Sentences with phrase «decorative displays in»

I seem to have too many decorative displays in this one room and it has become too overwhelming.

Create a decorative display in your kitchen with fragrant herbs.

Glass accessories used to store bathroom essentials also create a decorative display in line with the modern look.

Not exact matches

Plus, the metallic threading throughout transforms this comfy throw into a decorative piece for displaying on the couch when you're not swaddled in it.

Use the Wall Planter to display greenery and herbs in decorative cachepots or create a colorful moment using faux flower bundles in bright hues (cachepots and faux flowers sold separately).

Porsche Track Precision App and Preparation for Laptrigger, Sports Exhaust System, BOSE ® Surround Sound System, 20» 911 GT3 Alloy Wheels finished in Black High Gloss, Matching Painted Vehicle Key, Personalised Floor Mats with Leather Edging, Porsche Torque Vectoring (PTV), Porsche Stability Management (PSM), Porsche Communication Management (PCM) including Navigation Module, Porsche Active Suspension Management (PASM), Rear Axle Steering, Carbon Fibre Illuminated Door Sill Guards, 1 of 991 Produced Worldwide, Decorative Livery in Red, Online Services, LED Main Headlamps in Black including Porsche Dynamic Light System (PDLS), Dynamic Engine Mounts, Carbon Fibre Bucket Seats with 911 R Embroided on Headrests, Tyre Pressure Monitoring Display, Trip Computer, Fire Extinguisher, DAB Radio, Central Locking, Auto Headlights, Auto Wipers

In Alpine White, the BMW M6 Coupe Competition Edition features striking decorative bodywork stripes in the trademark BMW M colors, as will also be displayed on the new BMW M6 GT3 race caIn Alpine White, the BMW M6 Coupe Competition Edition features striking decorative bodywork stripes in the trademark BMW M colors, as will also be displayed on the new BMW M6 GT3 race cain the trademark BMW M colors, as will also be displayed on the new BMW M6 GT3 race car.

Chapters sells a ton of gift and decorative items and they are all carefully and artfully displayed in the area closest to the entrance and on your way to the cash registers.

Ideally the display typography and any other pictorial or decorative elements you use on the chapter opening pages will reflect the type used in the rest of the book, including the title page.

In this price range you get glass door cabinets, in - cabinet lighting, large pull - out storage (often used as a built - in pantry or as a small appliance garage), customized corner cabinets (that maximize space), microwave cabinets as well as more elaborate customized storage (think display wine racks or more decorative range hood cabinetsIn this price range you get glass door cabinets, in - cabinet lighting, large pull - out storage (often used as a built - in pantry or as a small appliance garage), customized corner cabinets (that maximize space), microwave cabinets as well as more elaborate customized storage (think display wine racks or more decorative range hood cabinetsin - cabinet lighting, large pull - out storage (often used as a built - in pantry or as a small appliance garage), customized corner cabinets (that maximize space), microwave cabinets as well as more elaborate customized storage (think display wine racks or more decorative range hood cabinetsin pantry or as a small appliance garage), customized corner cabinets (that maximize space), microwave cabinets as well as more elaborate customized storage (think display wine racks or more decorative range hood cabinets).

The Carnival Triumph's decorative theme, «World's Greatest Vacation Destinations,» is most obviously displayed in the ship's central atrium where rich purples and blues frame a world map embossed on the domed ceiling.

And as for Homage to Henri Matisse 1 — 02.02.86 (1986)(his version of Matisse's Window at Collioure [1914]-RRB-: where Matisse dramatically centers the flat block of black within the window frame, Zao displays four vertical stripes of color, in what becomes a decorative composition.

That display — still in existence — was shaped by the National Gallery of Art's «The Treasure Houses of Britain» exhibition of 1985 — 86, which presented British decorative arts in a series of alluring room sets inspired by country, and occasionally town, houses.

Housed in a Grade I listed building in the centre of Preston, the Harris runs a major temporary exhibition programme, including contemporary art, alongside permanent displays of fine and decorative art.

Central to the display were Haring's not - for - sale sketchbooks — pages and pages of decorative line drawings and studies of penises drawn, say the handwritten captions, in front of places like Tiffany's and the Museum of Modern Art.

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 greateIn 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 greatein 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 greatein 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 greatein 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 greatein 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 greatein 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 greatein 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 greatein 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 greatein 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 greatein its lesser relationship to the greater.

Organized in collaboration with: Display, the Academy of Art, Architecture and Design in Prague; the Arts and Theatre Institute; the Center for Contemporary Arts Glasgow; Czech Society for Film Studies; the Film Studies Department of the Faculty of Philosophy and Arts, Charles University in Prague; the Museum of Decorative Arts in Prague; and the National Film Archive.

Artistic universe of one of the most important names in Belgian fashion, Dries Van Noten, is currently on display at the Museum of Decorative Arts in Paris.

In his day Chareau was celebrated as a designer of exquisite furniture and stylish interiors, which he displayed at the annual salons of decorative art.

The exhibition is exceedingly well arranged in 18 rooms, opening out of each other, and leading from the large Atrium, in which Robert W. Chanler's excellent and striking decorative murals, so influenced by the Japanese, are displayed, to a room in which hang and are placed the pictures and sculptures of the «Cubists,» of whom the archdeacon, Francis Picabia is now here, to explain, if possible, the meaning of his work and why he became a «brigand in art.»

For her Ceramics Fellowship at Camden Arts Centre in 2014, she hosted an open studio, displaying the works - in - progress from the residency grouped together on special plinths and purpose built decorative furniture.

The decorative is referenced in the artworks on display, creating a visual — and at times tense — dialogue between familiar spaces and artistic expressions.

Reyle had picked up on the material some years ago in a Berlin store's window display and directly forged links between the decorative material and the act of painting on canvas.

SCAD Atlanta presents «Squash and Stretch,» an exhibition by Lauren Clay (B.F.A. painting), who employs a variety of paper art and decorative painting techniques including papier - mâché, faux wood grain and marbleized paper to create environments that display her interest in melding painting and sculptural forms.

Encompassing more than 1,400 works, including paintings, sculptures, works on paper and decorative arts objects, the collection is displayed at the DMA in a re-creation of the couple's Riviera home, Villa La Pausa.

Lauren Clay employs a variety of paper art and decorative painting techniques to create environments that display her interest in melding painting and sculptural forms.

The Huntington Art Gallery opened to the public in 1928 — one of the first art museums in Los Angeles — displaying one of the most distinguished collections of 18th - century British paintings in the nation along with glittering examples of French decorative art and a small but critically lauded group of Renaissance works.

Also designed by John F Staub (in 1954), MFAH use the house to display their collection of European decorative arts.

First opened in 1984, and expanded to more than 16,000 square feet in 2009, the Virginia Steele Scott Galleries of American Art display works of painting, sculpture, and decorative arts from the colonial period through the mid 20th century.

Students can also learn the history of decorative arts in The Life of Art: Context, Collecting, and Display, which will be on view that evening.

Gallery walls have become interactive environments, where a mix of paintings, photography, and decorative objects can all be displayed in impeccable fashion.

Organized by Are are-events.org in collaboration with the Academy of Art, Architecture and Design in Prague; Display; the Arts and Theatre Institute; the Center for Contemporary Arts Glasgow; Czech Society for Film Studies; the Film Studies Department of the Faculty of Philosophy and Arts, Charles University in Prague; the Film and TV School of the Academy of Performing Arts in Prague, the Museum of Decorative Arts in Prague; and the National Film Archive.

The Pictures Generation artist Louise Lawler is used to showing her work alongside that of other artists — in fact, her photographs typically consist of work by other artists, coolly depicting name - brand icons of art as they are tastefully displayed in collectors» homes, museums, and other out - of - the - studio settings together with furniture, vases, and the other decorative objects of the well - heeled.

Liebert will be tasked with further developing the museum's contemporary art program with Reto Thüring, Chair of Modern, Contemporary, and Decorative Art, and Curator of Contemporary Art, including planning exhibitions at CMA and the Transformer Station as well as displays of the permanent collection in the museum's contemporary art galleries, and acquiring works of contemporary art for the collection.

«Uniquely designed as a decorative picture frame, the ClearStream VIEW provides a way to display 9 family photos while bringing in clear HD TV channels.

Your skills in technical drawings, matching colors, preparing any kind of shapes with decorative materials, and communicating ideas through displays must be provided.

Behind the creative effort that is apparent in the displays, finishes, lighting, signage and decorative accessories in a newly redesigned store is the hard work and systematic progression of tasks that lead from concept to completion.

Crafted in metal, the INK+IVY Tribeca Round Decorative Platters can be used to create beautiful displays and centerpieces, showing off your favorite items.

Vintage tins have been used as decorative plant pots and are displayed on a traditional garden potting table, along with terracotta plant pots, a wooden crate and enamel storage, creating a colourful look in this country hallway.

In a small living room, make use of wall space with plenty of shelves to display books and decorative pieces.

Extra storage (in the form of open shelves) offers a chance to display decorative glassware.

I thought it'd be fun to have a place to share and display our Instagram photos in our home, so I made this really easy but decorative DIY Instagram display board of our house!

Another tea towel in the same pink gingham as the napkins was used as a decorative fabric to tie the whole spring home tour display together.

I didn't want anything too big that would clutter the whole table, but something that would fit in with our farmhouse vibe and allow me to display some pretty seasonal flowers or other decorative items whenever the mood strikes.

They can be hung from the chandelier, draped around Christmas ornaments in decorative display bowls or wrapped around pillar candle holders and candlesticks.

I would like it to be a mix of functional «storage» for pretty dishes (that can also be display pieces) and just a pretty and decorative area in the kitchen.

A Belfast sink is essential in a utility room for hand washing delicates, and a small cupboard above tidily holds soaps and cleaning products, while a high shelf provides further storage and a place to display decorative items.

The happy people I know have decorative things on display in their homes that aren't necessarily something that fits their style or that they would have chosen themselves, but they display it because someone they love gave it to them, or a child made it and they wouldn't hurt that kid's feelings for the world.

So instead of typical «girly» things, I like to bring in elements of metals (or «Mom's bling» as my hubby calls it)- like brass decorative pieces, gold leaf frames, chrome light fixtures, mercury glass or cut crystal vases to display cut flowers or just «because».

Glass - fronted display storage requires order: use the visible shelves for decorative accessories and conceal practical pieces in the drawers below or elsewhere.