Sentences with phrase «alongside framed wall»

The six sculptures on view in the exhibition are presented here alongside framed wall works that lie on the border between collage, painting, and sculpture.

Not exact matches

Chic pink bathroom features pink walls accented with pink wall moldings alongside Venetian mirror illuminated Calliope Bath Lights in Hand Rubbed Antique Brass over lucite washstand topped with white marble framing round sink as well as marble backsplash with shelf atop mosaic marble floor.

Sophisticated master bathroom features a full wall clad in a framed mirror lined with a white floating washstand fitted with his and hers sinks and towel bars alongside a white cowhide bench tucked below.

Elegant master bathroom features a full wall clad in a framed mirror lined with a white floating washstand fitted with his and hers sinks and towel bars alongside a white cowhide bench tucked below.

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.

White and blue bathroom features blue paint on walls alongside a single wall vanity, divided into his and her sections, topped with white and gray marble and matching backsplash with shelf under a framed medicine cabinets illuminated by sconces.

Navy blue and gray bathroom features walls clad in grey grasscloth lined with a polished nickel framed medicine cabinet illuminated by polished nickel sconces accented with white plated shades over a navy washstand with ring pulls topped with white marble alongside a marble hex floor next to a walk - in shower.

Stunning bathroom features a gray - green grasscloth papered walls over a gray bathroom vanity with center console cabinet accented with polished nickel hardware alongside white quartz counters which frame his and her sinks with polished nickel medicine cabinets above.

His wall - based assemblages sometimes include an item of clothing — a pair of trousers, a shirt — placed alongside other elements, such as a photograph of a spoon scooping a sugary substance, or framed drawings of a cupcake.

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.

Continuing his ongoing exploration of abstraction, geometry and colour, Bick is exhibiting a selection of wall paintings alongside six framed drawings.

Beautiful bedroom features light gray walls framing neutral abstract art over an ivory bed dressed in white bed linens topped with gray pillows and pop art pillows alongside a pastel colored throw layered across the foot of the bed.

White and blue bathroom features floor to ceiling marble walls lined with a marble and nickel 3 leg washstand fitted with his and hers sinks and white framed inset medicine cabinets lit by Camille Long Sconces alongside a white marble herringbone floor.

Elegant bedroom boasts wall - mounted tall velvet headboard on queen bed dressed in soft white bedding, damask pillows and paisley throw blanket flanked by three drawer console tables used as nightstands topped with white urn lamps situated under framed botanical prints alongside a camel velvet tufted storage bench placed at the foot of the bed illuminated by crystal chandelier.

industrial barn door hardware including industrial barn door hardware kits beside silver barn door hardware kits beside steel barn door hardware kits beside contemporary bathtubs amidst contemporary soaking bathtubs next to freestanding soaking bathtubs next to white soaking bathtubs beside oval soaking bathtubs next to plastic acrylic soaking bathtubs among contemporary picture frames as well contemporary wall picture frames next to white wall picture frames including metal wall picture frames next to metal wall picture frames amidst bedroom carpet ideas10 ft wide bedroom ideas and photos14 x 14 bedroom ideas and photos4 beside x4 bedroom ideas and photos among beauty the beast bedroom ideas and photos next to dark gray walls bedroom ideas and photos alongside high school bedroom ideas and photos among century modern transitional near pottery barn bedroom ideas and photos alongside pottery barn bedroom ideas and photos

Pin posters and giant cut outs can go up alongside the frames on blank walls in need of some fun designs.

Light and bright living room features tan walls which frame windows dressed in blue zebra roman shades on either side of a pastel colored abstract alongside a modern linen sectional chaise.

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.

White and gray kid's bathroom features walls clad in white and gray animal print wallpaper, Thibaut Nairobi Wallpaper, lined with a framed inset medicine cabinet illuminated by white glass uplight sconces over a single washstand with feet topped with white marble alongside carrera marble hex tile floor.