Sentences with phrase «paper on a feature wall»

Not exact matches

In a 2008 paper in Science, Parkin and colleagues demonstrated the beginnings of a racetrack memory based not on skyrmions, but on magnetic features called domain walls, which separate regions with different directions of magnetization in a material.

In addition to the sly humor to be found in the background of every Aardman production (labels for Costly Crackers and Stumbler's Whiskey, a wall papered with news stories about the «Veggy Monster» from «The Curse of the Were - Rabbit»), «Flushed Away» features a hilarious running gag in the form of a Greek chorus of singing slugs, who harmonize at opportune moments on everything from «Don't Worry, Be Happy» to «Mr. Lonely.»

But «The Wall,» which features Aaron Taylor - Johnson as a U.S. Army soldier pinned down by a preternaturally accurate Iraqi sniper behind a crumbling wall and pro-wrestler-turned-actor John Cena as his injured superior officer, doesn't sound — at least on paper — like there's much room for innovation, let alone a moWall,» which features Aaron Taylor - Johnson as a U.S. Army soldier pinned down by a preternaturally accurate Iraqi sniper behind a crumbling wall and pro-wrestler-turned-actor John Cena as his injured superior officer, doesn't sound — at least on paper — like there's much room for innovation, let alone a mowall and pro-wrestler-turned-actor John Cena as his injured superior officer, doesn't sound — at least on paper — like there's much room for innovation, let alone a movie.

Pleasant has also created wall works that feature large sleeping heads in dynamic compositions of pressed skin, closed eyes, open mouths, and messy hair, each based on her ink on paper drawings.

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

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.

The show will feature an extensive group of the artist's sculptural wall reliefs and works on paper from the late 1950s to the mid-1970s in what will be the first significant presentation of the artist's work in America in over a decade.

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.

The installation features a series of interconnected wall drawings and mobile - like sculptures made up of his signature scrap paintings — bits of tape and overspray that have been stripped from his studio walls and carefully arranged on paper and clear mylar.

Also features installation shots of an exhibition in Dusseldorf that included massive undulating grid - like wall works related to the works on paper featured here.

Melvin Edwards solo exhibition featuring wall - based and freestanding sculptures, works on paper, and debuting a new barbed wire installation at Galerie Buchholz, Berlin.

Inquiry's End features one of the artist's most challenging works to date: a ninety - one part wall installation titled A Pattern or Practice (2015) that uses inkless embossing to punch portions of the US Department of Justice report on the Ferguson Police Department into blank white sheets of paper, making the findings all but inscrutable to the viewer.

One work features a wall with three «glory holes» emblazoned with Chaves's hand, as well as a drawing that reads «SECRET» and works on paper that create an intimate vignette that's unexpected in the booth of an art fair.

The gallery features 108 works on paper suspended salon - style on bold yellow and green latticed walls, a cheeky allusion to the exhibition's namesake.

Warranted Non-Compliance features works on paper from Mikhail Sokovikov and Jason Aaron Wall (who have collaborated together since 1997 as street artist duo Mint & Serf), as well as artist Christopher Johnson, a member of the Peter Pan Posse art collective (you've surely seen PPP spray painted all over Chinatown).

The exhibition, featuring more than a dozen wall - mounted sculptures and a similar number of works on paper, will be Gober's first in New York since his 2014 MoMA retrospective, «The Heart is Not a Metaphor.»

K.C. Barnes -LRB-» 01) will display works on paper; Tenley Marshall -LRB-» 01) will exhibit paintings and fiberwork; Gina Miccinilli -LRB-» 95) will feature sculpture; Marie - Noelle -LRB-» 94) will present a wall installation; Sam Spaeth -LRB-» 02) will display animation; and Emily Toxie -LRB-» 03) will exhibit mixed media.

Tracey Emin's journey of self discovery continues to unfold in the dynamic new series of paintings, sculptures, embroidered pieces, works on paper, and text wall reliefs in neon featured in this engaging show.

So she makes assemblages of shells, rocks, bones and other beach finds, as well as wall hangings on handmade Japanese paper that feature rubbings of trees, insects, tombstones and pottery shards.

The exhibition will feature a new large - scale triptych painting titled «Man Hunt,» as well as three additional paintings, three sculptural wall reliefs, and several works on paper.

On a limited budget of $ 100, you could conceivably paper an 8» x 10» feature wall yourself; that total would include the cost of two double rolls and all supplies, like paste, a roller tray and a sharp blade.

Whether it's on walls or soft furnishings, make a feature out of a strong design: papering one wall with flocked or floral wallpaper will stop the pattern from taking over the small room, but will still achieve the desired finish.

This Astoria, Queens bathroom features Rifle Paper Co. pineapple wallpaper contrasted with classic subway tile on the walls and black hexagon floor tile for a modern twist on the traditional b & w bathroom.

Smith's own India - ink florals on paper provide eye candy, while the adjoining space features a plentitude of pieces by friends — one wall covered in a collage of oils by Carol John, plus photographs by Rinne Allen and Christy Bush.

Choose wood print paper to create an on - trend feature wall that won't break the bank.

The large sunray mirror reflects olive green feature paper on the wall opposite, while an oversized drum shade provides glamorous lighting.