Sentences with phrase «new home installations»

We have solutions for all of your heating and cooling needs whether it is for repairs, maintenance, replacements or new home installations.

We have solutions for all of your heating and cooling needs whether it is for repairs, maintenance, replacements or new home installations.

We have solutions for all of your heating and cooling needs whether it is for repairs, maintenance, replacements or new home installations.

Not exact matches

It took on the fashion industry and the furniture industry, it empowered its Alexa Voice - Shopping platform, it added Nike to its retailer portfolio, it made shopping for clothes easier with Prime Wardrobe, it piloted an in - store return program at Kohl's, it introduced a new take on the vending machine on college campuses, and it began promoting in - home services like cleaning and appliance installation on its website.

The County is home to Fort Drum and the 10th Mountain Division, the largest military installation in the Northeastern US, which has helped it become one of the fastest growing counties in New York State.

While the mammoth European installations have been cut back, Defense Department records show that the new operational mode calls military personnel away from home about 135 days a year for the Army.

The installation fees and actual prices of the camera have gone done tremendously, making it an affordable option to add to a new home security system.

The state has since committed $ 10 million to the installation of water treatment systems in private homes and to plan for a new water supply.

Shelter Island Supervisor Jim Dougherty, who is also chairman of the East End Supervisors and Mayors Association, sent a formal request to Gov. Andrew Cuomo and the leaders of the New York State Legislature to spend $ 100 million to subsidize the installation of state - of - the art septic systems at private homes.

«It's not a good investment» The study tracked 30,000 Michigan households that were considered eligible for the federal Weatherization Assistance Program, which provides funding for home energy audits and upgrades like new furnaces and insulation installation.

Efforts over the last dozen years to have hearing loops installed in public places around the U.S. have gained momentum in recent years with new American manufacturers stepping up to design and market hearing loop amplifiers for a wide variety of installations, from home TV rooms and taxis to auditoriums and airports.

Whether you're contemplating the best flooring options for your new home or business, or looking to renovate with the latest trends in carpet, hardwood, tile, or vinyl, Go Mobile Flooring leads the Tampa floor installation service market.

New Jersey, USA About Blog For over 120 years, home and business owners have relied on McAllister for state - of - the - art heating, air conditioning and for prompt, dependable equipment service and Installation.

Although not available when the car was first tested, Hyundai has subsequently launched an offer where new buyers can receive a free Pod Point home charger (where installation criteria are met).

Soon it will also be the home of 007 Elements, a new cinematic installation celebrating all things James Bond.

In - home installation will be handled by the Geek Squad and the whole thing is modular enough that it can be easily moved to a new home in the event that the owner moves.

DETROIT — Cadillac is offering a complimentary 240 - volt home charging station and installation to early buyers of the all - new 2014 ELR electrified luxury coupe.

The new home region map data is relayed to the vehicle wirelessly via the built - in SIM card, so there is no need for manual installation from external data storage devices.

The owners of the HTC Flyer tablet will be seeing the notification of this new over-the-air update on their tablet's homescreen or else you can head over to Home — > Settings — > About Tablet — > Software Updates — > and tap Check Now — > After the completion of downloading and installation of the FOTA update, the software version number should be shown as 2.00.405.3.

The report observed that new home construction has outpaced the installation of radon mitigation systems.

Before you move into your new home, you will have to pay for the installation and / or settling of bills of the various utilities in and around your home.

You may be entitled to a tax credit of up to 30 % of the installation cost of geothermal heat pumps and solar / wind energy systems and up to 30 % of the cost of residential fuel cells (max of $ 500 per 0.5 kilowatt of power) for both new construction and existing homes.

Focus On: Stain & Odor Products Dog: Canine Nutrition Trends Grooming: Training New Employees Cat: Feline Healthcare Natural: «Green» Grooming Products Bird: Parrot Particulars Small Animal: Promoting the Small Animal Dept. Herptiles: Responsible Reptile Sales Fish: Set - Up & Maintenance Services for Home & Office Pond: Installation & Maintenance Services

New Jersey, USA About Blog For over 120 years, home and business owners have relied on McAllister for state - of - the - art heating, air conditioning and for prompt, dependable equipment service and Installation.

Nearby, in the midst of the protest grounds and the White House itself, the new Trump International Hotel in the Old Post Office building played home to a momentous installation work refurbished by the First Family's resident art expert — even if few artists in town knew about it.

Alexander and Bonin, New York: Mona Hatoum Mona Hatoum is a Palestinian, Lebanese - born video and installation artist, whose work confronts the idea of home (or lack thereof) through the eyes of a Palestinian exile.

Janet Biggs, Can't Find My Way Home, 2015 (installation view at Cristin Tierney Gallery, New York, NY).

In the final installation on the fourth floor, his newer paintings are presented in a lush environment reminiscent of his tropical home.

Anthea Hamilton is telling me about her new installation at the Hepworth Wakefield, in which she has redisplayed objects from Kettle's Yard, the former Cambridge home of the late English art collector Jim Ede.

In both New York and Texas, he designed his homes to include permanent installations of his work, alongside that of peers such as Larry Bell, John Chamberlain, Dan Flavin, and others.

He returned home for good in 1994, though the peripatetic nature of his work means that he continues to travel in response to invitations to make new installations: «I felt,» Roy writes, «that I could use Milwaukee as my base to go anywhere in the world to make my art and I do.»

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 greatnew 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 greatNew 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 greatnew 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 greatnew 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 greatNew 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 greatnew 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 greatnew 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 greatNew 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 greater.

One series of installations traces Suh's unsettled Korean / American existence by fashioning details of his past residences — a Korean home, a New York apartment — in translucent nylon.

At Olana State Historic Site, the Hudson, New York, home and studio of landscape painter Frederic Edwin Church, a current installation by Brooklyn - based sculptor Teresita Fernández is a direct response to assumptions about the landscape of the Americas that are inherent in the work of Church and his contemporaries.

In response, her new installation in Gallery Aferro's Project Room fuses wallpaper patterns, home decoration, and sewing projects with the current events that most unsettled her, including international women's rights issues, the Boston Marathon bombing, and the Sandy Hook elementary school shooting.

Plus: Whitney Museum plans permanent installation on Hudson River Witte de With announces new director POWarts founder Sara Kay opens Lower East Side gallery and Jasper Johns» Connecticut home and studio will become an artists» retreat

Viewing of a private collector's home featuring a new installation by James Turrell, among other important contemporary artists

For her installation on the Museum façade, American - born artist Judith Barry has chosen to work with some of the hundreds of drone images depicting refugees fleeing their homes and seeking a new life elsewhere.

Female but maybe not Feminist, Biscayne Times, Victor Barrenechea, October 2008 Susan Lee - Chun Artist Profile, Theme Magazine, May / June 2008 Miami Contemporary Artists, Clear Magazine, April / May 2008 Voices, NY Arts, February / March 2008 Asian Artists on Display in BMOCA Exhibits, Boulder Daily Camera, Jenny Bergen, February 22, 2008 Urban Art Access: Art Basel Miami Beach, December 2007 Art Basel Miami Beach Notebook: A Party for the Arty, Economist, Jessica Gallucci, December 2007 Miami Contemporary Artists Book, Julie Davidow & Paul Clemence, November 2007 Susan Lee - Chun, H Magazine (Spain), Pedro Paricio, November 2007 Hurricane Project I, El Nuevo Herald, Adriana Herrera, Sept. 30, 2007 Los grabados de Goya inician una interesante temporada, El Nuevo Herald, Adriana Herrera, Sept. 16, 2007 Eight make the cut, Miami Herald, Daniel Chang, September 15, 2007 To the Brink and Back, Miami New Times, Carlos Suarez de Jesus, September 13, 2007 Body Double: Through a lens starkly, LA Times, Holly Myers, September 12, 2007 Ever more galleries in Wynwood, Miami Herald, Brett Sokol, September 7, 2007 Optic Nerve IX: MOCA Review, Miami Art Guide, Michelle Weinberg, September / October issue No. 10 Visual Power, Miami Herald, Tom Austin, August 5, 2007 Snitzer show brings 59 Homegrown Artists together, Miami Herald, Elisa Turner, July 22, 2007 Wynwood Gallery Installations show the District «Artistic Heart, Miami Herald, Brett Sokol, July 13, 2007 Stop at X, Broward & Palm Beach New Times, Michael MIlls, April 26, 2007 Asian Style and Taste, LA Times, Scarlet Cheng, January 11, 2007 Banquet Art Exhibition at Pacific Asia Museum, The Epoch Times, Dan Sanchez, Dec. 10, 2006 Critic's Pick, Miami Herald, Elisa Turner, December 8, 2006 Almost Famous, Ocean Drive Magazine, October 2006 Young at Art, Miami Herald, Elisa Turner, September 10, 2006 Galleries & Museums, Chicago Reader, September 8, 2006 Home Groan, Miami New Times, Carlos Suarez De Jesus, August 16, 2006 Cuatro Artistas en Casa, El Nuevo Herald, Jose Antonio Evora, August 8, 2006 Urban Sprawl, Sun - Sentinel, Emma Trelles, July 30, 2006 Exploring Urban Life With Art «WLRN ArtStreet with Meredith Porte, July 2006 Around Town, Coral Gables Living Magazine, June / July 2006 Five Years and Going Strong, Design Miami Magazine (vol.1, No. 2), Tiffany Chestler, May 2006 Metro - Pictures, Miami Herald, Elisa Turner, May 14, 2006.

In the following years, Okumura exhibited some of her most prominent paintings and installations in various galleries, institutions and collectors» homes in New York City and São Paulo.

Serving as his New York home and studio, 101 Spring Street is the place of origin for Judd's ideas on permanent installation and is the only surviving single - use cast - iron building of its era in the SoHo Cast - Iron Historic District.

This mission is reflected in the initial installation of its permanent collection of art from the World War II era to the present, AMERICANA, at the new home of the 29 - year - old South Florida institution formerly known as Miami Art Museum (MAM).

He soon made New York his home and shifted from performance, video, and installation - based work to making abstract paintings and drawings about color, light, and space.

Starting on Monday (March 2), a digital salon with installations will be held in Harlem at MIST located at 46 West Street, New York, N.Y. Curator - driven, the digital platform allows participants to watching digital art and digitally - based films online from their homes or live from MIST where opinion - sharing is encouraged.

The highlights of the program include a major installation by South African artist Ralph Ziman, a special presentation of works by artist Phoebe Boswell, a 1 - 54 Lounge designed by Azikiwe Mohammed, in partnership with Pioneer Works, the screening of Jumoke Sanwo's Lagos at Large and Van Lagos» Home presented by Retro Africa, and the Red Hook Labs and Nataal presenting New African Photography III, among others.

Art page / Home Page: Installation view of Infinity Mirror Room — Phalli's Field by Yayoi Kusama (1965) in Floor Show, Castellane Gallery, New York, 1965.

Mobile Homestead is the new installation by the american artist Mike Kelley, a moving sculpture which leaves from its new home in Midtown Detroit to its native home in the suburbs.

The Migros Museum für Gegenwartskunst presents a large - scale installation by Olaf Breuning which comprises drawings, sculptures and his new film «Home 2 (2007)».

The second installation from Gilbert1 a new in situ installation for Home Two Project in Charleville - Mézières (Fr).

Using translucent fabric and metal frames, the installation artist recreates the houses he has resided in — his childhood home in Seoul, a studio in New York and an apartment in Berlin — down to minute detail.