Sentences with phrase «helter sckelter»

I was rummaging through it a few minutes ago and it seemed very helter - skelter... is there a certain area I should look for to make my «room»?

Children run helter - skelter through the house and yard, their dirty feet leaving little tracks across the floor.

And don't leave the survey helter - skelter in the office file.

It can be, and often is, a helter - skelter kind of day in any law office, approaching month - end, or on a Friday afternoon of a holiday weekend.

Why is it that everyone is running helter - skelter to get a good resume written?

This is apparent in The Rolling Stones» «Gim me Shelter» and Aerosmith's cover of «Helter Skelter,» both of which have shrill opening guitar riffs that verge on sounding too bright on the A38s.

I am sure we have all had that moment when we run helter - skelter in search of a power outlet or a friend with a power bank.

Like everything else in the helter - skelter world of law firm marketing, it doesn't have to be this way.

For three straight hours, he belted out «Helter Skelter,» «Live and Let Die,» «Golden Slumbers,» «Hey Jude,» «The End,» and other great songs from the soundtrack of my wayward youth.

It wasn't helter - skelter due to fan fiction run wild.

The Hill is extremely well organized, while The Donald is rather helter - skelter in his approach.

The coral we did see was arrayed in a seemingly helter - skelter pattern, and we never saw a coral colony greater than a few feet in diameter.

If «helter - skelter» applies to any energy source, it is wind turbines, reflecting their Charles Manson effect on birds.

The editorial process here appears to me to be helter skelter, I should hope that your editors use a more deliberative process in your main occupations as practicioners in scientific endeavor.

Lot 14: MARK BRADFORD, «Helter Skelter I,» 2007 (mixed media collage on canvas, 144 x 407 7/8 inches).

As LACMA's 1992 exhibition «Helter Skelter: L.A. Art in the 1990s» contended, New York was not the only incubator of the avant - garde.

His first retrospective was held in 1995 at the Laguna Art Museum (traveled to Cincinnati, Oakland, and Palm Springs), and he was featured in «Helter Skelter: L.A. Art in the 1990s» at the Museum of Contemporary Art, Los Angeles (1992).

In 1992, Pettibon was invited to participate in Helter Skelter: L.A. Art in the 1990s, curated by Paul Schimmel at the Museum of Contemporary Art, Los Angeles (MOCA).

Victor Estrada has exhibited since 1989, and was featured in «Helter Skelter» at the Museum of Contemporary Art, Los Angeles in 1992.

The British Marlborough gallery spread a sign over the entire mezzanine floor, and everywhere pictures were hung ceiling to floor in a helter - skelter manner, like a nineteenth - century parlor.

This sensibility produced works such as Self - Portrait (2001), inspired by Louise Bourgeois's towers at Tate Modern (2000) and Tatlin's model for the Monument to the Third International (1919 - 20), in a metaphor of her up - and - down life with an autobiographical helter - skelter.

AUCTION Phillips London announces its March 8 auction will feature «Helter Skelter» (2007) by Mark Bradford.

«Helter Skelter I,» a Bradford painting inspired by serial killer Charles Manson, was acquired earlier this year by the Broad museum for $ 12 million, an auction record for the artist.

Jeff Koons, «Made in Heaven», 1991 (Sonnabend Gallery, New York and Galerie Max Hetzler, Paris); «Helter Skelter: LA Art in the 1990s», 1992, curated by Paul Schimmel (MoCA, LA); 1st Asia Pacific Triennial of Contemporary Art, 1993, curated by Caroline Turner (Brisbane, Australia); Marina Abramović, 1993 (Neue Nationalgalerie, Berlin); Sonsbeek, 1993, curated by Valerie Smith (Arnhem, Belgium); «Chris Marker: a Video Selection», 1994 (MoMA, New York); «inSite» 94», 1994, curated by Lynda Forsha (various venues, Tijuana, Mexico; San Diego, USA); «Take Me (I'm Yours)», 1995, curated by Hans Ulrich Obrist, (Serpentine Gallery, London)

Paul Schimmel at home with the Christopher Wool drawing that inspired the title of his seminal 1992 exhibition Helter Skelter: L.A. Art in the 1990s.

So when I was told I was going to see the mother of all Bradford's, and I saw Helter Skelter, I remember just thinking to myself, «oh my God, here we go again».

While we are looking back at the life and work of Mike Kelley, we will also be looking forward to the future of MOCA, the first museum to have purchased his work, the museum that presented Helter Skelter, the show organized by then - curator Paul Schimmel that did so much to further Kelley's international career.

A Partial Disassembling of an Invention without a Future: Helter - Skelter and Random Notes in which the Pulleys and Cogwheels are Lying around at Random All over the Workbench Installation view Curve Gallery, Barbican Centre, London, UK October 9, 2014 — February 8, 2015

There are so many [exhibitions], «Out of Actions,» «Helter Skelter.»

The wood for the helter - skelter came from there.

Williams» contribution to the seminal 1992 Helter Skelter show at MOCA created such a stir that its curator, Paul Schimmel, told him he'd never show his work again — in spite of the show's record attendance.

«Helter Skelter,» in its juxtapositions of artists (and writers) of different generations, like Raymond Pettibon, Paul McCarthy, Mike Kelley, Dennis Cooper, Chris Burden, Charles Bukowski, Charles Ray, Jim Shaw, and Liz Larner,

After that there was Paul Schimmel's Helter Skelter show, which featured 16 artists, including myself.

I assume you're referring to the 1992 Helter Skelter show in Los Angeles, where your work was picketed.

The sculpture which was created for the 2012 games has always resembled a fairground Helter Skelter so why not attach a slide?

I remember being in Chicago in» 91, there was a show called Helter Skelter at the MOCA in LA and I got the catalogue and thought, «wow there's some really weird shit being made in LA, «and it felt real exciting to me.

The pieces reflect on the artist's early works that were included in the seminal 1992 exhibition at MOCA L.A., «Helter Skelter: L.A. Art in the 1990s.»

Once upon a time in the West, circa 1992, Paul Schimmel organized an ambitious group show, «Helter Skelter: L.A. Art in the 1990s,» at the Museum of Contemporary Art.

That was the year when Schimmel's «Helter Skelter» exhibition ran at MOCA, featuring over-the-top — and sometimes gross - out — installations by artists such as Paul McCarthy and Richard Jackson, both of whom went on to work with Hauser & Wirth.

Whereas Bradford had previously used end papers typically used in hair salons, works such as Helter Skelter I exemplify his shift towards using paper material found on the streets of South Central Los Angeles, where he lived as a child, worked in his mother's hair salon, and now lives and works.

The shockwaves that reverberated through America have come into focus again with Manson's recent death, making Helter Skelter I a timely piece that addresses the persistent issues of race, crime and celebrity culture that continue to structure urban America.

While «helter - skelter» is generally synonymous with disorder or confusion, and in British English recalls an amusement park slide famously eternalised in The Beatles» eponymous song, it here evokes a particularly harrowing episode in Los Angeles» history.

Like Scorched Earth, 2006 (Broad Museum, Los Angeles), Helter Skelter I's title refers to a real moment of racial tension in American history.

Demonstrating Bradford's commitment to «slippage», the ultimate intention of Helter Skelter I remains open - ended and constantly in flux.

With Helter Skelter I, Mark Bradford puts forward a statement of heroic ambition that takes the detritus found on the streets of Los Angeles to subtly reflect on the history, social structures and lived experiences of the artist's urban environment.

While Bradford evokes his loaded subject matter with his characteristically direct and literal title, Helter Skelter I presents the viewer with an abstract composition that does not seem to directly correlate visually, other than its resemblance to the urban sprawl and vastness of Los Angeles.

Bradford created Helter Skelter I in tandem with its companion piece Helter Skelter II specifically for the New Museum's thematic group exhibition Collage: The Unmonumental Picture that opened in January 2008 in New York, bringing together 11 artists to explore «the formal and ideological power of juxtaposing found images».

Unfolding in front of us with the energetic rhythms and swirling colours reminiscent of Jackson Pollock's drip paintings such as Blue Poles, 1952, and confronting us with the gravitas of Clyfford Still's jagged edges and electrifying flashes of colour, Helter Skelter I demonstrates how Bradford harnesses the potential of abstraction for his own agenda.

2017 Builders, Circuit 12, Dallas, TX Fantastic Facade, LVL3, Chicago, IL Deconstructed, Terrault Contemporary, Baltimore, MD 2016 Helter Skelter, Launch F18, New York, NY Water Work, Soho House curated by Patrick Muhundro and Andrea Bergart, New York, NY Transaction, Knockdown Center curated by Elijah Wheat Showroom, Queens, NY Knife Hits, Spring / Break Art Show, New York, NY Faulted Valley Fog, Transmitter, Brooklyn, NY Painting Reassembled, SUNY Westchester Community College curated by Erika Mahr, Westchester, NY 2015 Surface Matters, Knockdown Center curated by Holly Shen and Sam Katz, Queens, NY Handmade Abstract, BRIC, Brooklyn, NY Object» hood, Lesley Heller Workspace curated by Inna Babaeva and Gelah Penn, New York, NY 2014 Ultra Deep Field, Rockford University Art Gallery, Rockford, IL Site Lab, Old Morton Hotel, Grand Rapids, MI BRIC Biennial, BRIC Arts in partnership with LIU University, Brooklyn, NY Insider Joke, Hockney Gallery, Royal College of Art, London, UK 2013 Rushgrove House, Rushgrove House in conjunction with the Royal College of Art, London, UK Limber: Spatial Painting Practices, Herbert Read Gallery, Canterbury UK and the Grandes Galleries de L'Erba, Rouen, France Material, Storefront Bushwick, curated by Liz Dimmitt, Brooklyn, NY Middle Zone, Projekt 722, curated by Corydon Cowansage, Brooklyn, NY No Longer Preseidents But Prophets, Delicious Spectacle, Washington DC Inside Voices, Parallel Art Space, Brooklyn, NY Contemporary Drawing Today, Fort Worth Drawing Center, Fort Worth, TX Paint Things, DeCordova Museum and Sculpture Park, Lincoln, MA 2012 Bleach Blue, FJORD Gallery, Philadelphia, PA Primary, Nudashank, Baltimore, MD Masculinisms, Garden Party / ARTS, Brooklyn, NY Rockford Midwestern Biennial, Rockford Art Museum, Rockford, IL Fakin It, Meyer Gallery, University of Cincinnati, OH 2011 Living Arrangements, PLUG Projects, Kansas City, MO Off the Wall, Visceglia Gallery at Caldwell College, Caldwell, NJ Small Crowd, Mixed Greens, New York, NY Out of Practice, Art Blog Art Blog curated by Nudashank, New York, NY RISD Graduate Thesis Exhibition, Rhode Island Convention Center, Providence, RI New Insights, Art Chicago with NEXT cuarted by Suzanne Ghetz, Renaissance Society, Chicago, IL 2010 Interriuer / Exterieur, Dubois Galerie, Pont - Aven School of Contemporary Art, France Boston Young Contemporaries, 808 Gallery, Boston University Totemic, The Gelman Gallery, RISD Museum, Providence, RI

Among the largest paintings created by Bradford, «Helter Skelter I» was positioned to set a record against stated estimates of approximately $ 8.3 million — $ 11 million, which far exceeded Bradford's previous auction high mark.