Sentences with phrase «work near the floor»

Work near the floor when first learning to handle your rabbit so that if they jump out of your arms they don't have far to go.

Not exact matches

There's a moment in which Ines watches «Toni» working the floor at a disco, her expression clearly registering how much his decision to stick around and try to cheer her up means to her... and what's amazing about this moment is that it happens not near the end, as you'd expect, but with nearly two hours still to go.

Ranale, a sixth grader who lives near the school, likes Crossroads because he works harder here and doesn't get into trouble the way he did at the elementary school located on the lower floor of the same building.

Panoramic Oceanviews from the 2nd floor balcony or ground floor terrace with cushioned wrought - iron furniture near the water's edge.

When plumbers need to work on things near the floor, they are taught to wear loose - fitting trousers and bend over.

They spill across the Bushwick pioneer's ground - floor apartment, as if the dealer had asked thirty or forty of his nearest and dearest friends to stick a work anywhere on the walls.

SFMOMA now offers free access to ground and second floor spaces housing works like Richard Serra's Sequence (2006), near the lobby of the Snøhetta addition.

He works from a building near Bethnal Green, where, since 2006, he has used the ground floor as a small gallery, Between Bridges, where he shows work that interests him, from artists such as the American David Wojnarowicz, or the German artist Isa Genzken, or the photographs from the Center for Land Use Interpretation in California, or the slogans of Jenny Holzer, one of the first artists he admired.

Pollock explained, «On the floor I am more at ease, I feel nearer, more a part of the painting... Since this way I can walk around in it... Work from the four sides and be literally «in'the painting.»

One outstanding example consists of four works from the late 1970s through the early 1990s: Yarn hangs loosely from the ceiling in overlapping half ovals (The Nearest Air, 1991) while two works, both titled Sculpture for Nontransparent Materials (1985) and made of solid wood and marble hemispheres sit closely on the floor, facing each other.

, you are lying on the floor of your place looking up, a small draft runs through the room, between the door and the window, and all things seem perfectly still, wind only disturbs concrete in imperceptible ways, or it may take millions of years to be noticed and, as the air runs through the space, all your plants move and all is animated and all is alive somehow, and here are the thoughts of all men in all ages and lands, they are not original with me, and that wind upon your plants is the common air that bathes the globe, and we have no ambitions of universalism, and I'm glad we don't, but the particles of air bring traces of pollen and are charged with electricity, desert sand, maybe sea water, and these particles were somewhere else before they were dragged here, and their route will not end by the door of this house, and if we tell each other stories, one can imagine that they might have been bathed by this same air, regrouped and recombined, recharged as a vehicle for sound, swirling as it moves, bringing the sound of a drum, like that Kabuki story where a fox recognizes the voice of its parents as a girl plays a drum made out of their skin, or any other event, and yet I always felt your work never tells stories, I tend to think that narrative implies a past tense, even if that past was just five seconds ago, one second ago was already the past, and human memory is irrelevant in geological time, plants and fish know not what tomorrow will bring, neither rocks nor metal do, but we all live here now, and we all need visions and we all need dreams, and as long as your metal sculptures vibrate they are always in the Present, and their past is a material truth alien to narrative, but well, maybe narrative does not imply a past tense at all and they are writing their own story while they gently move and breathe, and maybe nothing was really still before the wind came in, passing through the window as if through an irrational portal to make those plants dance, but everything was already moving and breathing in near complete silence, and if you're focused enough you can feel the pulse of a concrete wall and you can feel the tectonic movements of the earth, and you can hear the magma flowing under our feet and our bones crackling like a wild fire, and you can see the light of fireflies reflected in polished metal, and there is nothing magical about that, it is just the way things are, and sometimes we have to raise our voice because the music is too loud and let your clothes move to a powerful bass, sound waves and bright lights, powerful like the sun, blinding us if we stare for too long, but isn't it the biggest sign of love, like singing to a corn field, and all acts of kindness that are not pitiful nor utilitarian, that are truly horizontal as everything around us is impregnated with the deadliest violence, vertical and systemic, poisonous, and sometimes you just want to feel the sun burning your skin and look for life in all things declared dead, a kind of vitality that operates like corrosion, strong as the wind near the sea, transforming all things,

I already knew about Ryan Gander's surprisingly effective breeze, «I Need Some Meaning I Can Memorize (The Invisible Pull)» (unless otherwise indicated, all works mentioned are from 2012), that occupies the near emptiness of the ground floor of the museum, a potential double gimmick that instead kept me in my body, providing an anchor for the remainder of this «introduction,» if not the entire exhibition.

Each of the contemporary works is paired with historical points of reference: a Bill Viola video titled Catherine's Dream hangs next to Goya's powerful image The Sleep of Reason Produces Monsters; Rachel Whiteread's Untitled (Felt floor) is paired with Ralston Crawford's photographic study of the New York City 3rd Avenue elevated train tracks; Wim Wenders large format photograph of the Australian outback is installed near Edward Hopper's haunting graphic image titled Night Shadows.

In 1963, a group that included Mr. Forakis, Mark di Suvero, Robert Grosvenor and Forrest Myers started exhibiting their work, playing free jazz and discussing the future of public sculpture in a floor at the top of a loft building in Lower Manhattan near Park Place, where several of them lived.

We are presented with four works: in Tower Block, a blank monitor is interjected with high rises, surreally spliced into abstraction via arbitrary image edging; in Floor, three parallel projections explore the surface texture of floorboards with a near - fetishistic, intimate scrutiny; in Shirt, worn fabric is rendered nonfigurative, the patterns and folds becoming landscape instead of fashion; while in Moon, a twin - screen installation, presents us with 21 miniature viewing - windows from which we voyeuristically glimpse the moon, creating a field of juddering orbs.

The floors of three of the Palazzo's grand salone have been covered in a work called Days that can not bring you near (2005), made of clods of earth which Gallaccio has lifted from ploughed fields around the town and shaped into a grid.

One morning in October 1952, after returning from a vacation in Nova Scotia, Frankenthaler arrived at her studio (she worked in an old loft near the Chelsea Hotel) and unrolled a large sheet of canvas on the floor.

SpArc Philadelphia's Cultural Arts Center will celebrate the work of its artists beside the Pennhurst display on the fourth floor near City Council Chambers.

Greater understanding of the ocean floor and the discoveries of features like mid-oceanic ridges, geomagnetic anomalies parallel to the mid-oceanic ridges, and the association of island arcs and oceanic trenches occurring together and near the continental margins, suggested convection might indeed be at work.

We are urgently recruiting for hard working Labourers and Machine Operators to join a large manufacturer of pre-cast concrete flooring near Ashbourne, Derbyshire.

I then made the lower part into a linen cabinet, with big storage bins for blankets on the floor, which actually works better because the old linen cabinet was nowhere near the bathrooms or bedrooms, and had half the capacity.

This table is SO versatile; sometimes I move it against a wall to have the floor completely open, sometimes in the middle of the room for working on a cooking project, and at Christmas, I move it near the end of the kitchen so all 12 of us can move about the space easily for our Cookie Bake.

And if you're coming to see me, you'll have to look past the jackets tossed over the back of the sofa or the backpacks and work bags dropped on the floor near the front door and the bills piled all over the dining room table»cause that's where we pay them.