Sentences with phrase «big drawing room»

There was a big drawing room with balcony, a garden roof and a large garden.

Not exact matches

Rooms are fairly typical for a Holiday Inn beach hotel, with fresh bedding, and convenient extras such as full - size fridges and microwaves; the balconies featuring gulf views are perhaps the biggest draw.

Napoli's attacking plan revolved around them circulating the ball in a small area of the pitch to draw in Wolfsburg before spreading it to whoever's in space — with Hamsik given so much room, whoever got it had a big obvious target for moving the ball forward quickly so Napoli were able to break at speed.

The big draw for me was my the birth center's water birth room.

Warm colors draw the walls in, making the room seem smaller, but cool colors tend to make a small space feel bigger.

«The biggest surprise was finding at least one species in almost every room, with only five of the 554 rooms drawing a blank,» says Bertone.

A roaring bestseller, it caused a bigger rumpus than Charles Darwin's On The Origin of Species by dragging evolution out of the closet and into the drawing room.

Sitting at the dining room table, she drew big circles on notebook paper and sketched her newfound views.

If you can draw a big woman away from the crowded that room environment and engage her in a private chat, then this can be a hundred times more effective than the traditional «email - and - wait» strategy.

As Netflix and Amazon draw more filmmakers on a forced march to other platforms, Franco and a host of Hollywood filmmakers use The Disaster Artist to celebrate the way even a movie like The Room can bring people together, in the warm glow of the big screen.

Bart Got a Room (PG - 13 for sexuality, mature themes and brief profanity) Coming - of - age comedy about a nerdy high school senior (Steven Kaplan) whose search for a prom date becomes increasingly desperate as the big night draws nearer.

- Sporting driving position and good room in both rows, mostly, plus the biggest benefit being improved leg room over previous model - Really nice cargo space, with seats up, or seats down, the cargo area of this vehicle and the flexibility of it in a car like this IMO is a major draw - View outside of this vehicle is improved over its platform mate (Malibu, my daily driver) due to the rear door glass being longer and taller.

But if her intent was to entice, if she wanted my money, if this was all a big elaborate scheme to draw me in with the need to know what soul - seizing secrets awaited me in the back room, then she had me right where she wanted me.

As the big day draws to a close, newly - weds and guests can reach their rooms in just a few minutes.

Drawing inspiration from the Oddworld games of old, the game is part platformer and part point - and - click adventure, with a big focus on real - time puzzles (such as breaking into a certain room or reaching an area unnoticed).

Netze und andere Gebilde,» Kunsthalle Basel, Basel, Switzerland, catalogue «1999 Drawings,» Alexander & Bonin Gallery, New York, NY «00,» Barbara Gladstone Gallery, New York, NY, July 6 - August 5, 2000, catalogue 1999 «Description Without Place,» AC Project Room, New York, NY, October 23 - December 4, 1999 «Proliferation: Work from the Permanent Collection,» Museum of Contemporary Art, Los Angeles, Los Angeles, CA, March 7 — June 20, 1999 «Life is Elsewhere,» Theoretical Projects, Naples, Italy, March 25 - May 1, 1999 1997 «Maxwell's Demon,» Margo Leavin Gallery, Los Angeles, CA, November 8 - December 20, 1997 «Elusive Paradise: Los Angeles Art from the Permanent Collection,» Museum of Contemporary Art, Los Angeles, October 5, 1997 - November 14, 1999 «Painting Machines,» curated by John Stomberg, Boston University Art Gallery, Boston, MA, October 31 - December 14, 1997 1996 «Just Past: The Contemporary in the Permanent Collection, 1975 - 96,» curated by Ann Goldstein, The Geffen Contemporary at MOCA, Los Angeles, September 28 - January 7, 1997 «Final Projects: The House,» MAK Center for Art and Architecture, Schindler House, Los Angeles «The Garage Project,» MAK Center for Art and Architecture, Mackey House, Los Angeles «Everything that's interesting is new,» Deste Foundation, Athens, Greece 1995 «The Big Night,» Art Center College of Design, Pasadena, CA «Plane / Structures,» White Columns, NY, curated by David Pagel «Ambient,» Olivier Antoine, Nice, France «Saturday Night Fever,» Thomas Solomon's Garage, Los Angeles, CA 1994 «Un Papillon sur la Roue,» L'Espace d'Art Moderne et Contemporain de Toulouse et Midi - Pyrenees, Toulouse, France «Plane / Structures,» Otis Gallery, curated by David Pagel, Los Angeles 1993 «Co-Conspirators,» James Corcoran Gallery, curated by Cliff Benjamin, Santa Monica, CA «Just What Is It That Makes Today's Homes So Different, So Appealing?

Kunsthalle Winterthur, Winterthur, Switzerland (2016); Fashioned to a Device Behind a Tree, Camden Arts Centre, London, UK (2015); Drawing Biennial, Drawing Room, London (2015); Cathedral, AV Festival, NGCA, Sunderland, UK (2013); PROJECT, Maureen Paley Gallery, London, UK, (2013); Curiosity: Art & the Pleasure of Knowing, Hayward Touring UK (2013); Alternating Layers of Contrasting Resistance, Rowing, London, UK (2013), Solo Presentation, Art Rotterdam, Rotterdam, The Netherlands (2013), The Little Man of the Forest With the Big Hat, Federica Schiavo Gallery, Rome, Italy (2013); Cyclorama, Museo Tamayo Arte Contemporáneo, Mexico City, Mexico (2013); Relatively Absolute, Wysing Arts Centre, Cambridge; The Little Man of the Forest With the Big Hat, MCZ - Museo Carlo Zauli, Faenza, Italy (2012); An Arrangement of the Materials Ejected, Spacex, Exeter (2011); To See an Object to See a Light, Fondazione Sandretto Re Rebaudengo, Guarene d'Alba, Italy, (2011); Vedere un oggetto, vedere la luce, Fondazione Sandretto Re Rebaudengo, Guarene d'Alba, Italy (2011); Sentinel - PPS / / Meetings # 4, Palazzo Riso — Museo d'Arte Contemporanea della Sicilia, Palermo, Italy (2011); SI - Sindrome Italiana, Le MagasinCentre National d'Art contemporain de Grenoble, France (2010); Catastrophe?

Becky Yazdan, Kylie Heidenheimer, Peter Bonner February 3 - 26, 2017 Thicket, curated by David Gibson, Station Independent Projects, New York, NY Becky Yazdan, Cathy Diamond, Fukuko Harris, Marianne Barcelona, Susan English December 16, 2016 - February 18, 2017 (closed 12/18/2016, reopens 1/20/17) Big Small Show, Victory Hall Drawing Rooms, Jersey City, NJ

It will range from very early drawings from his days as a studio assistant to another giant of British sculpture, Henry Moore — some with scribbled corrections by Moore himself — to jewellery - sized wearable pieces and giant sculptures big enough for visitors to walk into, such as his 1983 wooden sculpture Child's Tower Room.

In the second room there is a series of drawings that I made this summer, plus some big ceramics.

Far from shrinking under such glaring public exposure, however, her pictures exert a gravitational force that draws you in and makes you momentarily forget the big empty room.

The Big Draw The Scotsman; November 2, 2013; Jeffrey, Moira; 700 + words Turner Prize 2013, Ebrington, Derry - Londonderry... a bucket.In David Shrigley's Life Model at the Turner Prize 2013 exhibition in Derry - Londonderry... in an empty white room in the new Turner Prize galleries at Ebrington, the former...

Figures for last year's Turner exhibition in London were a relatively low 51,000, perhaps because there were no big draws on the shortlist (the artwork by the winning artist, Susan Philipsz, amounted to an empty room with music playing).

Standouts included Sarah Sickle «s studio where representative drawings of conversations overheard, interesting reads, and her friends» statements were presented in a blossom pink room, reminiscent of a little girl's room, resplendent with chandelier beads hanging from the ceiling, induced big smiles on my face, as well as many chuckles.

2016 Victory Hall - Drawing - Room — The Big Small Show — Newark, NJ 2016 Chashama Open Studios — Brooklyn, NY 2016 hob» art gallery — Visions, Reveal II and Reveal III, Through the Artist's Eye, Hoboken — NJ 2016 Ceres Gallery — Friends of Ceres — New York, NY 2015 Viridian Gallery — hob» art at Viridian — New York, NY 2015 Chashama Open Studios — Brooklyn, NY 2015 Rogue Space / Chelsea Gallery — Girls — New York, NY 2015 Ceres gallery — First National Square Show — New York, NY 2015 hob» art gallery — Noir — Hoboken, NJ 2015 Pleiades gallery — The Small Works Show — New York, NY 2015 Victory Hall - Drawing Room — The Big Small Show — Newark, NJ 2015 Ryan - Chelsea - Clinton Health Center — Hell's Kitchen Painters Exhibit — New York, NY 2015 Black Rail Coffee — Fresh start — Hoboken, NJ 2014 Chashama — Open Studios — Brooklyn, NY 2014 hob» art gallery — Medium is the message — Hoboken, NJ 2014 Ceres gallery — «Friends of Ceres» — New York, NY 2014 The Group — hob» art gallery — Hoboken, NJ.

A Turner Prize nominee in 2013, his recent solo exhibitions include David Shrigley, Rose Art Museum, Waltham, MA (2016); Really Good, Fourth Plinth Commission, London (2016); David Shrigley, Two Rooms Gallery, Auckland Arts Festival, New Zealand (2015); David Shrigley: Life and Life Drawing, National Gallery of Victoria, Melbourne, Australia (2014 — 15); David Shrigley, Pinakothek der Moderne, Munich, Germany (2014); Big Shoes, BQ, Berlin, Germany (2013); How Are You Feeling?

Abstract art by these three Chinese artists were clearly a big draw at the sale and the room thinned as attention turned next to the sale of artworks from Southeast Asia, Korea and Japan.

His work has also been the subject of important group and solo shows throughout the span of his almost 50 - year career, including Against the Grain: Wood in Contemporary Craft and Design, Museum of Art and Design, New York (2013); superhuman, Central Utah Art Center, Ephraim (2012); Reenactor, Williams Center Gallery at Lafayette College, Easton, PA (2012); The Last Newspaper, New Museum, New York (2010); 30 Seconds Off an Inch, The Studio Museum in Harlem, New York (2009); Corbu Pops, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA (2009); Thirty Americans, Rubell Family Collection, Miami (2008); Black Is, Black Ain't, Renaissance Society at the University of Chicago (2008); Drawing, Dreaming, Drowning at Art Institute of Chicago (2008); Art After White People: Time, Trees, and Celluloid... at Santa Monica Museum of Art, Santa Monica, CA (2007); William Pope.L: The Black Factory and Other Good Works, Yerba Buena Center for the Arts, San Francisco (2007); 7e Biennale de l'Art Africaine Contemporaine, Dakar, Senegal (2006); Double Consciousness: Black Conceptual Art since 1970, Contemporary Arts Museum Houston (2005); The Interventionists: Art in the Social Sphere, Massachusetts Museum of Contemporary Art, North Adams (2004); The Big Nothing, Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2004); Only Skin Deep, International Center of Photography, New York (2004); William Pope.L: the friendliest Black artist in America at ICA at Maine College of Art, Portland, DoverseWorks Artspace in Houston, Portland Institute for Contemporary Art, ME, Artists Space in New York, and Mason Gross Art Galleries at Rutgers University in New Brunswick, NJ (2002 - 2004); eRacism: Retrospective Exhibition, Institute of Contemporary Art at Maine College of Art, Portland (2002); eRacism: White Room, Thread Waxing Space, New York (2000); Eating the Wall Street Journal and Other Current Consumptions, Mobius, Boston (2000); and Out of Actions: Between Performance and the Object, 1949 — 1979, Museum of Contemporary Art, Los Angeles (1998).

Karen: The biggest change, in my mind, was having to stop the «wall of storage» where the living room meets the hall (that goes to the children's rooms)... when drawing up the plans, we did not allow adequate space in the hallway to accommodate the depth of the bookshelves, as planned.

I think another big reason I'm drawn to Sarah Richardson's looks is that she seems to breathe fresh air into a room, even with those rooms she infuses with color and pattern feel so fresh and alive.

A less traditional way to decorate is to use the same colour on the woodwork, walls and ceiling this will create real height and the room will feel much bigger as there are no sharp lines to draw the eyes to.

And those gardens, the ones there is not room for in today's new - builds or high - rise blocks, are still a big draw for buyers.