Hugo McCloud standing in the shadows, 2017 aluminum foil, aluminum coating and oil paint
on tar paper 96 x 78 inches (243.8 x 198.1 cm) HM - 172
a concert for television, 2014 aluminum foil, aluminum coating and oil paint
on tar paper 84 x 118 inches (213.4 x 299.7 cm) HM - 10
to the sky i looked for the path to follow - sequence series 5 of 9, 2016 aluminum foil, aluminum coating and oil paint
on tar paper 84 1/4 x 76 1/2 inches (214 x 194.3 cm) HM - 115
Blurred Lines, Clear Vision, 2014 aluminum foil, aluminum coating and oil paint
on tar paper 79 x 78 inches (200.7 x 198.1 cm) HM - 4
Hugo McCloud light sway, 2016 aluminum foil, aluminum coating and oil paint
on tar paper 76 3/4 x 96 3/4 inches (194.9 x 245.7 cm) HM - 106
Not exact matches
On paper, the TransCanada Corporation now has the Trump administration's blessings to add hundreds of miles of pipeline to allow hundreds of thousands of gallons of crude produced by the Alberta
tar sands to flow daily into the U.S., a permission twice denied by President Barack Obama two years ago (by veto and by outright denial of its permit), but it's premature to assume the project will actually get built.
if you can lie to yourself with immunity, you might be an atheist if you think the indifferent support your side, you might be an atheist if you don't think at all, you might be an atheist if you are drawn to religious discussions thinking someone wants to hear your opinion, you might be an atheist if you copy paste every piece of crap theory you find, you might be an atheist if you think you are right no matter what the evidence shows, you might be an atheist if you can't hold your water when you think about science, you might be an atheist if you can't write the word God, with proper capitalization, you might be an atheist if you think your view has enough support to be a percentage of the seven billion people
on earth, you might be an atheist if you think The View has enough support to be a percentage of the seven billion people
on earth, you might be an atheist if you live in a
tar paper shack, writing manifestos, you might be an atheist if you think you're basically a good person, and your own final authority you might be an atheist if you think your great aunt Tillie was a simian, you might be an atheist if you own an autographed copy of Origin Of The Species, you might be an atheist if you think that when you die you're worm food, you might be an atheist if you think the sun rises and sets for you alone, you might be an atheist if all you can think about is Charles Darwin when you're with your significant other, you might be an atheist if all you can think about is you when you're with your significant other, you might be an atheist if you attend a church but palm the offering plate when it passes, you might be an atheist If think this exhausts all the possibilities of definition, you might be an atheist.
Up
on the
tar -
papered roof of MIT's International Design Center, Anna Young struggles against the wind to secure a parabolic mirror to a scaffold of metal pipes.
«This new
paper demystifies the prehistoric development of birch - bark
tar production, showing that it was not predicated
on advanced cognitive or technical skills but
on knowledge of familiar, readily available materials,» says archaeologist Daniel Adler of the University of Connecticut in Storrs, who did not participate in the study.
The first rectangles quiver with the mark of a brush, the assemblages earn their grit with
tar on paper, and the geometric series embrace gradations.
The works in the show»... reveals the artist's inventive approach to his quotidian subjects which loom larger than life
on paper and become transformative sculptural objects in
tar and plaster,» according to the gallery.
During this period his
on - going Blanket Series of woven paintings - morphed into a series of installations: Christopher Columbus Did Not Discover America which incorporated light elements, rocks and arrows, and the
Tar Paper Series, richly - textured organic forms that Davis «choreographed» onto large walls.
Mark Dion The Salmon of Knowledge Returns, 2015 Epoxy resin, steel,
tar, wood, foam,
paper, aerosol enamel, acrylic paints, adhesives, glass eyes, mixed media 196 x 300.5 x 90.5 cm, Collection Irish Museum of Modern Art,
On loan from the artist, 2016.
Tar and graphite
on white
paper.
Exhibition Checklist Main Gallery (Clockwise from entrance) Robert Arneson Splatt, 1983 bronze with unique ceramic base 71 x 21 x 21 inches RAs 130.01 Robert Arneson Elvis II, 1978 conte, pastel
on paper 41 5/8 x 29 7/8» RAd 04 Joan Brown Self - Portrait at Age 42, 1980 enamel
on canvas 71 3/4» x 60» JBRp 19 Steven Campbell Men Insulting Nature and the Notion of Travel, 1986 oil
on canvas 83 x 99 inches SCamp 01 Carol Cole
Tar Baby, 2004 mixed media 7 x 13 inches CCs 1 Peter Saul Come and Get Me, 1968 oil
on canvas 63 1/2 x42 inches PSp 118 Richard Shaw Figure
on a Palette, 1980 glazed porcelain 39 x 13 x 18 inches RSs 68 Andrew Lenaghan Big Sarah, 2005 acrylic
on canvas 77 1/2 x 58 inches AnLp 395 Yoan Capote Madness II, 2004 steel 70 1/2 x 40 x 23 inches YCs 19 Collier Schorr Esther's Fine Dream (Ashes to Ashes, We All Fall Down), 1991 cast
paper, acrylic, pencil, and collage L 18 x W 12 x D 10 inches CoSs 1 James Barsness Untitled (Red nude
on street), 2004 acrylic, ballpoint pen 12 x 9 inches JBARd 60 James Barsness Untitled (with jack o'lantern), 2004 acrylic, ballpoint pen, inkjet archival print
on paper 11 7/8 x 8 5/8 inches JBARd 61 Anthony Kulig Look - Out, 2005 plaster, acrylic Two figures 17 x 4 1/2 x 3 inches each AKuls 8 Don Colley Weave 2003 7 x 6 1/2 inches scratchboard, artist's frame DCp 10 Don Colley Reel, 2003 scratchboard, hand - made hardwood frame 6 x 6 inches DCp 09 Side Gallery Diane Edison Self - Portrait Interior (striped robe), 1992 color pencil / black
paper 30 x 22 inches DEd 8 Adolph Gottlieb The Watchers, c. 1941 oil
on canvas 30 x 24 inches AGotp01 Lesley Dill Of, 2005 unique bronze with oil paint 67 x 58 x 28 inches LDs 207 Alfred Leslie Bread and Coffee, 1983 oil
on canvas 84 x 60 inches ALp 02 Stanton Macdonald - Wright Study for American Synchromy # 1, 1919 charcoal
on paper (2 - sided drawing) 25 x 18 1/2 inches SMWd 3 Stanton Macdonald - Wright Study for American Synchromy # 2, 1919 charcoal
on paper (2 - sided drawing) 25 x 18 1/2 inches SMWd 4 James Valerio David, 2004 pencil
on paper 30 1/2 x 25 inches JVd 52
The San Diego presentation of Tara Donovan is organized by MCASD Associate Curator Lucía Sanromán and will include for the first time
on view in MCASD's galleries a
tar paper piece by the artist entitled Transplanted (2001) that was acquired by MCASD in 2007, also through a grant from The Annenberg Foundation.
She works
on burlap, often combining oil paint, charcoal, resin, hair,
paper,
tar and ash in heavily textured compositions.
Kevin Beasley, Untitled (red), 2010, Paint and
tar pitch monoprint
on paper, 30 x 22 inches, Courtesy of the artist and The Butcher's Daughter, Detroit.
Kevin Beasley, Paint and
tar pitch monoprint
on paper, 24 x 19 inches, Courtesy of the artist and The Butcher's Daughter, Detroit.
Richard Serra etchings, whose thick black texture resembled a layer of
tar on the
paper, were also available at Gemini; while Crown Point had an untitled Laura Owens print of a rooster precariously balancing
on a tree branch.
Kevin Beasley, Untitled (turquoise), 2010, Paint and
tar pitch monoprint
on paper, 24 x 19 inches, Courtesy of the artist and The Butcher's Daughter, Detroit.
re: # 18 I've long argued that this is an «evidence vs representation» issue, that the emphasis
on the hockey stick in the
TAR seemed due to fact that of the huge numbers of
papers and lines of evidence, very few offer a simple, compelling graphic... which is why it has been subject to such attack.
The Nature Climate change
paper by Swart and Weaver about the impact of the oil /
tar sands
on climate made quite a splash in Canada.
In an effort to promote consistency, a guidance
paper on uncertainty (Moss and Schneider, 2000) was distributed to all Working Group authors during the drafting of the
TAR.
Grossman worked with Professor Gordon Cormack
on a landmark
paper titled Technology - Assisted Review in E-Discovery Can Be More Effective and More Efficient Than Exhaustive Manual Review, which is credited with creating the technology - assisted review (
TAR) field.