Sentences with phrase «only open wall»

Not exact matches

As office walls came down nationwide, business leaders discovered that the move not only opened up more space for equipment and staff, but also fostered conversation, collaboration and team - building among employees.

Because not only is she begging the Wall Street Journal and other papers to come after her and start scrutinizing even more, she's opening it up to health agencies, like the FDA and other regulators, to be extra careful when they're examining the company.»

What if the Beauty of the church was that it had no walls, only open doors, only open windows, only the openness of being fully seen — and fully welcomed?

Follow your bliss and the universe will open doors where there were only walls.»

After getting their first taste of Limoncello five years ago in Italy, Tom Kiefer and Linda Losey left the country not only with some «fine» artwork for their walls at home, but with a dream of opening their own mini-distillery and a determination to replicate that recipe.

And our apartment is a mess because I finally got the property manager to close the gaping hole in our wall (only to be told that they will have to open it later anyway when they finally replace the pipe).

Not only do they have a ton of vegan stuff and really friendly owners, they advertise their open wifi on the wall.

Around the corner from our housing was a little Lebanese hole - in - the - wall, open for lunch only.

«The main dining area is covered, but there's only two walls that are open to the water and a good bit of outside dining in that location.

When unlikely match - winner, Chris Smalling, so highly culpable in City's opening goal, volleyed past the hapless Ederson, I could only hope and pray; a) that my neighbors weren't in, or, b) the sound - proofing in the walls was as effective as it was supposed to be.

Holding midfielder Luka Milivojevic almost opened the scoring with a 13th - minute free - kick that beat the wall and Fraser Forster in Southampton's goal, only to strike the outside of the post.

But not everybody is a seasoned camper, with a ready kit and the know how to brave the outdoors, cook over an open flame and stay cozy sleeping on the ground surrounded only by nylon walls.

«Follow your bliss and the universe will open doors for you where there were only walls» Joseph Campbell

We've been living in our new home 4 months now and the only rooms that have anything up on the walls is the open concept living room and kitchen.

JS: When we opened a dedicated men's store in 1990, the merchandise was geared towards a customer based that was primarily a captain of the industry, who was a Wall Street guy and wore a suit and tie every day to work, and there was only type of affluent customer.

The only thing that did not get done (yet) is the open shelving on the wall surrounding the window.

Which makes some sense within the Buddhist framework — it is, after all, only by eliminating the confining walls of the self that the enlightened are able to open themselves up and experience the world in a pure and true manner.

Yes, this one packs a powerful cast including Cooper, Abbie Cornish and Robert De Niro, but so did Wall Street: Money Never Sleeps and that one only opened with $ 19 million.

In addition to The Wall, Roadside Attractions is opening Rama Burshtein's The Wedding Plan this weekend, but only in two New York theaters in addition to seven locations in Canada.

The action sequences are far more restrained than the opening (A bit in a den of Komodo dragons is the campy exception — an entertaining one, nonetheless), like the fight that ensues between Bond and the thief in an abandoned wing of a skyscraper with glass walls like mirrors reflecting only the ambient light a massive illuminated sign in the night.

Whether editing wikis, turning in homework for a Massive Open Online Course (MOOC), or learning Arabic by chatting with their language partner from Marrakesh, students know that what happens in the four walls of their classroom is only one part of their academic life.

THE NEXT MORNING is spent practising sideways skills, either in specific sections of the special stage where the walls aren't quite so close, or on an open snow field where there are only cones to get in the way.

Noa sleeps with the curtains open, allowing as much moonlight as possible to flood her bedroom, allowing her to see each and every picture on the walls, if only as a pale glimmer.

The Con's No Micro SD — but there is an SD Card Slot and its only # 12 for 16 GB Sound quality is poor, you need headphones — Mine is loud enough to be heard in another room The default music player stutters if you have too many apps open — Not since Ice Cream Sandwich v4.0.3 Playstation Store does not have many titles available — wait till more are ported or root it Universal Remote will prompt people to visit a wall of TV's and change all the channels — Why pay # 300 to change a wall of tv's channels?

Inspectors check only the visible parts of the home — they can't open up walls — so if your inspector flags something that looks amiss, you'll probably call someone else to dig deeper.

Sometimes the actual opening in the abdominal wall is very small, so what you see pushing through is only a bit of the fat that lines the interior of the abdomen.

Not only does the relaxed living room open to the courtyard through a large sliding door, it's also brightened by neutral walls and bright throw pillows.

Not only do large windows on all three levels of the house showcase the incredible views, but sliding glass walls let you open the indoor living spaces to the outdoor ones.

The cabin has an open bedroom with only 3 walls dividing certain sections, and consists of a double bed and elegant bath tub, a fire place and an outdoor shower.

Details like a vaulted ceiling and natural - fiber area rugs give the space a breezy appeal that's only increased by a fold - away glass wall opening to the lanai.

There is one unit that consists of open - plan living, and only has 3 walls dividing certain sections, and comprises a double bed and elegant bath tub, a fireplace as well as an outdoor shower.

Wooden floors and woven bamboo walls with only shuttered windows, no glass, make them fairy dark inside when all closed up, but with doors and shutters open it's bright and breezy, if a little on the warm side for some guests, as the bungalows are only cooled with a couple of standard fans, no punkah wallahs or air - con here (however, we thought the temperature was pleasant).

floor - to - ceiling windows, a seating area with two sofas, and a 55» smart TV • The bathroom was open - walled except for the john; it had a glass - enclosed shower and a hot tub looking into the bedroom • The suite's only downside: these rooms have nice views but lack terraces or balconies • The view did not take in Arenal Volcano; you get that with a Rainforest Suite (though the volcano is often fogged in during the rainy season)

Indoor / outdoor living is the heart of this vacation rental; the main living areas blend seamlessly with the outdoors, separated only by walls of glass, which open to -LSB-...]

There are actually only a few that require blind jumping, but I did notice there are a lot that have you bust open walls, some having clues they're there and some that don't.

Not only are the stages fairly open, they also contain a good amount of verticality, and in some levels you can even drive up walls!

And you only have a few moments to rotate this new shape correctly to fit the next wall opening.

The gates would be open, the walls only really offered cover from arrows and it was pretty much a foregone conclusion one way or another.

The advancing yellow block can not be turned or rotated to fit into the opening, and players are only allowed to remove a small square piece from every wall.»

In the spirit of Sol Lewitt, these wall drawings, executed on - site at Pulse only days before the fair opens to the public, exist only for the duration of the exhibition.

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 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 greater.

There are scores of other recent examples of secret art — shows of paintings by Wade Guyton and Stephen Prina that appear suddenly, announced to only a select group, each year for a single day at Friedrich Petzel Gallery (most recently in March); a two - person show last summer at the Untitled gallery with a rear wall that, when pushed, swiveled and, like a James Bond - style hidden - door bookcase, opened onto a prodigious group show; the recent obsession over Kraftwerk's über - secret studio in Germany in advance of the group's MoMA retrospective; the hidden rooms and trap doors in Swedish artist Klara Lidén's shows (there's one in her current New Museum retrospective); and a drawing by David Hammons at MoMA that was covered with a cloth and unveiled only a few minutes a week by appointment at select times.

(There are only so many white walls, only so many hours in the week a gallerist can devote to opening jpgs, examining portfolios or visiting Open Studios).

Todd was able to capture not only the opening but also some of the walls being painted leading up to and after the opening.

Their frequent discussions resulted in a short lived collaboration for the exhibition Using Walls (Indoors) at the Jewish Museum in 1970, which remained open for only one day, and which Kauffman described as a combination of both of the artists» ideas.

Piano's Whitney is the first major cultural institution on New York's bustling waterfront with river views through glass walls, and yet Piano was insistent on designing the open terraces and outside performance spaces to overlook only the cityscape to the east, rather than the noisy traffic along the West Side Highway.

Using materials such as lumber, drywall, insulation and plywood, Diiorio assembled partition - like structures only to cut them open and lay the parts on the floor or lean them against the gallery's actual walls, emptying his objects of functional purpose.

So it makes sense that «Hello Walls,» which fills Gladstone Gallery's two branches in Chelsea, opens with another of Bochner's early works: the white - on - black text piece Forgetting Is the Only Continuum, originally from 1969, in which the title words appear scrawled in white on a black stripe that runs nearly the length of the 24th Street gallery's largest room.

To capture this view of the Grand Canal in Venice, she transformed a room into a camera obscura by darkening all of the windows and leaving only a small opening that projected an image of the exterior world onto the opposite wall, where she hung large sheets of photographic paper.

Barbara Takenaga has created a new work of an unprecedented scale for a 100 foot wall in the Hunter Center lobby at MASS MoCA.The mural features a new image from her series, Nebraska Paintings, a body of work that moves closer to the representational imagery only implied in earlier pieces, but which captures the wide open spaces and big sky of the artist's native state.