Sentences with phrase «out of a small space by»

Get the most out of a small space by using the walls to install open shelving units.

Not exact matches

Blind was equally of most value, if not crucial, when out of possession as he would instigate Ajax's pressing game (or «pressure play»): making the pitch as small as possible (compressing and closing down all space), enabling them to retain possession and win the ball back, at times, mercilessly — more often than not by provoking their opponents into making a mistake.

Last year he singled out planning judicial review by saying cases must be brought within six weeks of any decision rather than the usual three months, knowing it is harder for small community groups to raise money and start complex proceedings in this short space of time.

Currently the field is dominated by a relatively small number of established, well - funded labs, but there is another generation of researchers who are coming into their own and looking to carve out some space for themselves in this dynamic field.

When he moved back to Tokyo in 1977 to the lab of Yasuhiro Anraku, Ohsumi continued with his new study subject, but worked on transport systems that moved small molecules like amino acids and calcium into and out of the yeast version of the lysosome (idiosyncratically known by yeast biologists as the vacuole — which means «empty space»).

The first black holes in the universe had dramatic effects on their surroundings despite the fact that they were small and grew very slowly, according to recent supercomputer simulations carried out by astrophysicists Marcelo Alvarez and Tom Abel of the Kavli Institute for Particle Astrophysics and Cosmology, jointly located at the Department of Energy's SLAC National Accelerator Laboratory and Stanford University, and John Wise, formerly of KIPAC and now of NASA Goddard Space Flight Center.

Stick to your daily plan by spreading out your calorie and protein intake into several small meals spaced a couple of hours apart.

He drinks too much, passes out on the floor of his bedroom surrounded by papers (as well as an empty tumbler and an ashtray with one of his trademark cigars), and erupts in fits of rage against the smallest transgression from one of his underlings (Because he can't hold sway over the men of power whom he sees as his equals, he instead rails against his personal secretary, played by Ella Purnell, for single - spacing a letter).

Yet the social miracle took place: somewhere at the far end a small mob of passengers burped out onto the roadway, and a squeezing ripple travelled down the car, a tram - peristalsis propelled by shoulders and elbows, creating just enough space to press into before the door closed.

As mentioned above, the 4:3 aspect ratio is a design decision Apple made that can not be changed by the user, the screen quality doesn't match that of the Nexus 7, Kindle HD or the full size iPads, and storage space is limited on the device to account for its smaller size (iCloud, Apple's cloud storage service, can help with this), and the back plate scratching issues are similar to the ones that came out when the iPhone 5 was released.

If you have a long haul trip or are flying out of a smaller airport and expect a few connections, you can add the 3 letter airport codes separated by a space in the in the «Enter Routing Codes» box.

Of the four cities we looked at, Toronto is the only one where homes 20 minutes from the city core are smaller — by an average of 12 % — than homes right downtown; Calgarians end up paying roughly the same price - per - square - foot for their living space whether they buy 30 or 60 minutes from the city centre; and in Vancouver, it can be more costly to live 50 minutes out than it is to live closer to downtowOf the four cities we looked at, Toronto is the only one where homes 20 minutes from the city core are smaller — by an average of 12 % — than homes right downtown; Calgarians end up paying roughly the same price - per - square - foot for their living space whether they buy 30 or 60 minutes from the city centre; and in Vancouver, it can be more costly to live 50 minutes out than it is to live closer to downtowof 12 % — than homes right downtown; Calgarians end up paying roughly the same price - per - square - foot for their living space whether they buy 30 or 60 minutes from the city centre; and in Vancouver, it can be more costly to live 50 minutes out than it is to live closer to downtown.

If you aren't able to take him out with that great of frequency, you should crate train your puppy or limit his roaming access by gating him into a small space like a bathroom or kitchen.

Dogs that are not neutered are much more likely to want to get out of the small backyard space and roam the neighborhood often leading to being hit by a car.

I recommend nothing smaller than 4 feet by 4 feet of floor space — plus lots of run time out of the pen like you allow already.

From the first class suites, they allow every passenger to have approximately 3 feet by 6.5 feet of space to themselves and all aisle access to lay flat seats in business to a small and intimate 72 seat economy class cabin, American Airlines has left nothing out.

By the time you have a casino, you may be running out of city space, which begs the fact that cities are too small to be cities.

A voice reverberates out from the brick walls of a garage and an outbuilding and marks the borders of a small open space by listing a compendium of words related to labor.

Every single one has extraordinary color: the variety and brightness each piece carries, detail: the amount of work that is put into every aspect of each painting that make it look so realistic and abstract, lighting: the bright light shining throughout each image giving each piece an intriguing positive / enthusiastic energy, shading: the detailed shadings on each face giving them that 3 - dimensional look, definition: the quality of the defined lines that are portrayed through every painting (piece) and every small detail in the painting (like the faces and body parts) line: the complex and balanced lining that is seen in both, the abstract and realistic images in these works, texture: somewhat giving off an appealing texture to the works by the dimensions, as if you can reach out and grab the images, dimension: the realistic look that each women has (3 - dimensional), spacing: the space is used wisely in each work, very nicely spread out adding to its originality, touch: the clear and powerful finishing touch that every piece has, and the most visible that is seen in every piece here, is simply life.

On May 18, Common Practice New York will present Out of Alternatives, a symposium on the role of small - scale arts organizations in New York City, hosted by Artists Space Books & Talks and co-presented by CCS Bard.

Out of Alternatives, the first public initiative by CPNY will examine the ways in which small - scale organizations are perceived and understood by audiences, artists, and funders; identify the challenges of operating in today's climate; and revive discussions of obstacles and inequalities which have persisted since the rise of the alternative space.

CA Spectral Hues, curated by Sharon Bliss, Palo Alto Art Center, Palo Alto, CA Art Market, with Chandra Cerrito Contemporary, San Francisco, CA Building the Art House, curated by Katherine Connell and Emma Spertus, Rosenberg Library, City College of San Francisco, San Francisco, CA Big Idea, curated by Sue Collier, Leslie Ford, Jack McWhorter and JoAnn Rothschild, The Painting Center, New York, NY Along the Lines, Harrington Gallery, curated by Julie Finegan, Pleasanton, CA 2016 Plus +1, Trestle Contemporary Art Gallery, Brooklyn, NY Group show, November - December 2016, Galleri Urbane, Dallas, TX Palette, curated by Kelly Inouye, Theodora Mauro and Lisa Solomon, ampersand international arts, San Francisco, CA Small Works, Trestle Gallery, Brooklyn, NY Art Market, with Chandra Cerrito Contemporary, San Francisco, CA 2015 Therely Bare Redux, Zeitgeist Gallery, Nashville, TN Therely Bare Redux, Clara M Eagle Gallery, University of Tennessee, Murray Territory of Abstraction, Pentimenti Gallery, Philadelphia, PA Out of Storage, Studio 110 Projects, Sausalito, CA Art Market San Francisco, (with Chandra Cerrito Contemporary), San Francisco, CA The Airplane Show, B Sakata Garo, Sacramento, CA 2014 un.bound.ed, curated by Brent Hallard and Don Voisine, Root Division, San Francisco, CA (edition) DOPPLER SHIFT, curated by Mary Birmingham, Visual Arts Center, Summit, NJ (catalogue) The Intuitionists, curated by Heather Hart, Steffani Jemison & Jina Valentine, The Drawing Center, New York, NY (catalogue) First / Last, curated by Heather Phillips, Park Life, San Francisco, CA 2013 DOPPLER, Parallel Art Space, Brooklyn, NY (catalogue) Generations IX: The Red / Pink Show, A.I.R. Gallery, Brooklyn, NY Made In Paint: 2012 Artists in Residence, The Sam & Adele Golden Gallery, New Berlin, NY Rituals of Exhibition II, Light Space Project, H Gallery, Chiang Mai, Thailand Rituals of Exhibition, curated by Giles Ryder and Gilbert Hsiao, Don't Be Selfish, Phayao, Thailand POSTE CONCRET II, curated by Richard van der Aa, ParisCONCRET, Paris, FR 2012 Soft Luminosity, curated by Guido Winkler and Iemke van Dijk, IS Projects, Leiden, NL (edition) Art On Paper 2012, The Weatherspoon Museum of Art, Greensboro, NC (brochure) Islands of Order in a Sea of Chaos, curated by Ruth van Veenen, de Vishal, Haarlem, NL Doppler Stop, Amsterdams Grafisch Atelier, Amsterdam, NL (catalogue) Doppler Stop, Kunst & Complex, Rotterdam, NL Doppler Stop, Fluctuating Images / General Public, Berlin, DE Doppler Stop, trenutak.39 / Museum of Contemporary Art, Zagreb, HR Trade - O - Mat, curated by Kathryn Kenworth, Kala Art Institute, Berkeley, CA 2011 A Romance of Many Dimensions, curated by Brent Hallard, Brooklyn Artists Gym, Brooklyn, NY POSTE CONCRET I, curated by Richard van der Aa, ParisCONCRET, Paris, FR BYO, IS Projects, Leiden, NL Stop & Go Rides Again, touring exhibition curated by Sarah Klein, Z Space, San Francisco, US; Kunst & Complex, Rotterdam, NL; Fluctuating Images / General Public, Berlin, DE; Fluctuating Images / Interventionstraum, Stuttgart, DE An Exchange with Sol Lewitt, Massachussetts Museum of Contemporary Art, North Adams, MA (catalogue) ReTrace, Cesar Chavez Art Gallery, San Francisco State University, San Francisco, CA 2010 TOUCH, curated by Brent Hallard, ParisCONCRET, Paris, FR (catalogue) Factor XX, curated by Jenny Balisle, Los Gatos Museum, Los Gatos, CA (catalogue) The Rule of Typical Things, Gregory Lind Gallery, San Francisco, CA 2009 TRANS: form color, Meridian Gallery, San Francisco, CA (catalogue) TRANSformal, Pharmaka, Los Angeles, CA (brochure) The Grid, curated by JT Kirkland, MP5, Portland, OR 2008 Calculated Color, curated by Jane Lincoln, Higgins Art Gallery, Cape Cod, MA (brochure) The Space Between, curated by Cathy Kimbell, San Jose Institute of Contemporary Art, San Jose, CA (brochure) Close Calls, Headlands Center for the Arts, Sausalito, CA (also 2005, 2004) TOUCH, curated by Brent Hallard, Busdori, Tokyo, Japan Out of the Fog: Artists from Headlands Center for the Arts, curated by Dianne Romaine and Holly Blake, Art works Downtown, San Rafael, CA 2007 TRANS: Abstraktion, Weltraum, Munich, DE (brochure) 7 - 07 Hung Liu curates 7 Women Artists in the year of the Pig, b.Sakata Garo, Sacramento, CA (brochure) Bay Area Currents, The Oakland Art Gallery, Oakland, CA Visual Noise, UMC Gallery, University of Colorado, Boulder, CO The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA Systems & Transmutations, Root Division, San Francisco, CA (catalogue) Still, Contemporary Quarterly, curated by Chandra Cerrito, www.ContemporaryQuarterly.com (brochure) 2006 Suitcase: Bus - Dori, curated by Brent Hallard, Tokyo, JP Summertime, Judy Saslow Gallery, Chicago, IL microcosm, curated by Victoria Wagner, Richmond Art Center, Richmond, CA (brochure) Sketch, The Memorial Union Gallery, University of California at Davis, Davis, CA 2005 Contemporary Perspectives, Museum of Contemporary Art, Santa Rosa, CA 2004 and now they aren't.

Small rooms serve as intimate spaces to highlight a few special pieces, including Paul Chan's moving (in both senses of the word) 6th Light and a typically eccentric film collage by Joseph Cornell — the first solo show by whom, Carpenter pointed out, was at the Walker in 1953.

, you are lying on the floor of your place looking up, a small draft runs through the room, between the door and the window, and all things seem perfectly still, wind only disturbs concrete in imperceptible ways, or it may take millions of years to be noticed and, as the air runs through the space, all your plants move and all is animated and all is alive somehow, and here are the thoughts of all men in all ages and lands, they are not original with me, and that wind upon your plants is the common air that bathes the globe, and we have no ambitions of universalism, and I'm glad we don't, but the particles of air bring traces of pollen and are charged with electricity, desert sand, maybe sea water, and these particles were somewhere else before they were dragged here, and their route will not end by the door of this house, and if we tell each other stories, one can imagine that they might have been bathed by this same air, regrouped and recombined, recharged as a vehicle for sound, swirling as it moves, bringing the sound of a drum, like that Kabuki story where a fox recognizes the voice of its parents as a girl plays a drum made out of their skin, or any other event, and yet I always felt your work never tells stories, I tend to think that narrative implies a past tense, even if that past was just five seconds ago, one second ago was already the past, and human memory is irrelevant in geological time, plants and fish know not what tomorrow will bring, neither rocks nor metal do, but we all live here now, and we all need visions and we all need dreams, and as long as your metal sculptures vibrate they are always in the Present, and their past is a material truth alien to narrative, but well, maybe narrative does not imply a past tense at all and they are writing their own story while they gently move and breathe, and maybe nothing was really still before the wind came in, passing through the window as if through an irrational portal to make those plants dance, but everything was already moving and breathing in near complete silence, and if you're focused enough you can feel the pulse of a concrete wall and you can feel the tectonic movements of the earth, and you can hear the magma flowing under our feet and our bones crackling like a wild fire, and you can see the light of fireflies reflected in polished metal, and there is nothing magical about that, it is just the way things are, and sometimes we have to raise our voice because the music is too loud and let your clothes move to a powerful bass, sound waves and bright lights, powerful like the sun, blinding us if we stare for too long, but isn't it the biggest sign of love, like singing to a corn field, and all acts of kindness that are not pitiful nor utilitarian, that are truly horizontal as everything around us is impregnated with the deadliest violence, vertical and systemic, poisonous, and sometimes you just want to feel the sun burning your skin and look for life in all things declared dead, a kind of vitality that operates like corrosion, strong as the wind near the sea, transforming all things,

«Unless I put balloons out, no one would have any idea that it's here,» J.F. Lynch said of his small show space dominated by giant black - and - white charcoal letters.

2017 Builders, Circuit 12, Dallas, TX Fantastic Facade, LVL3, Chicago, IL Deconstructed, Terrault Contemporary, Baltimore, MD 2016 Helter Skelter, Launch F18, New York, NY Water Work, Soho House curated by Patrick Muhundro and Andrea Bergart, New York, NY Transaction, Knockdown Center curated by Elijah Wheat Showroom, Queens, NY Knife Hits, Spring / Break Art Show, New York, NY Faulted Valley Fog, Transmitter, Brooklyn, NY Painting Reassembled, SUNY Westchester Community College curated by Erika Mahr, Westchester, NY 2015 Surface Matters, Knockdown Center curated by Holly Shen and Sam Katz, Queens, NY Handmade Abstract, BRIC, Brooklyn, NY Object» hood, Lesley Heller Workspace curated by Inna Babaeva and Gelah Penn, New York, NY 2014 Ultra Deep Field, Rockford University Art Gallery, Rockford, IL Site Lab, Old Morton Hotel, Grand Rapids, MI BRIC Biennial, BRIC Arts in partnership with LIU University, Brooklyn, NY Insider Joke, Hockney Gallery, Royal College of Art, London, UK 2013 Rushgrove House, Rushgrove House in conjunction with the Royal College of Art, London, UK Limber: Spatial Painting Practices, Herbert Read Gallery, Canterbury UK and the Grandes Galleries de L'Erba, Rouen, France Material, Storefront Bushwick, curated by Liz Dimmitt, Brooklyn, NY Middle Zone, Projekt 722, curated by Corydon Cowansage, Brooklyn, NY No Longer Preseidents But Prophets, Delicious Spectacle, Washington DC Inside Voices, Parallel Art Space, Brooklyn, NY Contemporary Drawing Today, Fort Worth Drawing Center, Fort Worth, TX Paint Things, DeCordova Museum and Sculpture Park, Lincoln, MA 2012 Bleach Blue, FJORD Gallery, Philadelphia, PA Primary, Nudashank, Baltimore, MD Masculinisms, Garden Party / ARTS, Brooklyn, NY Rockford Midwestern Biennial, Rockford Art Museum, Rockford, IL Fakin It, Meyer Gallery, University of Cincinnati, OH 2011 Living Arrangements, PLUG Projects, Kansas City, MO Off the Wall, Visceglia Gallery at Caldwell College, Caldwell, NJ Small Crowd, Mixed Greens, New York, NY Out of Practice, Art Blog Art Blog curated by Nudashank, New York, NY RISD Graduate Thesis Exhibition, Rhode Island Convention Center, Providence, RI New Insights, Art Chicago with NEXT cuarted by Suzanne Ghetz, Renaissance Society, Chicago, IL 2010 Interriuer / Exterieur, Dubois Galerie, Pont - Aven School of Contemporary Art, France Boston Young Contemporaries, 808 Gallery, Boston University Totemic, The Gelman Gallery, RISD Museum, Providence, RI

Started by the independent curator (and self - described «gringo from San Francisco») Chris Sharp and the Mexico City - based artist Martin Soto Climent in 2013, the alternative project space named after a local juice vendor has staked out a small piece of this historic city as a hub for Mexican art enthusiasts to see cutting - edge, intergenerational, and international artists.

Clearing owner Olivier Babin moved into the massive compound in 2017 — the gallery operated for five years out of a small townhouse, but the support for his program from local collectors prompted him to bet on more ambitious digs in Brussels, and he purchased a 5,400 - square - foot former shutter factory and turned it into a stunning space with high ceilings that run together like the roof of a church, buttressed by separate exhibition spaces, a bar, a café, and office space.

Stand - outs at the highly successful and well - attended 7th edition of abc included: Daniel Steegmann Mangrané's immersive aluminum chain sculpture presented by Esther Schipper; Douglas Coupland's installation of painted globes entitled Optimism vs. Pessimism, which the artist showed with Daniel Faria Gallery; Beijing - based artist Guan Xiao's electrifying three - channel video installation Kraupa - Tuskany Zeidler and Antenna Space's shared booth drew droves of onlookers who often stayed for multiple rotations of the video loop; and at Johann König, Camille Henrot presented her video Coupe / Decalé alongside Desktop Series, a series of small bronze sculptures that reflect on the tension between immateriality and the universal creative space provided by the computer desSpace's shared booth drew droves of onlookers who often stayed for multiple rotations of the video loop; and at Johann König, Camille Henrot presented her video Coupe / Decalé alongside Desktop Series, a series of small bronze sculptures that reflect on the tension between immateriality and the universal creative space provided by the computer desspace provided by the computer desktop.

SELECTED EXHIBITIONS 2018 In (di) visible, Station Museum of Contemporary Art, Houston, TX; Cameron Museum of Art, Wilmington, NC 2017 Translatio Imperii, Gutterbox Gallery, Raleigh, NC Digiscapes, Curated by Anthony Hamilton, Lump, Raleigh, NC Art on Paper, Curated by Emily Stamey, Weatherspoon Art Museum, Greensboro, NC Objectifying Myself: Works by Women Artists from the Pennsylvania Academy of Fine Arts, William Benton Museum of Art, Storrs, CT For Liberty and Justice for Some, Walter Maciel Gallery, Los Angeles, CA Shimmer, Light and Design Gallery, Chapel Hill, NC 2016 Seeping of a Ghost, Gallery Bastejs, Riga, Latvia (solo) Musings on an Origin, Spectre Arts, Durham, NC Typecast, Hillyer Art Space, Washington, DC 2015 Heterotopias as Other, Nha San Collective, Hanoi, Vietnam (solo) 2014 The Orient, The Occident, Galerie Quynh, Ho Chi Minh City, Vietnam (solo) Summer Shuffle: Contemporary Art @ PAFA Remixed, Pennsylvania Academy of Fine Arts The Mother Load, The Center for Creative Connections, Dallas Museum of Art, TX 2013 Contemporary Vietnamerican Art, Maier Museum of Art, Lynchburg, VAThe Linda Lee Alter Collection of Art by Women, Pennsylvania Academy of Fine Arts, PA 2012 Alter / Altar: Meditations on the Past, The Morris and Gwendolyn Cafritz Foundation Art Center Collisions of Clamor and Calm, Galerie Quynh, HCMC, Vietnam Art HK 12, Hong Kong International Art Fair, with Galerie Quynh 2011 Bite Sized Monsters, Modern Eden, San Francisco, CA 2010 Twombly House / Ephemeral Museum, Portland, OR Outwin Boochever Portrait Exhibition, National Portrait Gallery, Smithsonian Institution, Washington D.C 2009 Family Pictures, Root Division, San Francisco, CA 2008 In Transition Russia, Municipal Centre for Contemporary Art, Yekaterinburg National Centre for Contemporary Arts, Moscow, Russia 2007 House of Adoration, Galerie Quynh Contemporary Art, HCMC, Vietnam (solo) House of Adoration, Ryllega Experimental Art Gallery, Hanoi, Vietnam (solo) Small Works, Morris Graves Museum of Art, Eureka, CA 2006 Portrait of a Contemporary Family, First Street Gallery, Eureka, CA Portrait of a Family, Southern Exposure, San Francisco, CA National Juried Exhibition, Marin Art Center, Marin, CA Juror: Rene de Guzman Small Works Invitational, Gallery Dog, Eureka, CA Out of Context, Huntington Beach Art Center, Huntington Beach, CA Face Paint, Bucheon Gallery, San Francisco, CA 2004 Monster Drawing Rally, Southern Exposure, San Francisco, CA Supernatural, Southern Exposure, San Francisco, CA Go West!

While this painting is displayed centrally in the gallery space, it is flanked on either side by two smaller paintings to round out the installation: Face of God, and Dads.

Mrs Spaceship often jokes that the Smallest Space Cadet of them All and I will start communicating by e-mail soon, and that she will have to have a terminal in kitchen to find out what's happening in the family.

, Gallery Joe, Philadelphia, PA 14th Annual Inliquid Benefit Auction, Gallery Joe Booth, Icebox Project Space, Crane Arts, Philadelphia, PA 2013 In Front of Strangers, I Sing: 72nd Annual Juried Exhibition, Woodmere Art Museum, Philadelphia, PA 2012 Transformations, Philadelphia Episcopal Cathedral, Philadelphia, PA All About Etchings, Chris Neptune Gallery, Washington, DC 2011 Something French, Art Gallery at City Hall, Philadelphia, PA Exhibition of Select Prints, Wayne Art Center, Wayne, PA 2010 Prints by Gallery Artists, Gallery Joe, Philadelphia, PA Selections from C.R. Ettinger Studio, 2000 - 2010, Pennsylvania Academy of the Fine Arts, Philadelphia, PA 2009 50 very small drawings, Gallery Joe, Philadelphia, PA 2008 The Figure Today, Jenkins Johnson Gallery, New York, NY The Figure Today, Jenkins Johnson Gallery, San Francisco, CA Fantastical Imaginings, Delaware Center for Contemporary Art, Wilmington, DE Group Show, Loyola University, Baltimore, MD 2007 Magical Realism, Abington Art Center, Jenkintown, PA 2006 Art on Paper 2006, Weatherspoon Art Museum, Greensboro, NC 2005 Telling Stories: The Narrative in Contemporary Art, Pennsylvania College of Art and Design, Lancaster, PA Collaboration As a Medium, Edison Gallery, Washington, DC (traveling Art Place, Baltimore MD and more sites) 2004 Figure Out: Drawing as Narrative, Gallery Joe, Philadelphia, PA 2002 25th Anniversary Exhibition, The Drawing Center, New York, NY 2001 Ten Contemporary Artists, 5 x 2, Allentown Art Museum, Allentown, PA 2000 Drawing With Color, Mangel Gallery, Philadelphia, PA When Reason Dreams: Drawings Inspired By the Visionary, the Fantastic, and the Unreal, Philadelphia Museum of Art, Philadelphia, PA Body Dismorphia, Hicks Art Center, Bucks County Community College, Newtown, PA curated by Jeanne Jaffe Allentown Art Museum, 27th Annual Juried Exhibition, Allentown, PA (Juror: Judith Tannenbaum, Curator, Rhode Island School of Design, Providence, RI) 1999 Biographies: Philadelphia Narratives, Institute of Contemporary Art, Univ. of Pennsylvania, Philadelphia, PA (catalog) Biographies: Philadelphia Narratives, Freedman Gallery, Albright College, Reading, PA (Nov. - Decby Gallery Artists, Gallery Joe, Philadelphia, PA Selections from C.R. Ettinger Studio, 2000 - 2010, Pennsylvania Academy of the Fine Arts, Philadelphia, PA 2009 50 very small drawings, Gallery Joe, Philadelphia, PA 2008 The Figure Today, Jenkins Johnson Gallery, New York, NY The Figure Today, Jenkins Johnson Gallery, San Francisco, CA Fantastical Imaginings, Delaware Center for Contemporary Art, Wilmington, DE Group Show, Loyola University, Baltimore, MD 2007 Magical Realism, Abington Art Center, Jenkintown, PA 2006 Art on Paper 2006, Weatherspoon Art Museum, Greensboro, NC 2005 Telling Stories: The Narrative in Contemporary Art, Pennsylvania College of Art and Design, Lancaster, PA Collaboration As a Medium, Edison Gallery, Washington, DC (traveling Art Place, Baltimore MD and more sites) 2004 Figure Out: Drawing as Narrative, Gallery Joe, Philadelphia, PA 2002 25th Anniversary Exhibition, The Drawing Center, New York, NY 2001 Ten Contemporary Artists, 5 x 2, Allentown Art Museum, Allentown, PA 2000 Drawing With Color, Mangel Gallery, Philadelphia, PA When Reason Dreams: Drawings Inspired By the Visionary, the Fantastic, and the Unreal, Philadelphia Museum of Art, Philadelphia, PA Body Dismorphia, Hicks Art Center, Bucks County Community College, Newtown, PA curated by Jeanne Jaffe Allentown Art Museum, 27th Annual Juried Exhibition, Allentown, PA (Juror: Judith Tannenbaum, Curator, Rhode Island School of Design, Providence, RI) 1999 Biographies: Philadelphia Narratives, Institute of Contemporary Art, Univ. of Pennsylvania, Philadelphia, PA (catalog) Biographies: Philadelphia Narratives, Freedman Gallery, Albright College, Reading, PA (Nov. - DecBy the Visionary, the Fantastic, and the Unreal, Philadelphia Museum of Art, Philadelphia, PA Body Dismorphia, Hicks Art Center, Bucks County Community College, Newtown, PA curated by Jeanne Jaffe Allentown Art Museum, 27th Annual Juried Exhibition, Allentown, PA (Juror: Judith Tannenbaum, Curator, Rhode Island School of Design, Providence, RI) 1999 Biographies: Philadelphia Narratives, Institute of Contemporary Art, Univ. of Pennsylvania, Philadelphia, PA (catalog) Biographies: Philadelphia Narratives, Freedman Gallery, Albright College, Reading, PA (Nov. - Decby Jeanne Jaffe Allentown Art Museum, 27th Annual Juried Exhibition, Allentown, PA (Juror: Judith Tannenbaum, Curator, Rhode Island School of Design, Providence, RI) 1999 Biographies: Philadelphia Narratives, Institute of Contemporary Art, Univ. of Pennsylvania, Philadelphia, PA (catalog) Biographies: Philadelphia Narratives, Freedman Gallery, Albright College, Reading, PA (Nov. - Dec.)

Thus, if the CO2 band center is sufficiently close to saturation at TRPP, the forcing per doubling will be smaller at TOA, implying some cooling of the space in between (equal to the difference in forcing between TRPP and TOA; the climatic response will, via cooling, reduce the fluxes out of the stratosphere by the same amount; some fraction of this can go into the troposphere, and since it is a reduced downward flux, it cancels out some of the initial TRPP forcing, resulting in a smaller TRPP forcing (the forcing with stratospheric adjustment) that the surface + troposphere must respond to.

Of course, if a larger spatial or shorter temporal scale is the chaotic one, then hardly matters about the smaller space or longer time scale when it might mean the whole shebang is wiped out by a — non-cataclysmic, non-alarming, but mathematically fascinating — event.)

-- only energy balance matters (here comes the school of people saying that the system is trivially simple because it exchanges energy only by radiation)-- only «equilibrium» matters (here comes the school of people who compare the system to a small ball slightly moved away from its equilibrium position inside a spherical bowl)-- space doesn't matter (this is a tautology because if a 3D system can be reduced to 1D and still predicted, then the «neglected» 2 D obviously didn't matter)-- from the above follows also necessarily that everything that happens in the real 3D world can only be noise (here comes the school of people who say that everything averages out)

The small space is enlarged by the minimalist aesthetic, exemplified by the large glazed door and window, but there's plenty of storage to keep clutter out of sight, and a fold - out couch - bed that tucks away to make more space when not in use.

Every step of the game is one of figuring out how to get to the next place, whether that requires the boy to climb walls, slipping through small spaces to unlock gates and doorways, or reach high places by riding Trico as he leaps to towering perches.

Based out of Seattle, it's not quite connected to the Silicon Valley space, and still considers itself a small, scrappy startup with over «volunteers» working to bring the custom ROM to handsets new and old, many of which are no longer supported by their own manufacturers.

By now, you've chopped out all unnecessary information but you find your resume is still over one page long, and you are faced with the decision of making the print small to make it fit on one page or of using a second page that is mostly a large blank space.

I have to say I am truly blessed to have two private creative spaces of my own, my writing cottage out by our garden pond and my studio space, a former small bedroom.

Make suitcase unpacking easy by clearing space on top of a dresser or setting out a small table.

It went something like this: hotel check - in, locate room, locate wifi service, attempt connection to wifi, wonder why the connection is taking so long, try again, locate phone, call front desk, get told «the internet is broken for a while», decide to hot - spot the mobile phone because some emails really needed to be sent, go «la la la» about the roaming costs, locate iron, wonder why iron temperature dial just spins around and around, swear as iron spews water instead of steam, find reading glasses, curse middle - aged need for reading glasses, realise iron temperature dial is indecipherably in Chinese, decide ironing front of shirt is good enough when wearing jacket, order room service lunch, start shower, realise can't read impossible small toiletry bottle labels, damply retrieve glasses from near iron and successfully avoid shampooing hair with body lotion, change (into slightly damp shirt), retrieve glasses from shower, start teleconference, eat lunch, remember to mute phone, meet colleague in lobby at 1 pm, continue teleconference, get in taxi, endure 75 stop - start minutes to a inconveniently located client, watch unread emails climb over 150, continue to ignore roaming costs, regret tuna panini lunch choice as taxi warmth, stop - start juddering, jet - lag, guilt about unread emails and traffic fumes combine in a very unpleasant way, stumble out of over-warm taxi and almost catch hypothermia while trying to locate a very small client office in a very large anonymous business park, almost hug client with relief when they appear to escort us the last 50 metres, surprisingly have very positive client meeting (i.e. didn't throw up in the meeting), almost catch hypothermia again waiting for taxi which despite having two functioning GPS devices can't locate us on a main road, understand why as within 30 seconds we are almost rendered unconscious by the in - car exhaust fumes, discover that the taxi ride back to the CBD is even slower and more juddering at peak hour (and no, that was not a carbon monoxide induced hallucination), rescheduled the second client from 5 pm to 5.30, to 6 pm and finally 6.30 pm, killed time by drafting this guest blog (possibly carbon monoxide induced), watch unread emails climb higher, exit taxi and inhale relatively fresher air from kamikaze motor scooters, enter office and grumpily work with client until 9 pm, decline client's gracious offer of expensive dinner, noting it is already midnight my time, observe client fail to correctly set office alarm and endure high decibel «warning, warning» sounds that are clearly designed to send security rushing... soon... any second now... develop new form of nausea and headache from piercing, screeching, sounds - like - a-wailing-baby-please-please-make-it-stop-alarm, note the client is relishing the extra (free) time with us and is still talking about work, admire the client's ability to focus under extreme aural pressure, decide the client may be a little too work focussed, realise that I probably am too given I have just finished work at 9 pm... but then remember the 200 unread emails in my inbox and decide I can resolve that incongruency later (in a quieter space), become sure that there are only two possibilities — there are no security staff or they are deaf — while my colleague frantically tries to call someone who knows what to do, conclude after three calls that no - one does, and then finally someone finally does and... it stops.

My home isn't very large, and we don't have a coat closet by the front door, so we have created a «mud room» out of a small space.

Make the most out of small island spaces by utilizing tricky angles.

I started by laying out one of the curtain panels on a drop cloth and making a small mark every 5 ″ to help keep the start of my grid lines spaced correctly.