Sentences with phrase «human body wall»

Not exact matches

Though Hansman says the human body can comfortably withstand the acceleration levels that would come with traveling in the Hyperloop, creating a safe environment for passengers would require designing extremely smooth inner walls for the tube without any rough edges.

Some of them were of the bones of the hand, others of coins and keys photographed through the opaque walls of a leather pocket - book, all clearly demonstrating that he had found some strange new rays which had the amazing property of penetrating as opaque an object as the human body and revealing on a photographic plate the skeleton of a living person.

Also referred to as the womb, the uterus is hollow with a thick, muscular wall, and is considered the strongest muscle in the human body.

They've even injected white blood cells into the vessels and watched as they squeezed through gaps in the vessel wall to reach the tissue on the other side, just as they do in the human body.

In a series of studies this year, molecular geneticists at the University of Pittsburgh School of Medicine used a harmless virus to ferry new genes through the bloodstream, across blood vessel walls, and into almost every muscle cell in the bodies of hamsters bred to have human genetic diseases.

Although almonds contain about 55 percent fat, lead researcher Giusy Mandalari, a biologist, says that humans absorb less than half of that largely because the oils in almonds are stored behind a tough cell wall that must be broken for our bodies to absorb them.

The cell wall of every cell in the human body is supposed to be composed of saturated fat, the wonderful fat that is so abundant in butter.

► Lightning strikes a lighthouse and we see a close - up of gel spreading and becoming larger at the base of the building where a small fire burns briefly; a wall of gel rises like a curtain from a jungle forest into the sky, making noises like muttering and muffled roars as we hear that the phenomenon is spreading and destroying all species on Earth; five scientists armed with military rifles enter the area to find trees that have become covered with flowers, woody plants have grown into human shapes covered with blossoms, the bodies of three missing soldiers have been engulfed with vines, moss, and lichens that have grown out of the bodies and the head of a soldier is found in a path (we see no blood or facial expression).

Later he was using human women - bodies as brushes [«anthropometry»] to put the - blue - paint on the wall during a public performance in a Paris gallery.

Painted on a wall across from a metro station, the mural shows a blocky - headed dog with a human body as a martyr, or saint — releasing a dove as a messenger of peace.

To put it bluntly, Dead Space is one of the most gorgeous games I have ever played... well, as gorgeous as a blood soaked mining vessel covered in writing on the walls and full of mutated human bodies can be.

The actual concept for the game itself (where you are matching falling shapes) comes from a more unlikely source, the game show «Nokabe ``, which has been described as a sort of human Tetris where players must contort their bodies into awkward positions to fit through holes in walls that are coming towards them.

Another good thing about the spectres is that they can sense human bodies through walls, so you can plan a stealth approach on another player in order to do a bit of covert body snatching.

A final work, I Don't Know About the Ear (2016), resembling the ear of a goblin and pinned to the wall, is the relic of the performance work The Adventure of Mr. Kim and Mr. Lee (two of the most common surnames in Korea)(2010 — 12), in which a live performer wearing a prosthetic ear stood motionless like a sculpture and, like the artificial body part itself, straddled the line between states of being object and prop, human and mythical.

Situated on either side of a floating wall, two large works embark from the same context of the «caloric paintings» but this time Joo surveys and conveys the meditation processes of Buddhist monks and those energy levels that transform and elevate both human body and soul.

Rituals Since 1851», Triennale di Milano, Italy (2015); «Visual Deception II: Into the Future», The Bunkamura Museum of Art, Shibuya - ku, Japan; touring to Hyogo Prefectural Museum of Art, Kobe, Japan; Nagoya City Art Museum, Nagoya, Japan (2015); «Room by Room: Monographic Presentations from the Faulconer and Rachofsky Collections», The Warehouse, Dallas, Texas, USA (2014); «Study from the Human Body», Stephen Friedman Gallery, London, England (2014); «Seismic Shifts», The National Academy Museum, Manhattan, New York, USA (2013); «Lifelike», Museum of Contemporary Art San Diego, San Diego, USA (2013); «Invisible Art: About the Unseen, 1957 - 2012», The Hayward Gallery, London, England (2012); «Paper», Musée d'Art Moderne et d'Art Contemporain, Nice, France (2012); «All that Glisters», Stephen Friedman Gallery, London, England (2011); «Floor Corner Wall», Fort Worth Contemporary Arts, Fort Worth, Texas, USA (2010); and «Chasing Napoleon», Palais de Tokyo, Paris, France (2009).

Metabolism and Communication, Zentrum fur Kunst und Medientechnologie, Center for Art and Media, Karlsruhe, Germany 2003 Love, Magazin4 Vorarlberger Kunstverein, Bregenz, Germany Patty Chang, Tracy Emin, Naomi Fisher, Paul McCarthy, The Moore Space, Miami, FL (performance, April 26) Water, Water, curated by Lilly Wei, The Rotunda Gallery, Brooklyn, NY Awakenings, Center for Curatorial Studies at Bard College, Annandale - on - Hudson, NY Feminine Persuasion, The Kinsey Institute and the School of Fine Arts Gallery, Indiana Univeristy, Bloomington, Indiana 2002 Videos in Progress, The RISD Museum, Providence, Rhode Island Le Plateau Frac Ile - de-France (performance only, November 7), Paris, France Mirror, Mirror on the Wall, MASS MoCA, North Adams, MA The Body Electric: Video Art and the Human Body, Cheekwood Museum of Art, Nashville, TN Americas Remixed, La Fabbrica del Vapore, Milan, Italy (performance / exhibition) Extreme Existence, curated by Klaus Ottmann, Pratt Manhattan Gallery, NY (performance / exhibition)(catalogue) Moving Pictures, Guggenheim Museum, New York Fusion Cuisine, Deste Foundation Centre for Contemporary Art, Athens, Greece (performance / exhibition), (Catalog available) Time Share, Sara Meltzer Gallery, NY Le Studio, Yvon Lambert, Paris, France Oral Fixations, curated by Sandra Firmin, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Panorama, curated by Carmen Zita, Room Interior Products, NY Superlounge, curated by Andrea Salerno & Mari Spirito, Gale Gates, Brooklyn, NY About the Mind (Not Everything You Always Wanted to Know), Video Cafe, organized by Hitomi Iwasaki, Queens Museum, NY Mirror Image, curated by Russell Ferguson, UCLA Hammer Museum, Los Angeles, CA Traveled to: Bard College, Center for Curatorial Studies Museum, Annadale - on - Hudson, NY Perspectives: Artists of Chinese Descent in New York, Queens College Art Center, NY Traveled to: Firehouse Art Gallery, Nassau Community College, Garden City, NY, March - April 2003 2001 Bodily Acts, curated by Jennifer L. Gray, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Circus Maximus, BeganeGrond, Center for the Contemporary Arts, Utrecht, Holland Group Show, Hamburg Kunstverein, Germany (performance) Mimic, Gale Gates et al., Brooklyn, NY Casino 2001, 1st Quadrennial of Contemporary Art, Stedelijk Museum Voor Actuele Kunst and the Bijloke Museum, Gent, Belgium (performance / exhibition) Looking for Mr. Fluxus: In the Footsteps of George Maciunas, Art in General, NY La Hijas de la Tierra (The Daughters of the Earth), IODAC Museum of Contemporary, Spain Panic, Julie Saul Gallery, New York Video Jam, Palm Beach Institute of Contemporary Art, Lake Worth, Florida (brochure) 2001 Art + Performance + Technology, in conjunction with the 19th International Sculpture Conference, Wood Street Galleries, Pittsburgh, PA (performance) WET, Luise Ross Gallery, New York Trans Sexual Express Barcelona, Centre d'Art Santa Monica, Barcelona, Spain Smirk: Women, Art, and Humor, curated by Debra Wacks, Firehouse Art Gallery, Nassau Community College, New York 2000 Uncomfortable Beauty, Jack Tilton / Anna Kustera Gallery, New York Cross Female, Kunstlerhaus Bethanien, Berlin, Germany (performance / exhibition): Traveled to: Kunst - und Kunstgewerbeverein Pforzheim, Germany (April / May 2001) The Art of the Screen Saver, Stanford Art Museum / Cantor Art Center, Stanford, CA Traveled to: ICA, London, England (Feb - March 2002) Steamroller, performance festival organized by Galerie MXM, Prague, Czech Republic (Catalog available) Soma, Soma, Soma, The Sculpture Center, New York Performance Festival, Kunstpanorama, Lucern and USINE, Geneva The Standard Projection: 24/7, Standard Hotel, Los Angeles Deja vu, Art Miami 2000, Miami Beach Convention Center, Miami Beach Galerie Fons Welters (two person exhibition with Atelier van Lieshout), Amsterdam ID / y2k, Identity At The Millennium, Castle Gallery, College of New Rochelle, NY 1999 - 2000 Illusion Delusion Denial, 450 Broadway Gallery, New York Mug Shots, Center for Visual Art and Culture, University of Connecticut, Storrs, CT. 1999 IDENDITAT, hat man doch zu viel, Ort halle fur kunst, Feldstr.

Taking its title from the name of a fictional, post-iPhone device at the centre of Gary Shteyngart's 2010 near - future novel Super Sad True Love Story, Äppärät is concerned with labor, play and the uncertain zone between the two; with the extension of the body, and the self, through technologies ancient and contemporary; with things (to borrow Martin Heidegger's formulation) «present - at» and «ready - to» hand; with compulsion and with death Äppärät begins with Jessie Flood - Paddock's Just Loom (2015), a wall painting - cum - sculpture based on an illustration of a worker operating a loom from Denis Diderot's Encyclopédie (1751 - 72), one of the first attempts to record and systematize all human knowledge in published form.

Legs III's empty nylons, hung high on the wall, can be seen as shriveled stand - ins for the reduced human body, while in Window Piece, fluid - blurred kitchen knives are directed at a cut - out figure of an entertainer, suggesting violence, albeit one tinged with absurdity.

This body of work plays with the idea of art as an ongoing conversation with posterity in which artifacts of the past are painted over, yet traces of the original art remain — and using the cave - dweller as a metaphor for the fundamental human condition: forever shrouded in darkness and uncertainty, yet determined to leave our own visions upon the walls of the cave.

Recent group exhibitions include; «Study from the Human Body», Stephen Friedman Gallery, London, England (2014); «Lifelike», Museum of Contemporary Art San Diego, San Diego, USA (2010); «Seismic Shifts», The National Academy Museum, Manhattan, New York, USA (2013); «Now Here is also Nowhere: Part 1», Henry Art Gallery, Seattle, Washington, USA (2013 - 2012); «Invisible Art: About the Unseen, 1957 - 2012», The Hayward Gallery, London (2012); «Floor Corner Wall», Fort Worth Contemporary Arts, Fort Worth, Texas (2010); «Slash: Paper Under the Knife», Museum of Arts and Design, New York (2010); «Chasing Napoleon», Palais de Tokyo, Paris (2009); «The Shapes of Space», Solomon R. Guggenheim Museum, New York (2007); «Art in America», Now, MOCA Shanghai, Shanghai (2007); «Mapping the Self», Museum of Contemporary Art Chicago (2007); «Into me / Out of me», P.S. 1 Contemporary Art Center, Long Island (2006).

Taken out of context and distorted in scale, these wall - mounted sculptures are reminiscent in some cases of the human body and in others of aerodynamic machinery.

The visceral imagery of the video is made tangible in the accompanying sculptural works — distended body parts on the floor and walls — as well as a large - scale wall drawing sketched with bile and human milk.

These interests have remained central to his practice and extend into the large group of modestly scaled wall works made between 2002 and 2011, which contain not only the metal tool parts and carved wood found in much of his oeuvre but also symbolically loaded materials such as human hair and the asafetida bags traditionally worn on the body to ward off disease.

Visually citing Michael Graves essay «A Case for Figurative Architecture,» Maltese's sculptural «backrests» are equated to «the character of the wall» in that the architectural divisions structurally imitate the human body.

Here, animal and human bodies merge and colonise the gallery walls and windows.

The title of the show can be used to describe the human body and was interpreted by artists including Daniel Arnold, Asger Carlsen, Shayne Ehman, Jeanette Hayes, Jerry Hsu, Sandy Kim, Andrew Kuo, Ryan McGinley, Santiago Mostyn, Jason Nocito, Brad Phillips, Brea Souders, Kate Steciw, Deanna Templeton, Ed Templeton, and Aurel Schmidt — who filled one wall of the space with a series of minimalistic self - portraits (seen above).

The curving walls of the exhibition will reflect his concept of image space which is based on the organic curves and hollows found in the human body.

Such sculptures link the wall — the «proper» space of art — to the floor, the realm of movement, horizontality, gravity, and physical connection to the human body.

As the artist noted, «I see the plank as existing between two worlds, the floor representing the physical world of standing objects, trees, cars, buildings, [and] human bodies,... and the wall representing the world of the imagination, illusionist painting space, [and] human mental space.»

Highlights include Kiki Smith's Corsage, 2011, a delicate bronze with gold leaf wall - mounted sculpture that continues the artist's explorations of the human condition, the body, spirituality and nature; a shimmering mylar sculpture by Tara Donovan from 2009; a dynamic anthropomorphic cast b

Hoyland once made a list of the things that fire his imagination: «Shields, masks, tools, artefacts, mirrors, Avebury Circle, swimming underwater, snorkelling, views from planes, volcanoes, mountains, waterfalls, rocks, graffiti, stains, damp walls, cracked pavements, puddles, the cosmos inside the human body, food, drink, being drunk, sex, the Caribbean, the tropical light, the northern light, the oceanic light»... the list goes on.