Sentences with phrase «draw chalk marks»

Not exact matches

Other Earth Day activities at Spring Brook Nature Center include sidewalk chalk drawing sessions for children and entertainment by folk singer Mark Dvorak from 12:30 until 2 p.m. Visitors are invited to bring picnic lunches and eat on the grounds of the center, which is operated by the Village of Itasca in cooperation with the Itasca School District and Itasca Park District.
To set up the game I drew a line down the sidewalk with chalk and then marked off the numbers from 0 to 25.
► A man performing on a sidewalk rides his unicycle over the feet of two spectators because they crossed his chalk - drawn line marking his performance circle.
Inspired by the graffiti artists whose marks covered the city's subway cars, Haring began to draw in white chalk over the black paper used to cover vacant advertising panels.
The Puerto Rico - based artists have studied the ephemeral nature of collective drawing with monumental sticks of chalk at the Biennial de Lima, Peru (Chalk [Lima], 1998 — 2002); the imprints of colonial, nationalist, and military violence on the diverse populations and landscapes of Vieques, Puerto Rico (Land Mark (Foot Prints), 2001 — 2002; Land Mark, 2003; Returning a Sound, 2004; Under Discussion, 2006 and Half Mast / Full Mast, 2011); and the resonance of playing, warping and combining music from various moments in history (Clamor, 2006; Wake Up, 2007; Sediments Sentiments - Figures of Speech, 2008; Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano, 2008; Raptor's Rapture, 2012; Apotomē, 2013; 3, 2013); as well as the entanglement between biophysics, semiotics and actuality (Growth, 2004; Puerto Rican Light - Cueva Vientos, 2chalk at the Biennial de Lima, Peru (Chalk [Lima], 1998 — 2002); the imprints of colonial, nationalist, and military violence on the diverse populations and landscapes of Vieques, Puerto Rico (Land Mark (Foot Prints), 2001 — 2002; Land Mark, 2003; Returning a Sound, 2004; Under Discussion, 2006 and Half Mast / Full Mast, 2011); and the resonance of playing, warping and combining music from various moments in history (Clamor, 2006; Wake Up, 2007; Sediments Sentiments - Figures of Speech, 2008; Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano, 2008; Raptor's Rapture, 2012; Apotomē, 2013; 3, 2013); as well as the entanglement between biophysics, semiotics and actuality (Growth, 2004; Puerto Rican Light - Cueva Vientos, 2Chalk [Lima], 1998 — 2002); the imprints of colonial, nationalist, and military violence on the diverse populations and landscapes of Vieques, Puerto Rico (Land Mark (Foot Prints), 2001 — 2002; Land Mark, 2003; Returning a Sound, 2004; Under Discussion, 2006 and Half Mast / Full Mast, 2011); and the resonance of playing, warping and combining music from various moments in history (Clamor, 2006; Wake Up, 2007; Sediments Sentiments - Figures of Speech, 2008; Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano, 2008; Raptor's Rapture, 2012; Apotomē, 2013; 3, 2013); as well as the entanglement between biophysics, semiotics and actuality (Growth, 2004; Puerto Rican Light - Cueva Vientos, 2015).
Developed while working in an abandoned school building with an abundance of blackboards, Simmons's signature «erasure drawings» employ a process of smudging chalk marks executed on slate covered paper as if to eradicate the image and start again.
Installation view at Non Objectif Sud, France, 2009 Brent: A drawing dated 1978, Untitled, chalk on paper, has a pair of identical penciled or conté grids which you use to make a series of what appear to be perfect arcs; there are finger marks or smudges; some arcs are taken out.
Nearly 2,000 objects made of chalk will invite viewers to participate with their own markings and drawings throughout the week.
In Light Giver Light Taker and Chalk Bike, Rhode expands the idea of what can be used as a drawing instrument by utilizing unconventional objects to make marks, here in sweeping, performative gestures, on the gallery's walls and floor.
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