Sentences with phrase «great early press»

Not exact matches

I know Gedeon isn't great and they could certainly upgrade, but I also feel that there's more pressing depth issues (DB, OL, WR, TE) that should take precedent over LB that early in the draft.

Whether this is all some bullshit PR act or Phil is genuinely happy to interact with every member of the great unwashed around him, it was effortless much in the same way he navigated his press conference a few hours earlier.

The reason Kane scored was not that our defence was out of position but because he is a great striker who jumped early and then illegally prevented Kos from jumping for the ball by pressing down on his shoulders.

That great test of a politician's potential, how they perform at a Press Gallery lunch, left his audience underwhelmed earlier this year.

Topics during the Q&A portion of his press conference included the looming discontinuance of the Rockaway ferry, a broad consideration of his earlier statement about «righting greater wrongs,» what happened to government funding for a ferry obtained by Anthony Weiner and Joe Addabbo, whether there is any City effort to «track down scammers» in the Build it Back program, how satisfied de Blasio is with the pace of Build it Back, whether an updated evacuation plan is contemplated in conjunction with increasing the housing supply in Rockaway and a government memo reported by The Wave which stated that more money was available from FEMA than publicly acknowledged and that such additional funding could be a political liability.

«Let us be clear: NHTSA does not believe electric vehicles are at a greater risk of fire than other vehicles,» said the agency in a press release earlier this month responding to the Volt fire.

«There were other BR game modes earlier this year that were released, like last man standing or GTA 5's battle royale game mode, and we never raised an issue, and I think it's great that there's more competition and everyone should be able to create their own battle royale game mode, and it's not about the idea itself, it's about Epic Games, and that wasn't really clear [in a press release sent by Bluehole].»

Tennis great Andre Agassi participates in a press conference announcing «Readvolution,» a collaboration between the Andre Agassi Early Childhood Neuroscience Foundation and Square Panda to develop applications facilitating assessment of dyslexia in children.

I'm no box office expert, but while $ 54 million is obviously a great late - summer number for «Rise of the Planet of the Apes,» I can't help but wonder if it would have had a shot at more bank if it had been let out of the bag earlier via advance press screenings.

Millions of children in California will have greater access to bilingual education after nearly three - quarters of voters said yes to Proposition 58 in early voting, a race called late Tuesday by the Associated Press.

These questions were raised to new levels of importance about a year ago when an early draft of what was to become the Great Public Schools Now funding plan for Los Angeles schools was leaked to the press and sent shockwaves through the educational world.

According to a press release issued at the time, «The reorganization addresses Governor Dannel P. Malloy's six principles on education reform, including: (1) Enhancing families» access to high - quality early childhood; (2) Turning around Connecticut's lowest - performing schools and districts; (3) Expanding the availability of high - quality school models; (4) Removing red tape and other barriers to success; (5) Ensuring that our schools are home to the very best teachers and principals; and (6) Delivering more resources, targeted to districts with the greatest need - provided that they embrace key reforms that position our students for success.»

Fresh out of Nokia's (NOK) Windows Phone 8 press conference earlier on Wednesday, we got to see the latest and greatest Motorola will loose upon the market ahead of the holidays this year.

New Día brochure, webinars offered in January Two weeks to register for ALSC online courses ALSC, PLA offer Every Child Ready to Read webinar Updated Great Early Elementary Reads bibliography released ALSC's Great Websites for Kids relaunches with fresh new design ALSC online courses start January 16 ALA Youth Media Awards webcast available to 10,000 viewers Abrams named 2012 ALSC Emerging Leader ALSC releases new Dia website ALSC releases Children's Graphic Novel Core Collection More selections added to ALSC's Great Websites for Kids ALSC Morris Seminar applications now being accepted ALSC's «Children and Libraries» honored with writing award ALSC releases Fall 2011 online education schedule ALSC names Robina Button 2011 Spectrum Scholar ALSC offers Newbery / Caldecott Mock Elections digital download and webinar Miami (Ohio) University chosen as site for 2012 Arbuthnot Lecture More Great Websites for Kids from ALSC 2011 Spectrum Scholarship winners announced ALSC announces winners of Bound to Stay Bound, Melcher scholarships Every Child Ready to Read launches new Web site Belpre Award celebrates 15th anniversary with «Quinces» celebration at Annual Conference An updated guide to the Newbery and Caldecott awards ALSC offers webinar on family programming in a tough economy Día 101 webinar available for purchase from ALSC Advanced sales for Every Child Ready to Read ® toolkit begin Dr. Carolyn S. Brodie elected ALSC 2012 - 2013 president Five choices for ALSC spring online courses ALSC & PLA to offer Sneak Peek Webinar for Upcoming Every Child Ready to Read toolkit Día 2011 book list is now available Celebrating 15 years of children, cultures and books ALSC offers new round of spring webinars ALSC President's Program to discuss serving special needs, autism in the library The best programming ideas for building a culture of literacy through Día Book discount for Día 101 participants ALSC names 2011 Penguin Award winners Día publicity tools now available ALSC presents first - ever Día 101 webinar Register your Día event with ALSC ALSC tabs West Palm Beach as 2011 BWI Award winner ALSC invites host site applications for 2012 Arbuthnot Lecture with Peter Sís ALSC Recognizes Three Libraries with Bookapalooza Pat Mora to Celebrate Día's 15th Anniversary in Tucson ALSC Presents Biddeford (Maine) with 2011 Hayes Award Richmond (Calif.) PL Wins 2011 Light the Way Grant ALSC Names Carlson Distinguished Service Award Winner ALSC Awards Bechtel Fellowships to Penny, Kaplan Registration Open for 2011 Arbuthnot Lecture in St. Louis Registration Continues for ALSC Online Courses Newbery and Caldecott award winners speak out Clare Vanderpool, Erin E. Stead win Newbery, Caldecott Medals Peter Sís to deliver 2012 Arbuthnot Honor Lecture Batchelder Award honors Delacorte Press for «A Time of Miracles» Eric Velasquez, Pam Muñoz Ryan win Pura Belpré Awards Eric Velásquez y Pam Muñoz Ryan ganan premios «Pura Belpré» Paul R. Gagne and Melissa Reilly Ellard win 2011 Carnegie Medal for «The Curious Garden» Kate DiCamillo, Alison McGhee and Tony Fucile win Geisel Award for «Bink and Gollie» Listening Library wins 2011 Odyssey Award for «The True Meaning of Smekday» Sy Montgomery, Nic Bishop win 2011 Sibert Medal Author / Illustrator Tomie dePaola wins 2011 Wilder Award ALSC Announces 2011 Notable Children's Books ALSC Names 2011 Notable Children's Recordings ALSC Announces 2011 Notable Children's Videos

«There were other battle royale game modes earlier this year that were released, like last man standing or GTA 5's battle royale game mode, and we never raised an issue, and I think it's great that there's more competition and everyone should be able to create their own battle royale game mode, and it's not about the idea itself, it's about Epic Games, and that wasn't really clear [in the press release].»

According to the press release and producer Fatih Özbayram, Early Access will help create a great multiplayer experience by getting the game to players quickly, and shape the game with community feedback.

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 gGreater 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 ggreater 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 ggreater 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 ggreater 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 ggreater 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 ggreater 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 ggreater 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 ggreater 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 ggreater 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 ggreater 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 gGreater 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 ggreater 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 ggreater 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 ggreater, 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 ggreater, 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 ggreater 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 gGreater 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 ggreater 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 ggreater 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 ggreater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater, when the lesser is invested in its lesser relationship to the greatergreater.

Unseen Warhol, (contributor), Rizzoli, 1996 Rizzi, John Szoke 1997 Glamour, Style, Fashion: The Warhol Look, Andy Warhol Museum, 1997 Blank Generation Reviseted: Early Days of Punk Rock, Schirmer, 1997 SOAPBOX: Essays Diatribes Homilies and Screeds 1980 - 1997, Imschoot, 1998 Artist / Author: Contemporary Artists Books, (contributor), DAP, 1998 Basquiat, Tony Shafrazi Gallery, 1999 The Style Guy, Ballantine Books, 2000 Human Nature (dub version), 2001, Greybull Press Anh Duong, Assouline, 2001 People After Dark, Roxane Lowit, (introduction,) Assouline, 2001 New York Beat, Petit Grand, 2001 New York Expression, Bergen Kunstmuseum 2002 Photographs of Ron Gallela, Greybull Press, 2002 Tom Sachs: Nutsy's, Guggenheim Museum, 2003 Shriners, with Lisa Eisner, Greybull Press, 2004 Andy Warhol: The Late Works, (contributor), Prestel Verlag, 2004 Yours In Food, (contributor), John Baldessari, Princeton, 2004 Maripolarama, Powerhouse, 2005 People, Roxane Lowit, Assouline, 2005 Public Access: Ricky Powell Photographs 1985 - 2005, Powerhouse, 2005 Pam: American Icon, Stellan Holm Gallery, 2005 James Nares: New Paintings, Kasmin, 2005 Warhol's World, Steidl, 2006 The Jean - Michel Basquiat Show, Skira, 2006 Katlick School, with Sante D'Orazio, TeNeus, 2006 Jean - Michel Basquiat: 1981, The Studio of the Street, Charta / Deitch 2007 Richard Prince, Guggenheim Museum, 2007 Out of Mind, Shawn Mortensen, Abrams, 2007 Leadbelly: A Life in Pictures, Steidl, 2008 Warhol by Gallela: That's Great, Monacelli, 2008 John Lurie, A Fine Example of Art, Powerhouse, 2008 Acid Candy, Miles Aldridge, Reflex Editions, 2008 Christopher Wool, Taschen, 2008

The Something Else Press series of «Great Bear Pamphlets,» documented the earliest Fluxus performances.

Since joining the Gallery in 1986, she has organized, collaborated on, and coordinated numerous exhibitions as well as authored and contributed to various catalogues: Three Centuries of American Prints from the National Gallery of Art (2016), Louise Bourgeois: No Exit (2015), Focus on the Corcoran: Works on Paper: 1860 - 1990 (2015), Yes, No, Maybe: Artists Working at Crown Point Press (2013), Shock of the News (2012), Stanley William Hayter: From Surrealism to Abstraction (2009), Cotton Puffs, Q - Tips ®, Smoke and Mirrors: The Drawings of Ed Ruscha (2005), Roy Lichtenstein: A New Gift of Drawings (2005), Drawings of Jim Dine (2004), A Century of Drawings: Works on Paper from Degas to LeWitt (2001), The Unfinished Print (2001), Prints Abound: Paris in the 1890s, from the Collections of Virginia and Ira Jackson and the National Gallery of Art (2001), Marc Chagall's Early Prints and Drawings (1995), The Great Age of British Watercolors: 1750 - 1880 (1993), Drawings from the O'Neal Collection (1993), Käthe Kollwitz (1992), Master Drawings from the Armand Hammer Collection: An Inaugural Celebration (1989), and English Drawings and Watercolors, 1630 - 1850 (1988).

In earlier decades, as will undoubtably be the case now, a great deal was written about Soto (1923 > 2005), and, throughout his lifetime he was passionately vociferous in extolling and defending the virtues of kinetic art in numerous and insightful press interviews and letters.

Ms. Roberts is not alone in pressing the case for action on family planning, a greater focus by scientists on clarifying population trends and their implications and a lot more resources committed to facilitating a smooth transition toward stable populations in places now seeing explosive growth (the «population cluster bombs» I wrote about early in Dot Earth).

How exactly such a digital - era transformation can be best modelled, piloted, and rolled out — which is to say, how the spirit of this earlier patronage of learning for greater public benefit, can be preserved into the digital era — is the work that I and others have underway with such initiatives as the Open Access Publishing Cooperative, Open Library of the Humanities, and SCOAP3 for journals; Knowledge Unlatched and Lever Press for books; and the Public Knowledge Project for open source publishing software.