Sentences with phrase «complex surfaces of the works»

Not exact matches

To that end, the BioBE Center's microbiologists have begun working on more rigorous ways to sample the air and various surfaces of their two test buildings, the Lillis Complex and Providence Milwaukie Hospital in a suburb of Portland.

«And it works for a wide range of complex surface geometries and materials.»

However, so far it was necessary to rely on complex lithographic methods to produce the required nano - structure of the sensors, and they have the added disadvantage that they do not work well on uneven surfaces.

We hope that our work investigating tradeoffs like weight and surface tension can inspire future multi-functional microrobots — ones that can move on complex terrains and perform a variety of tasks.»

Furthermore, her innovative ion work demonstrated that soft - landing of mass - selected ions is a powerful technique for preparing novel materials and obtaining a molecular - level understanding of interactions between complex molecules and surfaces.

I work with my dog using clicker, for everything, simple cues such as sit / stay, walk on different surfaces, to more complex change of behaviour / emotion about something, impulse control when he sees cat / squirrel etc..

Be it speeding across a planet surface on a Sparrow hoverbike, spelunking into a cave in search of powerful loot, or tackling the complex Leviathan raid, all of Destiny 2's activities are tuned to work at their best when played with friends.

Among a new generation of abstract painters who emerged combining color field painting with expressionism, the older generation also began infusing new elements of complex space and surface into their works.

Systems of marks traverse intensely layered surfaces, coalescing into an image of the bust as passages of thick paint are scraped, layered, blocked out, and worked up into a complex viewing experience.

Greenberg, art critic Michael Fried, and others have observed that the overall feeling in Pollock's most famous works — his drip paintings — read as vast fields of built - up linear elements often reading as vast complexes of similar valued paint skeins that read as all over fields of color and drawing, and are related to the mural - sized late Monets that are constructed of many passages of close valued brushed and scumbled marks that also read as close valued fields of color and drawing that Monet used in building his picture surfaces.

With its combination of irregular, hand - worked surfaces and smooth, highly finished elements, Spider III is a complex hybrid of menace and emotional vulnerability.

A master of unexpectedly pleasing canvas shapes and paint application, her work brings to mind the fluid paint handling of Christopher Wool, the complex compositional arrangements of Jean - Michel Basquiat, and the aggressive surface treatments of Sterling Ruby.

The surfaces of his works are extraordinarily complex and densely calligraphic.

The Newport Street exhibition is the first major show since Hoyland's death in 2011 and will reaffirm his status as an important and innovative force within international abstraction, providing new insights into the way in which his work evolved from the huge colour - stained canvases of the 1960s, through the textured surfaces of the 1970s to the more spatially complex paintings of the early 1980s.

The second room, expands the concept of print - making into three dimensions, considering works that use pressure on more complex surfaces.

In some of the most complex of these, such as an untitled work from 1953 known as «horizontal black painting,» a great variety of textures and shades of yellow, gray, and black form a dense, nearly chaotic pattern over a large surface.

With its combination of irregular, hand - worked surfaces and smooth, highly finished elements, the spider form is a complex mix of menace and emotion.

An older series of large canvas - based work were made through a complex process using black rubber, charcoal powder, and stencils, resulting in 2 - D works with fragile, understated surfaces.

Since Gallery 2's program is committed to encouraging alternative modes for understanding new and historical material through filters that may alter our perception, Andrea Rosen Gallery is delighted to announce a complex new group exhibition that juxtaposes Rottenberg's sculptures with the evocative surfaces of works by Lynda Benglis, Sean Bluechel, Jean Dubuffet, and mid-century ceramicist Axel Salto.

Ranging from sparsely rendered surfaces to works that contain complex compositions and narrative, the grouping of works installed in the Ulrich's Beren Gallery will underscore the development of the unique visual vocabulary that defines the trajectory of Miro's work.

In and Out refers simultaneously to the indoor / outdoor placement of the sculptures, the complex dialogues among surface / structure and mass / volume / void in each work, and also to the sexually suggestive images in some of Booker's work.

Working in a mixture of commercial house paint and alkyd medium to create a multi-layered surface, the artist combines bold color and grand scale, employing a geometry that obfuscates meaning even as it seems to describe the workings of a complex system.

His taut - surfaced, luridly colored works are among the most perfect unions of complex narrative and visual form in 20th - century American painting.

Once ubiquitous within U.S institutions, it's protective surface is removed to reveal a complex, fragile and arguably obsolete set of working components that are contemplative of its economy at the time of manufacture.

Johns makes his sculptures in wax first, working the surfaces in a complex pattern of textures, often layering collaged elements such as impressions of newsprint, or of a key, a cast of his friend Merce Cunningham's foot, or one of his own hand.

There is an aura that pervades these works of everyday objects that require the viewer to look closely, to take in the complex surface qualities and ambiguous abstractions, while simultaneously recognizing the underlying «real - life» image captured by the artist's lens.

Working with a specialist in computer generated animation, Atkins exploits the hyperreal surfaces produced by new software systems to create complex, nightmarish environments populated by virtual characters, avatars of ambiguous provenance and desires.

Johns makes the sculptures in wax first, working the surfaces in a complex pattern of textures, often adding collaged elements such as a key, impressions of newsprint, a cast of Merce Cunningham's foot, or one of his own hand.

The work's exquisite complex surfaces, as seen here, should do that, as in them I detected a vision of an open system of free - floating signifiers altogether fitting to the present - day digital atmosphere.

Emerging from her regular practice of daily reflection, they share the charged emotional atmosphere of her photographs, but their symbolic imagery, handwritten texts, and complex surfaces, made with a variety of mediums, introduce an expressive element that is new to her work.

Beyond the ways in which photographs can not capture the minute detail inseparable from the immense scale of Pindell's work, the exhibition builds a complex understanding of a way to view her work that draws us in by asking us to look deeply and closely at and beneath its surface.

Shapiro's most complex artistic practices are illustrated by his ephemeral works, where smooth surfaces show no trace of human intervention.

Silke Otto - Knapp works with watercolours on canvas in an almost monochromatic spectrum: a choice of materials that allows the building up of the complex, semi-transparent, layered surfaces that characterise her landscapes.

He then overlaid each of the resulting boards with a variety of complex silkscreened surfaces, producing a range of distortions and re-interpretations of the original image, including a number of «misprints,» many of which were developed into unique works, either as composites or as overpainted prints.

As an artist who has been variously described as «the new Turner» and «Europe's answer to Mark Rothko», the show will reaffirm Hoyland's status as an important and innovative force within international abstraction and provide new insights into the way in which Hoyland's work evolved from the huge colour - stained canvases of the 1960s, through the textured surfaces of the 1970s to the more spatially complex paintings of the 1980s.

In many ways Ungerer's body of erotica lays bare the complex power dynamics always present beneath the surface of his commercial and political work.

Throughout her international career Riley has explored the complex visual sensations that colour and shape can create, and despite the apparent simplicity of her designs, her work begins from nature: «the eye can travel over the surface in a way parallel to the way it moves over nature.

The large works that have occupied him since 1969 are, in brief: Hubris, commissioned for the University of Hawaii at Manoa, one of Smith's most open and regular pieces to date, which consists of a two - section, 9 - by - 9 grid in black concrete, one half thin slabs at ground level, the other half the same grid raised to 3 feet 3 inches by a four - sided pyramidal module; Batcave, a complex environmental interior designed to «mold space and light» rather than material form, at the Osaka World's Fair, a new version of which will be shown soon at the Los Angeles County Museum; a gigantic triangular sculpture inserted into a Californian mountainside; a labyrinthine water garden for a delta; Smog, a huge new horizontal piece made from the dismantled components of Smoke (which was made for the Corcoran's «Scale as Content» show, 1967); Haole Center, a sunken square «pavement» within a square stone sculpture, with a metal ladder leading down below the earth's surface; two related monumental sculptures on platforms (Arch and Dial); and a flat 81 - block grid proposed for downtown Minneapolis.

His smooth surfaces, however, are not completely uniform; the complex and subtle interaction between transparency and opacity, as determined by the density of his paint, works to activate a dynamic and constantly fluctuating visual field.

So it seems to me that the simple way of communicating a complex problem has led to several fallacies becoming fixed in the discussions of the real problem; (1) the Earth is a black body, (2) with no materials either surrounding the systems or in the systems, (3) in radiative energy transport equilibrium, (4) response is chaotic solely based on extremely rough appeal to temporal - based chaotic response, (5) but at the same time exhibits trends, (6) but at the same time averages of chaotic response are not chaotic, (7) the mathematical model is a boundary value problem yet it is solved in the time domain, (8) absolutely all that matters is the incoming radiative energy at the TOA and the outgoing radiative energy at the Earth's surface, (9) all the physical phenomena and processes that are occurring between the TOA and the surface along with all the materials within the subsystems can be ignored, (10) including all other activities of human kind save for our contributions of CO2 to the atmosphere, (11) neglecting to mention that if these were true there would be no problem yet we continue to expend time and money working on the problem.

The climate is a complex non-linear system and we are only scratching the surface of how it works.

You could divide up the geography into numerous cells, each with numerous layers of atmosphere; you could divide up the time into many small steps, and work out the dynamics of air masses in a refined way; you could make complex calculations of the transfer of radiation through the air; you could construct detailed models for surface effects such as evaporation and snow cover... but you could not do all these at once.

Because the basics of anthropogenic global warming are fairly straightforward — CO2 is a greenhouse gas, because of the lapse rate water vapor condenses or freezes out in the troposphere and acts mainly to amplify the effect of CO2, humans are burning a lot of fossil C and increasing the CO2 in the atmosphere, the surface of the earth is warming, the cryosphere is retreating, the climate that supports civilization is rapidly changing, and consequently we are facing an uncertain future — but the details are complex, it's easy to «misunderestimate» the way climate works in detail.

Representative matters include civil jury trials and bench trials in both state and federal court; complex civil litigation involving the energy industry, including defense of class actions; condemnations and surface damage disputes; and appellate work.