White Sharks attack the two women.

New inside: three - spoke steering wheel and new telematics generation Great attention to detail was paid while updating the interior too: modifications include a restyled leather steering wheel in a three - spoke design with multifunction buttons, as well as a new - look instrument cluster, whose white dials now contrast distinctly with the chased surface of the backplate.

The Great White Wall takes its name for the dense growths of stark - white soft corals that dominate this vertical surWhite Wall takes its name for the dense growths of stark - white soft corals that dominate this vertical surwhite soft corals that dominate this vertical surface.

For the more adventurous, go shark - cage diving with great white sharks or do a surface viewing.

This is a great example of how even a «white» surface is full of subtle colours and tones.

Here, he has not only slashed through the pristine white surface with twenty - four of his iconic cuts — the greatest number that he would ever commit to one canvas — but has also added a further dimension to the work by enshrouding it in a black lacquer frame, which glistens with reflections of the world around it.

But, in being dazzled by the brilliance of its surface, the chance to pull the viewer down through Welles and Mellvile, into the stomach of the great white whale (and whatever metaphorical possibilities that particular image may contain) has been missed.

Ultimately, however, it was Cage's emphasis on the action of light and shadow on the white surfaces of these paintings that had the greatest impact on shaping their interpretation by art historians.

Atmos Sala Alcalá 31, Madrid (catalogue) Hemispheres and Continents Matthew Marks Gallery, New York 2012 All Things Pass Galerie Max Hetzler, Berlin (catalogue) Patricia Low Contemporary, Gstaad Fullmoon and Night + Fog Domaine de Chaumont - sur - Loire, Chaumont - sur - Loire 2011 Landscape with Path The High Line, New York Xippas, Montevideo L'Abbaye de la Chaise Dieu, Chaise Dieu Nocturne Villa Merkel, Esslingen (catalogue)... between here and the surface of the moon FRAC Auvergne, Clermont Ferrand; traveled to: FRAC Haute - Normandie, Sotteville - lès - Rouen 2010 As it is Alfonso Artiaco, Naples The Principle of Moments Whitecube, London Fullmoon@Eifel Weidingen, Eifel Matthew Marks Gallery, New York PKM Trinity Gallery, Seoul 2009 Sommer Gallery, Tel Aviv Xippas Gallery, Athens Sometimestill Galerie Max Hetzler, Berlin 2008 Nail to Nail David Patton, Los Angeles SCAI The Bathhouse, Tokyo In The Between Eye of Gyre, Omotesando Substitute Galleri K, Oslo Fire under snow Parasol unit, London (catalogue) Moons of the Iapetus Ocean White Cube, London (catalogue) 2007 Galleria Alfonso Artiaco, Naples Day Return Castle Ujazdowski — Center for Contemporary Art, Warsaw (catalogue) Night + Fog Galerie Max Hetzler, Berlin (catalogue) In the Between Musée d'art contemporain, Montreal SITE Santa Fe, Santa Fe Matthew Marks Gallery, New York 2006 Day Return Museum Folkwang, Essen (catalogue) Darren Almond and Janice Kerbel: Impossible Landscapes The Horticultural Society of New York, New York If I had you Domus Artium 2002 — Center for Contemporary Art, Salamanca Darren Almond / Albert Oehlen: Time 2 Kill Galerie Max Hetzler, Berlin 2005 Take Me Home Matthew Marks Gallery, New York Alfonso Artiaco, Naples Isolation K21 - Kunstsammmlung Nordrhein - Westfalen, Düsseldorf Only Sound Needs Echo and Dreads its Lack Galerie Chantal Crousel, Paris 2004 Live Sentence Lentos Kunstmuseum Linz, Linz (catalogue) If I Had You Galerie Max Hetzler, St. Johannes Evangelist Church, Berlin 2003 11 miles... from Safety White Cube, London (catalogue) If I Had You Fondazione Nicola Trussardi, Palazzo della Ragione, Milan Mine, A Galleri K, Oslo A Galerie Max Hetzler, Berlin Full Moon Sommer Contemporary Art, Tel - Aviv 2002 A National Theatre, London; Yorkshire Sculpture Park, commissioned by Public Art Development Trust, London at speed (with Sarah Morris) Galerie Max Hetzler, Berlin 2001 Coming up for air Matthew Marks Gallery, New York Kunsthalle Zürich, Zurich (catalogue) Night as Day Tate Britain, London (catalogue) De Appel Foundation - Center for Contemporary Art, Amsterdam Galerie Max Hetzler, E-Werk, Abspannwerk Buchhändlerhof, Berlin 2000 Mean Time Matthew Marks Gallery, New York Geisterbahn The Approach, London Traction Chisenhale Gallery, London 1999 Galerie Max Hetzler, Berlin The Renaissance Society, University of Chicago, Chicago 1997 ICA - Institute of Contemporary Arts, comissioned by Toshiba Art & Innovation, London Fan White Cube, London 1995 KN120 Great Western Studios, London 1991 Crawford Art College, Cork

Demos creates optical effects with the greatest economy of means, manipulating rectangular panels with a simple palette of black, white and grey that appear to move into or out of the wall given their matte or glossy surface quality.

Hauser & Wirth's recent exhibition included great, large - scale examples from two of her finest bodies of work: the chromatically slight, but physically robust «Black and White Works» — some white with just a line of black, others black in their entirety, with structured and poetic surfaces; and the «Sarrafos» — white paintings with even more uninflected surfaces to which a black wooden bar has been attached, resulting in a physical and spatial experiWhite Works» — some white with just a line of black, others black in their entirety, with structured and poetic surfaces; and the «Sarrafos» — white paintings with even more uninflected surfaces to which a black wooden bar has been attached, resulting in a physical and spatial experiwhite with just a line of black, others black in their entirety, with structured and poetic surfaces; and the «Sarrafos» — white paintings with even more uninflected surfaces to which a black wooden bar has been attached, resulting in a physical and spatial experiwhite paintings with even more uninflected surfaces to which a black wooden bar has been attached, resulting in a physical and spatial experience.

Though white oil paint is an ingredient in many of Ryman's works, he takes great care in varying his choices of working surface and of ways to fasten his work to the wall.

Surface Tension serves as the backdrop to a video projection of William Pope.L's 2000 performance «The Great White Way, 22 Miles, 9 Years, 1 Street,» in which he famously crawled 22 miles of sidewalk from the beginning to the end of Broadway — Manhattan's longest street — wearing a capeless Superman outfit with a skateboard strapped to his back.

-- one whole wall would be shelving (fabric etc. storage) and that shelving would have sliding doors with mounted foam boards (covered in white felt or flannel), so they would double as design walls — BIG center table for cutting and larger ironing surface on one side (smart storage underneath it all)- sewing machine cabinet next to it and small ironing place right next to it — enough space for the long - arm (or mid-arm) quilting machine - big desk in one corner — for drawing, sketching, computer work (preferably next to the window with that great view — big inspiration board on one wall — to pin all kinds of stuff!

Where grey or white would once have been the natural choice, a muted green tone brings a modern twist and looks great against metallic surfaces and wooden furniture.

In the great room of a Dana Point, California, home, which was designed by Bob White of Forest Studio and decorated by M. Elle Design, the chandelier and wing chair upholstered in Belgian linen are by Lucca Studio, and the cocktail table and sofa in a Loro Piana linen are custom made; the walls and fireplace are of marmorino plaster, the painting is by Victor Hugo Zayas, the abaca - fiber rug is from FJ Hakimian, and the flooring is French white oak by Exquisite SurfWhite of Forest Studio and decorated by M. Elle Design, the chandelier and wing chair upholstered in Belgian linen are by Lucca Studio, and the cocktail table and sofa in a Loro Piana linen are custom made; the walls and fireplace are of marmorino plaster, the painting is by Victor Hugo Zayas, the abaca - fiber rug is from FJ Hakimian, and the flooring is French white oak by Exquisite Surfwhite oak by Exquisite Surfaces.

Make a statement in your white kitchen without having to go all out on expensive work surfaces and fittings — a splashback can be any size, and is a great opportunity to experiment with colour and pattern.