Sentences with phrase «new wall paper»

Removing old and applying new wall paper is just too much for me.

Not exact matches

It used to be that getting this information required scanning through your paper copy of The Wall Street Journal or The New York Times to find relevant news and op - eds.

The point is that Zuckerberg is no different from media baron Rupert Murdoch, who uses the Wall Street Journal and his tabloid papers to berate liberals, or the Sulzberger clan who control the New York Times (NYT) and staunchly support Democrats.

Facebook chief Mark Zuckerberg has taken out a full page ad in the Washington Post, the New York Times, the Wall Street Journal and six UK papers today to apologize Cambridge Analytica scandal, according to CNN's Brian Stelter.

Facebook chief Mark Zuckerberg has taken out a full page ad in the Washington Post, the New York Times, the Wall Street Journal and six UK papers today to apologize Cambridge Analytica scandal, accord

NEW YORK / WASHINGTON Wall Street lobby groups urged U.S. policy makers and regulators to revamp rules to encourage more initial public offerings and to reduce the regulatory cost of staying public, in a white paper issued on Thursday.

Ads publicizing the multi-billion dollar stock sale are set to be published in national papers like The Wall Street Journal and The New York Times in the next few days.

Canadian sociologist Glenda Wall details the new responsibility in her paper Mothers» experiences with intensive parenting and brain development discourse.

Coalition members, including the UFT, the Partnership for New York City, Trinity Wall Street and the Children's Aid Society, helped shape this position paper in an effort to elucidate what the community schools model is all about.

Facebook CEO Mark Zuckerberg took his mea - culpa tour to the pages of the New York Times, Washington Post, Wall Street Journal, and six U.K. papers on Sunday, apologizing in a full - page ad for the company's «breach of trust» around the Cambridge Analytica scandal and promising to «do better.»

«This is a new effect that could prove to be useful in the future,» said Dr. André Bisig, lead author of the paper «Correlation between spin structure oscillations and domain wall velocities,» which has recently been published in Nature Communications.

We had to use a scanning electron microscope,» said Adam Wall, lead author of the scientific paper describing the new discovery.

A few new additions like this brass wall shelf, the rug, toilet paper holder, and the shower curtain and rod finished off the space.

Recent updates: Added 1/14: First Showing (additional critic), Slashfilm (additional critic) Added 1/8: Birth.Movies.Death (additional critics), Parallax View, The Tracking Board Added 1/7: Film Journey, The Film Stage (additional critic), First Showing (additional critic) Added 1/5: The Film Stage (additional critics), In Review, Moving Picture Blog, The Playlist (additional critics), Slashfilm (additional critics), Taste of Cinema Added 1/3: CBS News, Den of Geek [UK], Film Pulse, The Film Stage (substituted individual lists for consensus list), Hidden Remote, The Playlist (additional critics), PopCulture.com, Reverse Shot, ScreenAnarchy, Slant (substituted individual lists for consensus list), Slashfilm, Wichita Eagle Added 12/31: artsBHAM, Cape Cod Times, CinemaBlend (additional critics), Collider (additional critics), Criterion [The Daily], Criterion Cast, The Film Stage, First Showing, Flavorwire, The Globe and Mail, The Hollywood Reporter / Heat Vision, Lincoln Journal Star, Monkeys Fighting Robots, NOW Magazine, Omaha World - Herald, Paste, People, ReelViews, Salt Lake City Weekly, San Antonio Current, Screen Daily, SF Weekly, These Violent Delights, Toledo Blade, Uncut, Under the Radar, Vancouver Observer, Vancouver Sun Added 12/29: The Arts Desk, Austin American - Statesman, Austin Chronicle, Awards Daily, Boston Globe, Boston Herald, CinemaBlend (additional critics), Cleveland Scene, Collider (additional critics), The Daily Beast, Deadline, Film Journal International, Houston Chronicle, Ioncinema, Las Vegas Review - Journal, New Orleans Times - Picayune, New York Post, Paper, The Playlist, San Diego City Beat, San Francisco Chronicle, San Francisco Examiner, St. Louis Post-Dispatch, Salt Lake Tribune, Seattle Weekly, Shepherd Express, The Stranger, Tallahassee Democrat, Toronto Star, Tucson Weekly, Tulsa World, Uproxx, The Virginian - Pilot, Washington City Paper, White City Cinema Added 12/27: Awards Campaign, Baltimore Beat, Buffalo News, Chicago Daily Herald, CinemaBlend, Collider, Film School Rejects, GameSpot, JoBlo, Metro UK, Newsweek, Observer, San Jose Mercury News, Seattle Times, Sydney Morning Herald, Tampa Bay Times, Thrillist, USA Today, Village Voice (Wolfe), Wired UK Added 12/22: Chicago Sun - Times, Den of Geek [US], The Guardian, Mashable, Metro US, Sioux City Journal, Star Tribune, The Verge, Wired Added 12/21: BBC, Chicago Reader, The Commercial Appeal, IGN, Las Vegas Weekly, TimeOut New York, Village Voice Added 12/20: A.V. Club, Crave, Esquire, The Independent, Spectrum Culture Added 12/19: The Atlantic, Birth.Movies.Death., CineVue, Newsday, NPR, WhatCulture Added 12/18: Arizona Republic, Yahoo! Added 12/17: Dazed, Flood Magazine, New Zealand Herald, Salon, ScreenCrush, The Star - Ledger (NJ.com), Time Out London, Total Film Added 12/15: BuzzFeed, Christian Science Monitor, Detroit News, Los Angeles Times, Philadelphia Daily News, Vox Added 12/14: Associated Press, Chicago Tribune, Consequence of Sound, Little White Lies, Los Angeles Daily News, RogerEbert.com, TheWrap Added 12/13: Evening Standard, Variety Added 12/12: The Hollywood Reporter, Huffington Post, PopCrush Added 12/11: CBC, The Observer [UK], Wall Street Journal Added 12/8: The New Yorker, Rolling Stone, Slant Added 12/7: Culture Trip, IMDb, The Ringer, Slate, Time, Us Weekly Added 12/6: Cahiers du Cinéma, New York Times, Vogue, Vulture (Yoshida), Washington Post Added 12/5: Scorecard launched with 15 lists.

Activities: ♦ Cloze — fill in the missing words * ♦ Word search * ♦ Order events in the story * ♦ Drama — Freeze frame cards * ♦ Music — Sound effect cards * ♦ Storyboard — with words * ♦ Storyboard — without words ♦ Write a poem (noun, verbs, adjectives, synonym) ♦ Acrostic poem ♦ 5 senses — what a character may see, hear, smell, etc ♦ Thought bubbles - what a character may be thinking ♦ Story outline — problem, response, action, outcome ♦ Trifold — beginning, middle, end (paper foldable) ♦ Newspaper article — write and draw ♦ Graph — tally chart and block graph ♦ Bookmark ♦ Character traits ♦ Wall ball — write and draw ♦ Diorama — write and draw (paper foldable) ♦ Art — decorate the heart in the same style as the illustrator ♦ Pattern art ♦ Book cover — design a new one ♦ Book dust jacket ♦ Story review ♦ Flap booklet - write and / or draw.

Activities: ♦ Cloze — fill in the missing words * ♦ Word search * ♦ Order events in the story * ♦ Drama — Freeze frame cards * ♦ Music — Sound effect cards * ♦ Creative drawing — 2 headed dog * ♦ Storyboard — with words * ♦ Storyboard — without words ♦ Write a poem (noun, verbs, adjectives, synonym) ♦ Acrostic poem ♦ 5 senses — what a character may see, hear, smell, etc ♦ Thought bubbles - what a character may be thinking ♦ Story outline — problem, response, action, outcome ♦ Trifold — beginning, middle, end (paper foldable) ♦ Newspaper article — write and draw ♦ Graph — tally chart and block graph ♦ Bookmark ♦ Creative thinking — giant killing plan and equipment needed ♦ Character traits ♦ Wall ball — write and draw ♦ Diorama — write and draw (paper foldable) ♦ Art — decorate the footprint in the same style as the illustrator ♦ Pattern art ♦ Book cover — design a new one ♦ Book dust jacket ♦ Story review ♦ Flap booklet - write and / or draw.

Activities: ♦ Cloze — fill in the missing words * ♦ Word search * ♦ Order events in the story * ♦ Drama — Freeze frame cards * ♦ Music — Sound effect cards * ♦ Storyboard — with words * ♦ Storyboard — without words ♦ Write a poem (noun, adjectives, verbs, thought, synonym) ♦ Acrostic poem ♦ 5 senses — what a character may see, hear, smell, etc ♦ Thought bubbles - what a character may be thinking ♦ Trifold — beginning, middle, end (paper foldable) ♦ Newspaper article — write and draw ♦ Graph — tally chart and block graph ♦ Bookmark ♦ Character traits ♦ Wall ball — write and draw ♦ Diorama — write and draw (paper foldable) ♦ Art — decorate the jawbone in the same style as the illustrator ♦ Pattern art ♦ Book cover — design a new one ♦ Book dust jacket ♦ Story review ♦ Flap booklet - write and / or draw.

When 5 new word wall words are introduced, write them on a slip of paper and add to Word Jar.

It's on the raise, as Poles decide to use more mobile devices than paper for reading, I got two walls of paper book and going to move to new place..

It is hard to quantify digital circulation because three of the most prolific daily papers in the U.S. — The New York Times, The Wall Street Journal and The Washington Post — have in recent years not fully reported their digital circulation to the Alliance for Audited Media, the group that audits the circulation figures of many of the largest North American newspapers and other publications.

Three of the highest - circulation daily papers in the U.S. — The New York Times, The Wall Street Journal and The Washington Post — have in recent years not fully reported their digital circulation to the Alliance for Audited Media (AAM), the group that audits the circulation figures of many of the largest North American newspapers and other publications.

Two of these papers report such digital circulation elsewhere: The New York Times in their financial statements and The Wall Street Journal in reports available on the Dow Jones website.

When I read this post by Ivan Hoff, I decided to look at the new high and new lows lists, which I never do now, but used to do regularly back in the days when I read a paper Wall Street Journal eve...

When I read this post by Ivan Hoff, I decided to look at the new high and new lows lists, which I never do now, but used to do regularly back in the days when I read a paper Wall Street Journal every day.

The Wall Street Journal reported at the end of May that some tests of this new procedure were shut down over confusion about whether all paper, including notebooks, had to be removed for screening.

Gavin Brown's Enterprise At the Gavin Brown's Enterprise booth Sturtevant's green Serpentine Owl Wallpaper, 2014, decorated the walls and piles of multicolored, paper leaves (actually Rob Pruitt's New Fall Colors: Rainbow, 2014) dotted the floor.

The exhibition will debut a 16 - foot glazed ceramic wall panel depicting a nocturnal landscape engulfed in flames, as well as a new series of abstract landscapes made from burned paper.

In the 1940s and 1950s the main groups within the Abstract expressionism were the «Gesture Painters» and the «Color - Field Painters», who experimented with new techniques for applying paint: dripping, pouring, throwing, squirting, squeegeeing, and spattering, and with the use of unconventional tools, such as wall paper brushes, sticks, and trowels.

The exhibition features new paintings from a few series — Spatial Dialogues, Quantum Wall, and Portals — and new works on paper.

Armory: Arlene Shechet sculptures on integral pedestals, with cast paper sculpture on wall, at the Jack Shainman Gallery, New York City

New work from New York, Syracuse University Art Galleries, Syracuse, NY Art on Paper 2010: The 41st Exhibition, Weatherspoon Art Museum, Greensboro, NC The Silk Road, Saatchi Gallery, London and Lille, France Paper, Frederic Snitzer Gallery, Miami, FL Does the Angle Between Two Walls Have a Happy Ending, curated by Ishmael Randall Weeks, Federica Schiavo Gallery, Rome, Italy

The Geoffrey Young Gallery is proud to present «Pickup Lines,» an exhibition featuring work on paper by a brilliant cast of known and unknown artists from New York and Los Angeles, whose work will joust on the wall for aesthetic hegemony, critical supremacy, or ideological inscrutability.

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).

The show brings together works — like David Hammons's Bliz - aard Ball Sale (1983), in which he sold snowballs from a blanket on a New York street on a winter day, and Joseph Beuys's suggestion that the height of the Berlin Wall be increased by five centimeters, which scandalized West Germany — solely by way of Rubinstein's written descriptions of them, taken from his book of the same title (Paper Monument, 2014).

This Brooklyn - based duo has been featured in The New York Times, The Wall Street Journal, NY Mag, Vogue, Art in America and online publications such as Paper Mag, Art21, artnet, Blouin Artinfo, Hyperallergic, Art F City, Flavorwire, Gothamist, and Huffington Post.

1993 Les Amis des Musées de Verviers: Aspects de la mouvance construite internationale, Fondation Pro Mesures Art International, Verviers, Belgium (catalogue) Yale Collects Yale, Yale University Art Gallery, New Haven, CT Skowhegan 93, Colby College Museum of Art, Waterville, ME (booklet) Building a Collection: The Department of Contemporary Art, Museum of Fine Arts, Boston, MA Artists» Photographs: A Private View, Blum Helman Gallery, New York Live in Your Head, Hochschule für Angewandte Kunst and Galerie Metropol, Vienna (curated by Robert Nickas, catalogue) The Tradition of Geometric Abstraction in American Art 1930 — 1990, Whitney Museum of American Art, New York 15th Anniversary Group Exhibition, Arthur Roger Gallery, New Orleans, LA Drawing the Line Against AIDS, AmFAR Art Against AIDS, Venice Biennale, Venice Looking at Collecting Today, Chateau de Tanlay, Burgundy, France Legend In My Living Room, Rhona Hoffman Gallery, New York I Love You More than My Own Death, Venice Biennale, Venice Italia - America, L'Astrazione Ridefinita, Galleria Nazionale d'Arte Moderna, San Marino, Italy (curated by Demetrio Paparoni, catalogue) New York Painters, Sammlung Goetz, Munich (catalogue) Legend in My Living Room, Rhona Hoffman Gallery, New York Wall Works, Edition Schellmann, Cologne, Germany Works on Paper, Kohn Abrams Gallery, Los Angeles Twenty Years, Daniel Weinberg Gallery, Santa Monica, CA Peter Halley, Todd Levin, Thread Waxing Space, New York (video project) Living with Art: The Collection of Ellyn & Saul Dennison, The Morris Museum, Morris, NJ (catalogue) Color, Pamela Auchincloss Gallery, New York New York on Paper, Galerie Thaddaeus Ropac, Paris

SHIFT debuts three new bodies of work comprising sculpture, site specific wall drawings, and works on paper.

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 greawall, 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 greaWall, 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 greawall, 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 greawall, 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 greawall 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.

The drawings in her new body of work focus on objects that might be described simply as surfaces; such as paper, cloth and walls.

2010 Bernabei, Valentina, «Ishmael Randall Weeks,» Flash Art, December Saldari, Eloisa, «Da Federica Schiavo Le Transformazioni Orogenetiche di Randall Weeks,» ARTEeCRITICA, no. 65 Agliottone, Marianna, «Ishmael Randall Weeks, a Solo Show,» Exibart Magazine, September Catton, Pia, «Greater Visions of Contemporary Art,» The Wall Street Journal, May 2 Viveros - Fauné, Pia, ««Greater New York 2010» is Worse than the Biennial,» The Village Voice, June 2 Paul, Carlos, «Artista Utiliza Arquitectura y Urbanismo para Reflejar Los Movimientos Sociales de AL,» La Jornada, May 7 Harris, Jane, «Slash: Paper under the Knife,» Time Out New York, January 14 — 20

Celebrated for his full - scale installations and wall - mounted sculptures, Drew uses a variety of materials such as wood, iron, cotton, paper and mud to re-work in the building of new and lively forms.

Presented alongside a 1966 work on paper by Agnes Martin and a sparkling, shiny wall - mounted sculpture by Lynda Benglis from 1978, with old and new works by Jennifer Bartlett in close proximity, the booth was a veritable treasure trove of works by female artists.

Lordy Rodriguez Wall Installation, n.d. ink on paper 10 x 14 inches (each) Courtesy of artist and Hosfelt Gallery, New York, New York © Lordy Rodriguez.

Upstream Gallery presents A Fragile Membrane, an Illusive Screen a solo exhibition of new works on paper, wall drawings and two channel video by British / Dutch artist David Haines.

The work will occupy both galleries with new works on paper and panels, including a 90» x 102» nine - panel painting on the main wall of the lower gallery.

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).

Her New Museum exhibition brings together a selection of recent cutout paper figures, mixed - media works on paper, collaged paintings in beehive frames, a large - scale painted sailcloth, and hand - painted texts on the gallery walls.

The exhibition explores themes of intimacy, desire, beauty, anxiety and shame through works on paper, site - specific wall paintings and the debut of a new collaboration with artist and writer Steve Reinke.

More than 50 new works on paper will also be exhibited along side and embedded in a large wall painting to create an immersive experience which will leave the viewer pondering the same questions of meaning, value and love.

At the gallery's basement, the viewer comes across three bodies of work: black photographic paper (coin studies), museum barriers standing in vertical position (distance keepers) and wall painting (model), that act as collage elements and manage in a quite unexpected and paradoxical way to serve as a whole new system of reference.