Sentences with phrase «for flat objects»

Not exact matches

In this case, my concern is similar — I'm not objecting to David veing paid (e.g. through donation, advertisements), I'm objecting to him * charging * a flat rate for membership in a community.

I can not here investigate why language in our time has become flat, nonallusive, and impoverished, but simply to observe that it has and ask what this means for our churches as they seek to recover ways of worship which shall be more adequate to the object of worship, and more fully reflective of the long history of the people of God in their life of worship.

For most inventive accident to date, it is a close contest between him managing to fall flat on his face with a rattle in his mouth and a near collision with the objects on top of my parents» coffee table.

For example, children classify objects (stacking blocks by shape or sorting them by color); measure things («This cloth isn't big enough to cover the table»); count just about anything (coins, candy, people, toys, and so on); transform objects (stretching dough and making a flat circular shape); recognize patterns and shapes (building a symmetrical structure by putting a two unit block over two blocks); and explore spatial relations (finding a location or following directions).

In this way, the researchers could, for example, reconstruct a flat monitor, whose digital representation after a 3D scan looked rather like a paneled wall, so that everyone could once again recognize a monitor in the digital object.

Another way is to teach the robot something about the essence of hammering — it requires a longish object with a flat end suitable for banging on things — and then let it improvise ways to use just about any object to accomplish that goal.

Order flat hook straps for strong, reliable straps that are perfect for tying down large equipment to objects with well.

Since it premiered at the Toronto Film Festival last year, The Wind Rises has been the object of controversy for everything from its matter - of - fact depiction of the ubiquity of cigarettes in the postwar era (in one of my favorite scenes, Jiro and Honjo sit together in their Tokyo flat, chain - smoking in friendly silence) to its alleged trivialization of Japan's role in some of the worst atrocities of the 20th century.

The pastel - colored world of Zubrowka is captured with all the idiosyncrasy and precision Anderson is known for: written notes, books and objects are shot straight on with loving detail, flat - planed shots center characters in the middle of the frame, and hand - crafted miniatures depict many of the film's more fantastical settings and vehicles.

Boot capacity is listed at 361 litres (better than the CX - 3 but less than the HR - V) and the Kona's 60:40 split - folding rear seats fold almost flat, with a two - level loading floor that potentially allows room for larger objects like bikes to fit through the back.

The bench seats can be folded flat and the four - way adjustable passenger seats allow room in the trunk for a variety of large objects.

Impressively, they fold almost flat, too, providing a good space for bulky objects.

Even the front passenger seat folds flat for hauling long objects.

At the same time, the level surface under the trunk becomes accessible, and it offers a flat storage space for dirty or wet objects.

The front passenger seat also folds flat for carrying longer objects, as well.

The Kona's split - folding rear seats fold flat, with a two - level loading floor that allows room for larger objects like bikes.

With the optional «Divide - N - Hide» floor of the SL package, you get the choice between a flat floor for loading long objects, a little underfloor storage nook for hiding camera bags or laptop cases, or a bit of extra vertical space for tall items.

ft.. The load floor sits flatter, and the cargo area's squared - off shape has been further optimized for ease of carrying large objects.

The XC60's rear seats fold flat for useful cargo space, and a power tailgate makes it easy to access while handling large objects.

There are two configurations for the boot floor, with a «low» position that provides a cargo space of 472 liters, and a «high» position that makes the floor completely flat, thus facilitating the loading of large objects.

Luminous Viet Hotel is a three - star hotel with an unassuming exterior that offers 35 highly comfortable, modern rooms with elements of traditional Hanoi design.Interior decor includes objects like Vietnamese gongs, oil paintings, and smoothly polished hardwood floors.Rooms are ranging in price and size from deluxe, family, suite and superior.Balconies are available for some.Room amenities include welcome drinks of tea, coffee, or water, air conditioning, in - room safes, Wi - Fi access, single, double, or twin beds, 32â $ flat - screen TVs with satellite channels, separate shower and bathtubs, refrigerators and mini-bars, writing desks and reading lamps, and hairdryers.

2016 Passman, Melissa, Art in Focus, (interview), April Boucher, Brian, «11 Booths I could hardly tear myself away from at Nada New York», artnet.com, May 6 Sutton, Benjamin, «Nada New York Gets Nasty», hyperallergic.com, May 6 Shaw, Michael, The Conversation Podcast, episode # 135, theconversationartistpodcast.podomatic.com, April 15 2015 Griffin, Jonathan, «Reviews in Brief: Max Maslansky», Modern Painters, February, p. 77 Cherry, Henry, «Escaping Monotony with Max Maslansky», Reimagine (online), February Diehl, Travis, «Critics» Picks: Max Maslansky», artforum.com, May 5 Los Angeles Review of Books, lareviewofbooks.org, (image), June 21 Hotchkiss, Sarah, «Sexy Sculpture Fills CULT's Summer Group Show», kqed.com, July 27 CCF Fellowship for Visual Artists 2015, catalog, p9 Archer, Larissa, «Review: Sexxitecture / Cult, San Francisco,» Frieze, October, pp260 - 261 2014 Hutton, Jen, «Max Maslansky», Made in L.A. 2014, catalog, Hammer Museum, Los Angeles Miranda, Carolina A., «Datebook: Boxing painters, teen idols, and John Altoon's short career», The Los Angeles Times, June 5 Zimskind, Lyle, «Channing Hansen's Quantum Paintings are Really Knit», Los Angeles Magazine Blog.com, July 17 Finkel, Jori, «Painting on Radio Canvas», The New York Times, February 7 Khadivi, Jesi, «Curated in L.A», interview with Michael Ned Holte, Kaleidoscope, Summer, pp.110 - 115 Gill, Noor, «' Made in L.A 2014» at Hammer Museum displays work by artists like Max Maslansky», DailyBruin.com, August 4 Hernando, Gladys, «The White Album», catalog, Richard Telles Fine Art, Los Angeles, p. 28 Plagens, Peter, «Exhibit a Creation of Show, Not Tell», The Wall Street Journal, August 19 Berardini, Andrew, Art Review, September Dhiel, Travis, «The Face Collector», essay for Sniff The Space Flat on Your Face catalog, pp. 15 - 18 Griffin, Jonathan, «Highlights 2014», Frieze.com, December 19 New American Paintings, issue 115, Pacific Coast, December 2014 / January 2015, pp. 118-121 2013 Perry, Eve, «Not Taking the 1990s Very Seriously», Hyperallergic.com, (web), March 27 Griffin, Jonathan, «Made in Space», art agenda.com, (web), March 28 Smith, Roberta, «Art in Review: Made in Space», The New York Times, August 1 «Made in Space at Gavin Brown and Venus Over Manhattan», Contemporary Art Daily, August 6 «Group Show at Tif's Desk at Tom Solomon», Contemporary Art Daily, July 28 2011 MacDevitt, James, Object - Orientation, catalog, Cerritos College Art Gallery Dambrot, Shana Nys, «Web Diver: Turning Strangers» Online Photos into Paintings», LA Weekly, May 2010 Beautiful Decay, (www.beautifuldecay.com), July 22 2007 «Allegorical Statements», Los Angeles Times, May 17, p. E3 2006 Bellstrom, Kristen, «The Art of Buying», Smart Money Magazine, May 2006, pp. 111 - 13 Impression (Ism): Contemporary Impressions, catalog, City of Brea Art Gallery, Brea, CA, March 2005 The Armpit of the Mole, a drawing compilation, Fundació 30 km / s, Paris, France

Along with others active at this time, these three artists questioned, for example, whether a painting had to be a flat, rectangular object mounted on a stretcher, affixed to a wall, and viewed from one vantage point; that paper was only a surface to be painted, printed, or drawn on, rather than a medium for creative manipulation in its own right; or that there was only one way for a work of art to be installed.

American painter Nola Zirin is best known for her painterly abstractions, but for this show she offered Detroit Debris (2017), a series of found objects covered with an enamel gold spray supported by a flat pedestal.

Best known for his 1960s series «Great American Nude,» which featured flat figures in an intense palette of red, white, blue, and other patriotic colors, Wesselmann, in an effort to reject Abstract Expressionism, made collages and assemblages that incorporated everyday objects and advertising ephemera.

The works are quietly, humbly rebelling, flat on their back, against the need for objects to be more grand than individuals.

Known primarily for his paradigmatic shelves displaying everyday objects, once again the world is flat.

The small photograph Night Jam, 2013, is a study in color contrast, depicting gently creased strips of variously hued photographic paper arranged on top of a paper guillotine, bringing to mind series such as «Lighter,» 2005 — , for which Tillmans turns flat pictures into three - dimensional objects by bending, folding, or creasing photographic prints and exhibiting them in Plexiglas boxes; or the famous «paper drops,» 2001 — , for which he takes pictures of photographic paper gently furled into drop - like forms.

Group Exhibitions 2015 — «Plagiar o Futuro», (Plagiarizing the Future) Hangar, Lisboa, Portugal (curated by Bruno Leitão, Andrea Rodríguez Novoa)-- «Imagine Brazil» — Artist's Books, DHC / ART Founation, Montreal, Canada (curated by Jacopo Crivelli Visconti, Ana Luiza Fonseca)-- «Happeland», Radiator Arts / New York, EUA (curated by Eva Davidova, Almudena Baeza)-- «Open Sessions», Drawing Center, New York, EUA — «Theorem», Mana Contemporary, Jersey City, USA (curated by Octavio Zaya)-- «Contramuro», (Counter-mure) Galería Instituto de Visión, Bogotá, Colombia (curated by Omayra Alvarado)-- «Ejercicios de Traslado», (Practices on transference) Centro de Arte de Alcobendas, Alcobendas, Spain (curated Osbel Suárez)-- «La angustia de casi saber y quedarse no sabiendo», (The angst of almost knowing but remain ignorant) Galería Diablo Roso, Panama City, Panamá — «Instalations», Studio Sandra Recio / Geneva, Switzerland 2014 — «Cruce de Colecciones», (Collections Crossroads) Centro Atlántico de Arte Moderno, Las Palmas, Spain — «The Language of Human Consciousness», Athr Gallery, Jeddah, Saudi Arabia — «Cine Bogart, Imaginar un edificio», (Bogart Cinema, a building imagined) Centro Centro, Madrid, Spain (curated by Ines Caballero)-- «Objects in the mirror are closer than they appear», Lugar a Dudas, Cali, Colombia (curated by Daniel Silvo) 2013 — «La copia de la copia» (The copy of the copy), Museum of Contemporary Art, Guayaquil, Ecuador (curated by Hernan Pacurucu)-- «Cuando el mundo se hace plano» (When the world becomes flat), Centro de Cultura Contemporánea San Martin, Las Palmas de Gran Canaria, Spain - «Brutalidade Jardim», Galeria Marilia Razuk / São Paulo, Brazil (curated by Kiki Mazzucchelli)-- «Imagine Brazil» — Artist's Books, Astrup Fearnley Museet, Oslo, Norway (curated by Jacopo Crivelli Visconti, Ana Luiza)-- «On Painting», CEART — Centro Cultural Tomás y Valiente, Fuenlabrada, Spain (curated by Omar - Pascual Castillo)-- «Playtime», Museo Nacional de Arqueologia Subacuática, Cartagena, Spain — «Gracia Divina» (Divine Grace), Sala Gasco, Santiago, Chile (curated by Andrea Pacheco)-- «Hacer en lo cotidiano», Sala de Arte Joven de la Comunidad de Madrid, Madrid, Spain (curated by Beatriz Alonso)-- «En Obras» (In the Works), Galería Nuble, Santander, Spain (curated by Iciar Sagarminaga)-- «On Painting», Centro Atlantico de Arte Moderno, Las Palmas de Gran Canaria, Spain (curated by Omar - Pascual Castillo)-- «Objects in the mirror are closer than they appear», Galeria Isabel Hurley, Málaga, Spain (curated by Daniel Silvo) 2012 — «Expanded Drawing», Casal Solleric, Palma de Mallorca, Spain (curated by Pilar Ribal)-- «Carnaza para los Dioses» (Offering to the Gods), CAAM — Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria, Spain — 11th Havana Biennial, Havana, Cuba 2011 — 11th Cuenca Biennial, Cuenca, Ecuador — «Inside», Cidade da Cultura, Santiago de Compostela, Spain (curated by Rafael Doctor)-- «New Brazilian Sculptur» e, Caixa Cultural, Rio de Janeiro, Brazil (curated by Alexandre Murucci)-- 8th Mercosul Biennial, Porto Alegre, Brazil — Bologna Art First, Pinacoteca di Bologna, Bologna, Italy (curated by Julia Draganovic) 2010 — 12th International Cairo Biennale, Cairo, Egypt — «Synergie's, Museum of Contemporary Art, Union Fenosa (MACUF), La Coruña, Spain (curated by Carlos Jimenez)-- «Look Up», Alfandega, Porto, Portugal (curated by David Barro)-- «Kierkegaard's Walk», Galeria Marilia Razuk, Sao Paulo, Brazil (curated by Jacopo Crivelli Visconti)-- «Synergies», Museum of IberoAmerican Contemporary Art in Extremadura (MEIAC), Badajoz, Spain (curated by Carlos Jimenez)-- «Postgraffiti, Geometry and Abstraction», Fundación Caixa Galicia, A Coruña, Spain (curated by Javier Abarca) 2009 — «Residency 09», Futura Project, Prague, Czech Republic — «Building, Dwelling, Thinking — Strategies for Contemporary Art and Architecture», IVAM, Valencia, Spain (curated by Fernando Castro Florez)

Through portraiture, landscapes and still lifes, Calderara depicted the people, scenes and objects of his native Italy — all suffused by a delicate, misty light inspired by the atmospheric glow of Lake Orta in Vacciago, where the artist moved in 1934 with his wife Carmela, and where he would work for most of his life.By the mid-1950s, Calderara began to move away from figurative painting to embrace a more geometric approach, radically reducing both the scale and the compositional elements of his paintings through use of simple forms and flat blocks of nebulous and subtle colour.

Published in R. Rosenbaum, Frank Stella, Harmondsworth, Penguin Books Ltd., 1971, p. 57) By contriving the conditions for absolute symmetry and using industrial painting techniques, Stella championed painting as a resolutely flat object in space, devoid of illusion.

Artist P C Smith avoids the usual flat rectangle as a plane for painting, drawing or photography, constructing objects with curving, intersecting, bi-cylindrical planes.

The large paintings Request and End of May, both from 1972, represent for me the artist at his zenith, with flat objects floating over backgrounds that have become more mottled, and deeper for it.

Belgium objected to using 1998 as a starting year for statistics, as it was exceptionally warm and makes the graph look flat — and suggested using 1999 or 2000 instead to give a more upward - pointing curve.

to «transcend function and question furniture as object, art, or image», the Emergency Stool is a clever, laser - cut piece that packs flat (for easy shipping, and it'll slide right under a really big door upon delivery) into a single, mobile sheet of plywood (that would make a pretty interesting wall - hanging) but comes apart to create a handy bench.

to «transcend function and question furniture as object, art, or image», the Emergency Stool is a clever, laser - cut piece that packs flat (for easy shipping, and it'll slide right under a really big door upon

Ariana uses 3D depth - sensing cameras to detect objects in a room and adjusts for them accordingly so that it still projects a flat image.