Sentences with phrase «between color groupings»

What got me most was the magic of feeling I was listening in on conversations between color groupings — how the reds and blues seemed to be speaking (or perhaps singing) in slightly different dialects of the same paint language, some mute or just whispering, other maniacally chatty, muttering or even yelling bloody murder — all which keeps your eye moving back and forth trying to figure out what it all means.»

Not exact matches

The most notable points in these images is the supremacy of blue across both genders (it was the favorite color for both groups) and the disparity between groups on purple.

Still, the iPhone maker has said roughly half of its new hires between July 2016 and July 2017 came from «historically underrepresented groups in tech,» including women and people of color.

But the decision drew immediate heat from police reform groups, many of whom worked to get de Blasio elected when he ran on a campaign of reforming the relationship between police and communities of color.

The group's elements, which appear as yellow disks in this image, are arranged at the vertices of a truncated icosahedron, shown here in stereographic projection, while the group's generators, of orders 2 and 5, correspond to the regions between the disks, colored red and blue, respectively.

A joint group of researchers from Chuo University, Japan Women's University and Tohoku University has revealed that infants aged between 5 and 7 months hold the representation of color categories in their brain, even before the acquisition of language.

«I don't know what happened between 1987 and today, but somewhere along the line, it would seem that somebody lost sight of the fact that the original color breakthrough in question here had been achieved through genetic modification,» says Craig Regelbrugge, senior vice president in the Washington, D.C., office of the trade group AmericanHort.

PRODUCT PERKS Master the fundamentals of place value and regrouping with this base ten set of units, rods, flats, cube and more Unique color - coded value Plastic is durable and easy to clean WHAT TO TEACH Adding and Subtracting - Developing the concept of addition and subtraction Multiplication and Division - Developing the concept of multiplication and division Number sense - Develop number concepts up to 10 and beyond Place Value - Diferentiate number values Counting - Emphasize the relationship between groups of blocks Decimals - Explore and develop decimal concepts, compare decimals, and perform basic operations with decimal numbers by letting the cube, flat, long, and unit represent 1, 0.1, 0.01, and 0.001, respectively.

With poverty rates in Illinois increasing and postsecondary attainment more important than ever, a new report from the Partnership for College Completion reveals low completion rates, persistent achievement gaps between groups, and highlights how the rising cost of college combined with state budget cuts has put college diplomas farther out of reach for low - income students and students of color.

WASHINGTON, DC — As states begin to submit accountability and improvement systems under the Every Student Succeeds Act (ESSA), the Alliance for Excellent Education, America's Promise Alliance, Civic Enterprises, and the Everyone Graduates Center, today outlined steps that U.S. Secretary of Education Betsy DeVos could take to continue to close high school graduation gaps between white students and students of color, students from low - income families, and other traditionally underserved groups of students.

This report finds that while the population of teachers of color overall is growing, Black and Native American teachers are a declining share of the teacher workforce and the gap between the percentage of Latinx teachers and students is larger than for any other racial or ethnic group.

The 2015 QX80's interior refinements and revised grade level content reflect input from current owners, who have requested greater visual differentiation between color / wood trim offerings and more choices in the optional technology groupings.

This enhanced eBook contains the full text of the bestselling novel, and exclusive movie content such as: five video clips from the film; the director's movie shooting script; video interviews from cast and crew — including Anne Hathaway and author / screenwriter David Nicholls — about their connections between the book and the film; and a reading group guide featuring full - color movie stills throughout.

Other than DNA structures, notable differences in proportions of several body parts and body colors including skeletal features, and length ratios of flippers and baleen plates have been confirmed between Eastern and Western Populations, and some claims that the original eastern and western groups could have been much more distinct than previously thought, enough to be counted as subspecies.

Other than DNA structures, differences in proportions of several body parts and body colors including skeletal features, and length ratios of flippers and baleen plates have been confirmed between Eastern and Western populations, and some claims that the original eastern and western groups could have been much more distinct than previously thought, enough to be counted as subspecies.

Many of the tiles will refer to entire groups of creatures, to whom you will have attached colored rings when setting up the game to differentiate between them.

It was built by our advance technology group as a teaching tool for developers to author in wide color gamut and high dynamic range, to show how the engine can scale between 4K and 1080p, and we saw it and it's just magical.

This is a take on the very popular match - 3 genre but instead of swapping around gems in groups of three or more, you're drawing lines between two eggs of the same color that have two other eggs in the middle.

With recent protests by professional football players in mind, the young Chicago - based artist Samuel Levi Jones has curated this group show, which brings together several artists from different generations whose work meditates on the relationship between power structures and persons of color in America.

Spanning acrylic and oil paintings, gouache and paper collages, patchworks made from fabrics and paint, silkscreens, and colored pencil drawings, this show brings together an expansive group of two - dimensional works to explore the relationship between painting and drawing.

Designed to allow for open spaces between the panels, the curtains create planes of color that can be reconfigured into alternative groupings.

Shows have included Cerreality by Connecticut artist John O'Donnell, featuring sculptures created with brightly colored cereal; Pomp and Plastic Things by Georgia artist Justin Hodges that included a green chromogenic living room; Reasonably Nice Things, installations based on the notion of home by Dayton artist Charmaine Renee; group shows like Self As Subject and Trompe L'Oeil: Paintings in Other Media featuring national artists; and Future Thinking, a collaboration between UD and Wright State art students.

Matt Gonzalez creates complex collage from discarded and re-appropriated advertising and commercial printed matter in order to create a new dialog between the groupings of once disparate texts, imagery and color.

SELECTED GROUP SHOWS: 2018 Open SpacesKansas City, MO 2018 Color of the Year Presented by Pantone and X-RiteUrban Institute for Contemporary Art, Grand Rapids, MI 2017 Solar Flair: Celestial Bodies in MotionAlbrecht Kemper Museum of Art, St. Joseph, MO 2017Light and ShadowMildred M. Cox Gallery Kemper Center for the Arts William Woods University, Fulton, MO 2017The 19th Annual National Juried Competition,: «Works of Paper» 2017Long Beach Foundation of the Arts & Sciences, Long Beach Island, NJ 2017 - 2018 Teardrops That Wound: the Absurdity of War, George Tsutakawa Art Gallery, Wing Luke Museum of the Asian and Pacific American Experience, Commission Work «Break Into Blossom», In collaboration with Phong Nguyen and Justin Shaw 2016 Vision: An Artist's Perspective, Gutfeund Cornett Art Kaleid Gallery San Jose, CA 2016 Novus Conceptum, Hannah Bacol Busch Gallery Bellaire, TX 2015 Generations: Forty Hues Between Black and White, OCCCA (Orange County Center for Contemporary Art), Santa Ana, CA 2015 Somewhere Between Black and White, Fiber Art Network, Arizona State University, Tempe, AZ 2015 Old Enough To Know Better, Cranes Art Gallery 105, Philadelphia, PA 2014 The 2nd Annual Juried Artist's Book Exhibition, WoCA Projects, Fort Worth, Texas 2014 The Living Mark Verum Ultimum Art Gallery, Portland OR 2014 Subconscious, Flow Art Gallery, St Louis MO 2014 A Dream and a Memory, St. Louis Artist Guild, St. Louis MO 2013 Missouri 50, Fine Art Building Sedalia, MO 2013 Art / Identity, Gallery 263, Cambridge, MA 2013 26th Annual Women's Work, Old Court House, Woodstock, IL 2012 Contemporary Women Artists XVI, Saint Louis University Art Museum, St. Louis MO 2012 UCM Faculty Show, UCM Gallery of Art and Design, Warrensburg, MO 2012 Color!

CA Spectral Hues, curated by Sharon Bliss, Palo Alto Art Center, Palo Alto, CA Art Market, with Chandra Cerrito Contemporary, San Francisco, CA Building the Art House, curated by Katherine Connell and Emma Spertus, Rosenberg Library, City College of San Francisco, San Francisco, CA Big Idea, curated by Sue Collier, Leslie Ford, Jack McWhorter and JoAnn Rothschild, The Painting Center, New York, NY Along the Lines, Harrington Gallery, curated by Julie Finegan, Pleasanton, CA 2016 Plus +1, Trestle Contemporary Art Gallery, Brooklyn, NY Group show, November - December 2016, Galleri Urbane, Dallas, TX Palette, curated by Kelly Inouye, Theodora Mauro and Lisa Solomon, ampersand international arts, San Francisco, CA Small Works, Trestle Gallery, Brooklyn, NY Art Market, with Chandra Cerrito Contemporary, San Francisco, CA 2015 Therely Bare Redux, Zeitgeist Gallery, Nashville, TN Therely Bare Redux, Clara M Eagle Gallery, University of Tennessee, Murray Territory of Abstraction, Pentimenti Gallery, Philadelphia, PA Out of Storage, Studio 110 Projects, Sausalito, CA Art Market San Francisco, (with Chandra Cerrito Contemporary), San Francisco, CA The Airplane Show, B Sakata Garo, Sacramento, CA 2014 un.bound.ed, curated by Brent Hallard and Don Voisine, Root Division, San Francisco, CA (edition) DOPPLER SHIFT, curated by Mary Birmingham, Visual Arts Center, Summit, NJ (catalogue) The Intuitionists, curated by Heather Hart, Steffani Jemison & Jina Valentine, The Drawing Center, New York, NY (catalogue) First / Last, curated by Heather Phillips, Park Life, San Francisco, CA 2013 DOPPLER, Parallel Art Space, Brooklyn, NY (catalogue) Generations IX: The Red / Pink Show, A.I.R. Gallery, Brooklyn, NY Made In Paint: 2012 Artists in Residence, The Sam & Adele Golden Gallery, New Berlin, NY Rituals of Exhibition II, Light Space Project, H Gallery, Chiang Mai, Thailand Rituals of Exhibition, curated by Giles Ryder and Gilbert Hsiao, Don't Be Selfish, Phayao, Thailand POSTE CONCRET II, curated by Richard van der Aa, ParisCONCRET, Paris, FR 2012 Soft Luminosity, curated by Guido Winkler and Iemke van Dijk, IS Projects, Leiden, NL (edition) Art On Paper 2012, The Weatherspoon Museum of Art, Greensboro, NC (brochure) Islands of Order in a Sea of Chaos, curated by Ruth van Veenen, de Vishal, Haarlem, NL Doppler Stop, Amsterdams Grafisch Atelier, Amsterdam, NL (catalogue) Doppler Stop, Kunst & Complex, Rotterdam, NL Doppler Stop, Fluctuating Images / General Public, Berlin, DE Doppler Stop, trenutak.39 / Museum of Contemporary Art, Zagreb, HR Trade - O - Mat, curated by Kathryn Kenworth, Kala Art Institute, Berkeley, CA 2011 A Romance of Many Dimensions, curated by Brent Hallard, Brooklyn Artists Gym, Brooklyn, NY POSTE CONCRET I, curated by Richard van der Aa, ParisCONCRET, Paris, FR BYO, IS Projects, Leiden, NL Stop & Go Rides Again, touring exhibition curated by Sarah Klein, Z Space, San Francisco, US; Kunst & Complex, Rotterdam, NL; Fluctuating Images / General Public, Berlin, DE; Fluctuating Images / Interventionstraum, Stuttgart, DE An Exchange with Sol Lewitt, Massachussetts Museum of Contemporary Art, North Adams, MA (catalogue) ReTrace, Cesar Chavez Art Gallery, San Francisco State University, San Francisco, CA 2010 TOUCH, curated by Brent Hallard, ParisCONCRET, Paris, FR (catalogue) Factor XX, curated by Jenny Balisle, Los Gatos Museum, Los Gatos, CA (catalogue) The Rule of Typical Things, Gregory Lind Gallery, San Francisco, CA 2009 TRANS: form color, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they arcolor, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they arColor, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they aren't.

In this group of small paintings, individual colors and their arrangements evoke particular emotional responses and provide a tipsy interplay between creation and destruction, linear and volumetric forms, flat and dimensional spaces.

Continuing her exploration of color and this hypothetical battle between the color chart and the color circle, Galeria Nara Roesler's artistic director Alexandra Garcia Waldman presents the second part of the group exhibition Chromophilia vs. Cromophobia: Continues, now at the Rio venue.

Single forms are each one color, with delicate overlap between gridded groups of green, blue, black and red numbers, and the x and y axis sketch out the way a body moves through space over time.

Collectively, work by the select group of prolific creators, born between 1891 and 1981, represents a range of approaches rooted in Abstract Expressionism, Color Field painting and Minimalism, with emphasis on process, materiality, innovation and experimentation.

The collection houses early works by Demuth, Dove, Hartley, and O'Keeffe, produced between 1908 and 1918, and a focused group of later paintings by Dove, Hartley, Marin, and O'Keeffe that capture their response to the light and color of the New Mexican landscape near Taos.

In the editor's note for the special issue titled «Visualizing the Riot,» Chika Okeke - Agulu reminds readers that during the Civil Rights Movement artists of color considered the relationship between their work and politics and social justice, citing three groups in particular — Spiral in New York; Los Angeles artists associated with the Watts Tower Arts Center; and Chicago - based AfriCOBRA.

KM Fine Arts is pleased to announce the second tier of their winter series BLACK + BLUE: a group exhibition with works by both contemporary New York and Los Angeles based KM artists and secondary market masters, with an emphasis on the relationship between color and tenor.

«Now «n Then» offers various examples of paintings from such histories over a span of sixty years including student works from R.I.S.D. in the late 1950s, a unique collage / combine from his MFA days at Cornell University in 1961, a small series of strictly black and white oil paintings from 2010 which were done between a larger group of imaginary still life paintings and a following group of minimalist color paintings.

In this group, apparently begun in early 1954, Louis reconciled the conflict between his new found feeling for color and the importance he had always associated with drawing.

2017 Desert X Biennial, Coachella Valley, CA 2016 SITElines.2016: New Perspectives on Art of the Americas, SITE Santa Fe, New Mexico NO COMMISSION, Bronx, NY Recent Acquisition, exhibited as part of Beyond Limits, Museum of Fine Arts, Boston, MA Recent Acquisition, exhibited as part of Native Artists of North America, Newark Museum of Art, Newark, NJ Kindred Beasts: The Everson Biennial, Everson Museum of Art, Syracuse, New York Convene, Nerman Museum of Contemporary Art, Overland Park, Kansas March Madness, Fort Gansevoort, New York, New York WORD, Hudson Valley Center for Contemporary Art, Peekskill, New York New Geometries, Fleisher / Ollman, Philadelphia Perfect Day, Roberts and Tilton, California 2015 - 6 Affinity Atlas, The Tang Museum, Skidmore College, Saratoga Springs, New York Greater New York, MoMA PS1, New York, New York An Evening Redness in the West, IAIA Museum of Contemporary Native Arts (MoCNA), Santa Fe, New Mexico Between History and Body, The 8th Floor, Shelley and Donald Rubin Foundation, New York, New York P3, Prospect New Orleans, New Orleans, Louisiana 2015 Piece by Piece, Building a Collection, Kemper Museum of Contemporary Art, Kansas City, Missouri Gray Would Be The Color if I Had a Heart, MARC STRAUS, New York, NY Geometries of Difference: New Approaches to Ornament and Abstraction, Samuel Dorsky Museum of Art, New Paltz, New York 2014 - 5 Beautiful Games: American Indian Sport and Art, Heard Museum, Phoenix, Arizona 2014 Xigue - Xigue, MARC STRAUS, New York, New York Contemporary American Indian Art, The Nerman Museum Collection, Overland Park, Kansas 2013 Fiction / Non-Fiction, Esker Foundation, Calgary, Canada On Deck, MARC STRAUS, New York, New York Sakahan: International Indigenous Art, National Gallery Canada, Ottowa, Ontario Outside the Lines, Contemporary Art Museum Houston, Houston, Texas Hotbox Forever, Steven Wolf, San Francisco, California Totem, Aysa Geisberg Gallery, New York, New York Group Show, Samson, Boston, Massachusetts 2012 - 4 Changing Hands 3, Museum of Art and Design, New York, New York; Memorial Art Gallery, Rochester, New York; McMichael Canadian Art Collection, Kleinburg, Ontario, Chazen Museum of Art, University of Wisconsin, Madison; Museum of Contemporary Native Arts, Santa Fe, New Mexico, University of Michigan Museum of Art, Ann Arbor, Michigan 2012 Shapeshifting, Peabody Essex Museum, Salem, Massachusetts E-Vapor-8, 319 Scholes, Brooklyn, New York, organized by Francesca Gavin Peekskill Project V, Hudson Valley Center for Contemporary Art, Peekskill, New York 2011 Recent Acquisitions, Museum of Fine Arts, Linde Wing for Contemporary Art, Boston, Massachusetts Close Encounters, Plug - In Institute of Contemporary Art, Winnipeg, Canada Recent Acquisitions, Denver Art Museum, Denver, Colorado Anthony Greaney x Dan Graham x Samson, Cottage Home Gallery, Los Angeles, California An Exchange with Sol LeWitt, Cabinet Exhibitions and Mass MoCA, Brooklyn.

Gordin used a predetermined group of shapes and a spontaneous color palette in order to wholly explore spatial relationships between forms.

In the1970s, Johns initiated his Crosshatch series (Corpse and Mirror, 1978; Between the Clock and the Bed, 1981), abstract compositions of colored brushwork that recall his earlier work, but now individual strokes are distinct and gathered in parallel groupings arranged at angles.

More recently, the artist has been painting the landscape of his native land, studying the effects of color and the changing seasons, while also returning to the idea of examining the tensions between figures in social groupings.

Tension between figure or object and the surrounding dense block of bold color and texture brings the three very different artists work together in this vibrant group exhibition - with works -LSB-...]

A select group of color works will illustrate the relationship between Katz's vibrant palette and the graphic quality of his black and white prints.

Since his death in 1979, his work has been celebrated in numerous exhibitions; significant recent museum group exhibitions include Abstract Expressionist New York at the Museum of Modern Art (2010); From the Margins: Lee Krasner and Norman Lewis (2014, curated by Norman Kleeblatt) at The Jewish Museum (NYC); Postwar - Art between the Pacific and Atlantic, 1945 - 1965, (2016, curated by Katy Siegal and Okwui Enwezor) at the HausDerKunst (Munich); The Color Line: African American Artists and the Civil Rights in the United States (2016, curated by Daniel Soutif) at Musée du Quai Branly, Paris; and Abstract Expressionism, curated by David Anfam for the Royal Academy of Arts, London, England (2016).

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