Not exact matches
Today that path runs through Salesforce, where Stevenson
works for Prophet as a program coordinator — and recently showed his poise by leading a
panel discussion in front of the Congressional
Black Caucus.
His group's support for proposals like Move NY and the plan released by the governor's Fix NYC
panel comes with a significant caveat: «Congestion pricing will only
work if the playing field is leveled by eliminating the sales tax on
black cars so that one equal fee can be applied to both cabs and
black cars.
At least three members of the
panel chosen by Dr. Steiner have previously
worked for the Bloomberg administration in the department of education — a credential Dr. Steiner has called «a plus» in evaluating Ms.
Black.
The wet processes we have developed are simple yet effective, and our
work with
black silicon has real - world applications in making cost - effective silicon solar
panels.»
There is a wide variation of
black dresses for
work — from printed dresses with
black contrast
panels, to color
black side
panels and solid color blocking, going
black is never as creative as ever!
Fitted
black square neck cocktail / formal
work dress Cotton poly mix Perfect condition - never worn
Panelled bodice with taupe stitch detail Shaped skirt
Set in
black to
work across your favourite tailoring, this crisp lace - up is embellished with printed
panels at the topline for subtle texture.
The movie goes inside her head, where characters representing Joy (Amy Poehler) Anger (Lewis
Black) Fear (Bill Hader) Disgust (Mindy Kaling) and Sadness (Phyllis Smith)
work the levers and
panels of her brain.
As the
panel ended, it was clear that there is a lot of
work to be done to ensure
Black children get the education they deserve and
Black men and women are treated fairly in professional educational settings.
Exploring how leaders of all ethnicities can
work to advance more diverse leadership across the field of education was a
panel of
Black, Latino and White leaders who discussed their stories...
Since 2008 doing approx 1000 miles per year, I put it through an mot on the 10th January, it passed without advisories;; The underneath is very solid indeed and doesn't need any
work, the current paint was done approx 7 years ago to a good standard but is not perfect, when it had a change from Albert Blue (traces of it around the battery boxes) to the current
black;; It still has the US import sticker on the left side door post, the original chassis plate and the chassis stamp on the bulkhead are all there;; It drives very well, I've driven it for circa 40 miles with no problems;; It has 15» Fuchs alloys and the spare is a chrome steel wheel;; The rear end has been «modernised» at some point, I personally would remove the rear Porsche reflector and fit an original
panel and bumper stops to get it back to the original pre impact bumper look, I could do this for you if required, cost circa GBP 800;; The seats have been changed to 80's leather recaros and the door cards to a later style, again I'd put some period seats in and back date the door cards if required at cost price;; The 80's recaros are worth good money so shouldn't be too much further expense if they were sold separately;; Further information to come but please contact me if you have any queries;; In summary, a really good looking classic 911Targa, that is great value and can be enjoyed as is, or improved for not a lot of money;;
And perhaps most infuriatingly, the temperature control — on a small,
black, capacitive
panel, the shape of which resembles a Kabuki mask — decided that adjusting to my inputs was just too much
work, you know?
wheels Exterior Modifications: Shaved rear wiper; 3rd Strike Performance custom graphics and paint
work, headlights, taillights and fog lights; Couture bumpers and side skirts; GTS headlight, taillight and fog light covers Interior Modifications: Quiet Ride Acoustic Solutions kit;
Black Cat Customs Mopar gauges; custom painted
panels; Billet Technology pieces; 3rd Strike billet pieces; Lloyds custom Mopar mats; Dash Designs dash cover; Power Acoustiks amplifiers, speakers and subwoofers; Kinetik batteries; Whistler Power invertor and radar detector
Factory two tone Onyx
Black / India Ivory, original 265cid V8 (rebuilt less than 500 miles with receipts), 2 speed powerglide automatic (rebuilt), factory power steering, continental kit, very rare factory wire wheel covers, front bumper guards with «T» bar, front bumper corner protectors, front fender gravel guards, gas lid guard, rocker
panel moldings, rear bumper corner protectors, original gray & ivory interior, wonder - bar radio (
works), correct Daytona weave carpet, tissue dispenser, dash clock, factory GE spotlight with backside mirror, electric wipers, deluxe heater, brand new 2 1/2» radial wide whites.
Ready to
work for the serious operator with work ready options not found on other units: Options: Air Suspension Hendrickson, Air Suspension Dump Valve Electric, Aluminum Wheels Outer / Steel Inner, Chrome Cold Package (Block Heater, Heated Mirrors, Air Dryer), Chrome Bumper w / 2 Hooks, Differential Lock w / Controls, Battery GR31x3, Air Horn, Sears Atlas 70 Vinyl Seat, Power Windows / Door Locks (Keyless), 95 Gal Fuel Tank, Synthetic Fluids Differential, Seat Belts Safety Orange, Blue Tooth Enabled Radio, Fire Extinguisher & Safety Triangles Equipment: Standard - duty 6 - Ton Low Profile XLP Steel Carrier, 22 Long x 102» Wide Steel Low Profile XLP Deck w / Tubular Removable Rails, Diamond Decking, 3/16» Thick, 1 - Piece, 36 KSI, Polished Aluminum Removable Rails ILO Standard Rails on Removable Rail Decks, Standard Keyslots (1 Pair @ Front, 3 Pair Along Rubrail, 4 Keyslots Across Rear), LED Marker Lights - 5 Pair Evenly Spaced in Outside Rubrail, Galvanized Sub-frame and any IRL Wheel Lift, Bolt - on Headboard, Work Lights on Headboard (Pair), Headboard - Jerr - Dan Gloss Black, 10,000 lb Worm Gear Winch ILO Standard, Manual Operated Remote Free Spool for 8K & 10K Winch (Standard), 5/8» Weld - on D - Rings Abreast of Winch (Pair), 3,500 lb IRL Wheel Lift w / Steel Tubular L - Arms, 2» Reese Receiver for Wheel Lift ILO Standard, Whelen 10 - Head LED Amber Light Bar, 5 Function In - Dash Compact Switch Panel, Rubber Work Lights at Rear of Sub-frame (Pair), Clutch Shift PTO ILO Standard, (2) 48» Long x 18» High x 18» Bawer Tool Boxex, Air Supply Disconnect at Rear of Sub-frame, Remote Control 1 Function Winch In and Out Differential Lock, DOT, Headache Rack, Tilt / Telescope, A / C: New, Cruise Control, Heated Mirrors, Power Locks, Power Windows: Both, Turbo;
work for the serious operator with
work ready options not found on other units: Options: Air Suspension Hendrickson, Air Suspension Dump Valve Electric, Aluminum Wheels Outer / Steel Inner, Chrome Cold Package (Block Heater, Heated Mirrors, Air Dryer), Chrome Bumper w / 2 Hooks, Differential Lock w / Controls, Battery GR31x3, Air Horn, Sears Atlas 70 Vinyl Seat, Power Windows / Door Locks (Keyless), 95 Gal Fuel Tank, Synthetic Fluids Differential, Seat Belts Safety Orange, Blue Tooth Enabled Radio, Fire Extinguisher & Safety Triangles Equipment: Standard - duty 6 - Ton Low Profile XLP Steel Carrier, 22 Long x 102» Wide Steel Low Profile XLP Deck w / Tubular Removable Rails, Diamond Decking, 3/16» Thick, 1 - Piece, 36 KSI, Polished Aluminum Removable Rails ILO Standard Rails on Removable Rail Decks, Standard Keyslots (1 Pair @ Front, 3 Pair Along Rubrail, 4 Keyslots Across Rear), LED Marker Lights - 5 Pair Evenly Spaced in Outside Rubrail, Galvanized Sub-frame and any IRL Wheel Lift, Bolt - on Headboard, Work Lights on Headboard (Pair), Headboard - Jerr - Dan Gloss Black, 10,000 lb Worm Gear Winch ILO Standard, Manual Operated Remote Free Spool for 8K & 10K Winch (Standard), 5/8» Weld - on D - Rings Abreast of Winch (Pair), 3,500 lb IRL Wheel Lift w / Steel Tubular L - Arms, 2» Reese Receiver for Wheel Lift ILO Standard, Whelen 10 - Head LED Amber Light Bar, 5 Function In - Dash Compact Switch Panel, Rubber Work Lights at Rear of Sub-frame (Pair), Clutch Shift PTO ILO Standard, (2) 48» Long x 18» High x 18» Bawer Tool Boxex, Air Supply Disconnect at Rear of Sub-frame, Remote Control 1 Function Winch In and Out Differential Lock, DOT, Headache Rack, Tilt / Telescope, A / C: New, Cruise Control, Heated Mirrors, Power Locks, Power Windows: Both, Turbo;
work ready options not found on other units: Options: Air Suspension Hendrickson, Air Suspension Dump Valve Electric, Aluminum Wheels Outer / Steel Inner, Chrome Cold Package (Block Heater, Heated Mirrors, Air Dryer), Chrome Bumper w / 2 Hooks, Differential Lock w / Controls, Battery GR31x3, Air Horn, Sears Atlas 70 Vinyl Seat, Power Windows / Door Locks (Keyless), 95 Gal Fuel Tank, Synthetic Fluids Differential, Seat Belts Safety Orange, Blue Tooth Enabled Radio, Fire Extinguisher & Safety Triangles Equipment: Standard - duty 6 - Ton Low Profile XLP Steel Carrier, 22 Long x 102» Wide Steel Low Profile XLP Deck w / Tubular Removable Rails, Diamond Decking, 3/16» Thick, 1 - Piece, 36 KSI, Polished Aluminum Removable Rails ILO Standard Rails on Removable Rail Decks, Standard Keyslots (1 Pair @ Front, 3 Pair Along Rubrail, 4 Keyslots Across Rear), LED Marker Lights - 5 Pair Evenly Spaced in Outside Rubrail, Galvanized Sub-frame and any IRL Wheel Lift, Bolt - on Headboard,
Work Lights on Headboard (Pair), Headboard - Jerr - Dan Gloss Black, 10,000 lb Worm Gear Winch ILO Standard, Manual Operated Remote Free Spool for 8K & 10K Winch (Standard), 5/8» Weld - on D - Rings Abreast of Winch (Pair), 3,500 lb IRL Wheel Lift w / Steel Tubular L - Arms, 2» Reese Receiver for Wheel Lift ILO Standard, Whelen 10 - Head LED Amber Light Bar, 5 Function In - Dash Compact Switch Panel, Rubber Work Lights at Rear of Sub-frame (Pair), Clutch Shift PTO ILO Standard, (2) 48» Long x 18» High x 18» Bawer Tool Boxex, Air Supply Disconnect at Rear of Sub-frame, Remote Control 1 Function Winch In and Out Differential Lock, DOT, Headache Rack, Tilt / Telescope, A / C: New, Cruise Control, Heated Mirrors, Power Locks, Power Windows: Both, Turbo;
Work Lights on Headboard (Pair), Headboard - Jerr - Dan Gloss
Black, 10,000 lb Worm Gear Winch ILO Standard, Manual Operated Remote Free Spool for 8K & 10K Winch (Standard), 5/8» Weld - on D - Rings Abreast of Winch (Pair), 3,500 lb IRL Wheel Lift w / Steel Tubular L - Arms, 2» Reese Receiver for Wheel Lift ILO Standard, Whelen 10 - Head LED Amber Light Bar, 5 Function In - Dash Compact Switch
Panel, Rubber
Work Lights at Rear of Sub-frame (Pair), Clutch Shift PTO ILO Standard, (2) 48» Long x 18» High x 18» Bawer Tool Boxex, Air Supply Disconnect at Rear of Sub-frame, Remote Control 1 Function Winch In and Out Differential Lock, DOT, Headache Rack, Tilt / Telescope, A / C: New, Cruise Control, Heated Mirrors, Power Locks, Power Windows: Both, Turbo;
Work Lights at Rear of Sub-frame (Pair), Clutch Shift PTO ILO Standard, (2) 48» Long x 18» High x 18» Bawer Tool Boxex, Air Supply Disconnect at Rear of Sub-frame, Remote Control 1 Function Winch In and Out Differential Lock, DOT, Headache Rack, Tilt / Telescope, A / C: New, Cruise Control, Heated Mirrors, Power Locks, Power Windows: Both, Turbo; 4x2
We've chosen to demonstrate
black because it is our most commonly picked color and
works well with many of our
panel colors.
Each room is appointed with contemporary furniture; a 40 - inch, flat -
panel television; high - speed wired and wireless Internet access;
black granite surfaces; True Blue ® Spa Bath & Body
Works ® amenities.
The majority of the new
works present canvases halved by painted
panels of saturated, jewel - like color — glowing lapis lazuli blues, radiating golds, reds, ochres, and deep purple -
blacks.
At the Pulitzer Arts Foundation in St. Louis, where the 28 - foot - tall Kelly
work composed of two monochrome aluminum
panels painted blue and
black is permanently installed, Mr. Ligon has free - associated on the political, formal and poetic interplay of these two colors in a large - scale exhibition he has organized.
Andrew's newest
work is a new study in creating sculpture using over 500 pieces of recycled wood that are inserted at varying depths into a 36» x 36» wood
panel with a
black automotive paint background.
Working exclusively in
black and white, Yoshimura prepared a series of aluminum - mounted on wood
panel pieces where he draws intricate imagery using marker, acrylic, spray, and grease pencil.
«Untitled» (1998/2007), a 12 -
panel work depicting two groups of
Black men in a domestic setting casually engaging one another in conversation, graces the front cover and extends around to the back.
The show's title, «Blue
Black,» comes from another abstract work: a two - panel vertical wall sculpture, half black, half blue, by Ellsworth Kelly that the Pulitzer Arts Foundation
Black,» comes from another abstract
work: a two -
panel vertical wall sculpture, half
black, half blue, by Ellsworth Kelly that the Pulitzer Arts Foundation
black, half blue, by Ellsworth Kelly that the Pulitzer Arts Foundation owns.
«Embodiment» consists of new iterations of her renowned ephemeral pigment paintings — gold leaf on resin, on
black and white pigment
panels — and three sculptural
works, all produced between 2015 — 2016.
The allure of her
work stems from how the
panels react to the
black light that emits the prismatic punch that buzzed all throughout the space.
This exhibition includes rare examples of ZERO period
works including Licht - Relief [Light - Relief](1958), an undulating aluminium relief; Mauerrelief [Wall - Relief](1962) an exquisite group of textured reliefs of silver leaf on wood; and Raster - Oval [Grid - Oval](1966), a graphic geometric
black and white painting on
panel.
The 1951 three -
panel White Painting is believed to have been painted over almost immediately as Untitled [matte
black triptych](ca. 1951, fig. 2).6 In fact, there is no exhibition history or any other evidence to indicate that White Painting [three
panel] was extant between 1951 and 1968; 7 in those years, most of the original White Paintings had slipped out of existence, their canvases used as the supports for other pieces.8 Though artists throughout history have created new
works on used canvases, Rauschenberg did so with an unusual frequency and ease, particularly in the early 1950s.9 Looking back at that period some ten years later, he commented, «Today I wouldn't do that....
The paintings are often
worked and reworked over the course of decades, orientations of
panels are changed, and some are «tattooed» with the use of a fine
black line, which indicates her biography.
The exhibition features six
works from the «Sarrafos» series, composed of white tempera
panels intersected by a single, angled
black bar, and
works from «Brancos e Pretos,» seemingly flat
panels punctuated by painted arcs and lines that reveal slight variations of texture to cast shadows and form subtle sculptural reliefs.
A two -
panel black and white relief, completed early in 2007, is the oldest
work in the exhibition and anticipates the diagonal paintings.
(2012), a major site - specific
work consisting of five monochromatic aluminum
panels, each painted in a single block of radiant color, designed for the east façade of the Hopkins Center's Spaulding Auditorium, facing the
Black Family Visual Arts Center.
The exhibition «consists of 50
works of mixed - media collage, assemblage on wood
panels, and sculpture presented in an installation designed by the artist that reimagine safe destinations for the
black American traveler during the mid-twentieth century.
Each
work in Witmer's austere Winterbrook (2015 17) series of six small
panels brings out a different relational quality between paint and canvas:
black wash opens up the flawed pores of the canvas grain; dense, dry paint marks the presence of the wooden stretcher as in a rubbing; carefully applied, grey and white thinly glazed layers make another
panel's surface appear taut and tremulous like drumskin.
It is not known if Untitled [glossy
black painting] was produced as part of the first or second campaign.8 But the
work's facture resembles that seen in paintings associated with the first group, such as the Whitney Museum of American Art's Untitled [glossy
black four -
panel painting](fig. 4), and it explores the ambiguities of «monochrome» in ways that seem more closely tied to the abstract expressionist project than to the later paintings» concern with the degradation of materials, an interest often linked to Rauschenberg's 1953 visit to Alberto Burri's (1915 — 1995) studio in Rome.9
Talk: «Al Held
Panel Discussion» at Cheim & Read Following last week's opening of the highly praised exhibition «Al Held:
Black and White Paintings,» which showcases eight of the abstract painter's monumental canvases of interlocking forms from 1967 to 1969, the gallery is presenting an in - depth discussion of the artist and his
work.
In January 2015, the renowned American artist Ellsworth Kelly gifted to the Blanton Museum of Art the design concept for his most monumental
work, a 2,715 - square - foot stone building with luminous colored glass windows, a totemic wood sculpture, and fourteen
black and white marble
panels.
Heddaya writes: «From the outside, Weathersby's pieces straddle the clinical geometry of Op art and the organic architectural character of traditional room dividers and
panels, like the Arab mashrabeya or the Japanese screen, and are unobtrusive, orderly, suggestive even of a painterly monasticism... Ken Weathersby is certainly not the first artist to have manipulated painting and denotation, or desecrated the ever - cooling corpse of canvas — the project has a distinctly vintage,
Black Mountain College feel to it — but there is a focused and exploratory energy at
work in his pieces, a maturity of purpose that stands at ascetic remove from the cloying color and sloppy corporeality that too often comes to the fore in Bushwick.»
This
panel will look at literature, both here and in France, and how it engages the
work of identity in our era of political extremism and activist movements such as
Black Lives Matter in the U.S. or the Nuit Debout in France.
Race Riot, a 5 1/2 - foot - wide four -
panel work in acrylic and ink on linen, repeats in red, white and blue an image published in Life magazine showing police dogs lunging at a
black man during a 1963 demonstration in Birmingham, Ala..
Two
panels of a
Black man at an ATM cover an entire wall of Papillion's office; it's the
work of Haitian - born, New York — raised, L.A. — based artist Andy Robert.
Kelly's sculpture relates to two important early
works: Study for
Black and White
Panels, 1954, a collage created during the artist's time in Paris, and
Black Over White, a 1966 painting made in New York City, both of which will be on view in the gallery as part of the opening exhibition.
Yet his
work actually encompasses such diverse items as a
black - and - white painting based on flickering light on the Seine, gridded paintings with squares of color arranged by chance, weathered steel
panels, floor pieces, multi-panel paintings, contour drawings of leaves and collages on postcards.
Once back in Düsseldorf he produced To the People of New York City (1976), a 15 - part
work comprising 39 aluminum
panels painted in variations of cadmium red, cadmium yellow, and
black — the colors of the West and East German flags (and now the German one)- ever changing in pattern.
The title referred to then three - year - old Isis, whom she was thinking about while she made the
works — fourteen paintings, two
black and white wall drawings, hanging Plexiglas
panels, a video, and a figurative neon - tube sculpture.
Look at «Four Nesting Spirals» (1999 - 2000), one of Siena's enamel and aluminum paintings, and the early
work of Frank Stella comes to mind: Its inward progression of painted rectangles, congruent with the
panel's exterior shape, clearly recalls the «deductive structure» of Stella's early
black, silver and copper paintings.
While many of the
works in the exhibition engage with a looser, more experimental approach to form, color, and composition, others relate more directly to fully - realized
works, such as his proposals for compositions for To The People of New York, a large - scale installation of paintings comprised of forty metal
panels grouped in variations of red, yellow, and
black, which occupied most of his artistic focus during the last year of his life.
The survey includes recent large multi-
panel and single -
panel color photographic
works, early
black - and - white gelatin silver prints, dye destruction prints, waterless lithographs, and Polaroid prints.
• English Sporting Paintings o Henry Thomas Alken (English, 1785 - 1851), four
works from the series A Steeplechase at Market Harborough, Leicestershire, ca. 1840 - 50, oil on
panel, each 10 × 14»: The First Fence; Taking a Brook; Bad Fall at a Paling Fence; and Coming up to the Finish o Sir Edwin Landseer (English, 1802 — 1873), A Terrier on a Step, oil on canvas, 7 ⅛ × 8 ⅛» o Sir Alfred J. Munnings (English, 1878 — 1959): Study of the Pytchley Bitch, 1928, oil on
panel, 16 × 16»; Pilot, one of Freeman's Hunters, Pytchley, Brixworth, 1928, oil on board, 16 × 8 1/4» • European Paintings o Kees van Dongen (Dutch, 1877 - 1968), Haystacks, n.d., (possibly ca. 1904 - 05), oil on canvas, 19 ⅝ x 25 1/2» o Raoul Dufy (French, 1877 - 1953), L'Atelier au bouquet, 1942, oil on canvas, 25 ⅝ × 31 ⅞» o Paul Gauguin (French, 1848 - 1903), Still Life with Bowl, ca. 1889, oil on canvas, 8 x 12 ⅜» o Vincent van Gogh (Dutch, 1835 - 1890), Daisies, Arles, 1888, oil on canvas, 13 x 16 1/2» o Camille Pissarro (French, 1830 - 1903), The «Royal Palace» at the Hermitage, Pontoise, 1879, oil on canvas, 21 ⅜ x 25 ⅞» o Rene Princeteau (French, 1843 - 1914), Le Tilbury, oil on canvas, 15 ⅞ x 22 ⅛» o Georges Seurat (French, 1859 - 1891), Houses and Garden, ca. 1882, oil on canvas, 11 x 18 1/2» o Henri de Toulouse - Lautrec (French, 1864 - 1901), Norfdac, 1881, oil on
panel, 9 1/4 x 5 ⅝» • European Drawings o Leon Bakst (Russian, 1866 - 1924), La Chasse, pencil and watercolor on paper, sight: 12 ⅛ x 18 ⅝» o Eugène Boudin (French, 1824 - 1898), recto: Deux Bretonnes en costume, verso: untitled graphite and watercolor sketch, 10 1/2 x 8 ⅛» o Alexandre - Gabriel Decamps (French, 1803 - 1860), Studies of Hounds,
black chalk on grey paper, 6 3/4 x 10 ⅞» o Georges Seurat, Enfant à l'echarpe,
black conte crayon, sight: 6 1/2 x 4» o Henri de Toulouse - Lautrec, Le depart, pen and ink and pencil, sight: 6 x 9 3/4»
Conceived in dialogue with the exhibition The Shadows Took Shape, this
panel discussion will be moderated by Nettrice Gaskins, Ph.D. candidate and researcher at Georgia Tech's Experimental Games Lab (EGL)(part of the Digital Media program at the School of Literature, Communication and Culture), and feature artists Coco Fusco, Jacolby Satterwhite and Saya Woolfalk, whose
works are included in the two exhibitions currently on view at the Studio Museum, The Shadows Took Shape and Radical Presence:
Black Performance in Contemporary Art.
That particular
work is all colored
black, but segmented into distinct fields by a precisely ruled stripe of more reflective pigment running through the two
panels placed together.