Sentences with phrase «part of the new glass»

Not exact matches

LIMERICK, IRELAND (27 March 2018)-- Glass Lewis, the leading independent provider of global governance and engagement support services, announced enhancements to its Proxy Paper research service as part of a new partnership with Dutch firm DirectorInsight.

LIMERICK, IRELAND (27 March 2018)-- Glass Lewis, the leading independent provider of global governance and engagement support services, announced enhancements to its Proxy Paper research service as part of a new partnership with Dutch -LSB-...]

«The new Dietary Guidelines have confirmed Fruit Juice Australia's position — that a small glass of fruit juice can be a beneficial part of a healthy, balanced diet for people who undertake regular physical activity.

ALEXANDRIA, VA, January 14, 2014 — A stronger network of recycling depots and curbside collection programs will yield increased rates of recycling and material recovery of beverage containers, according to the major findings of a new study commissioned in part by the Glass Packaging Institute (GPI).

As someone who does not currently collect crystals and is also skeptical of how much a glass can really affect a wine (swigging straight from the bottle is a standard part of my wine reviewing process), I decided to conduct a highly scientific experiment of side - by - side tastings with my fancy - schmancy new universal Zaltos and my tried - and - true standard glasses from Crate & Barrel that I love.

Fans of any side with a wantaway owner that only narrowly evades relegation and then parts company with their best striker, best midfielder and best defender are unlikely to approach the new campaign with much in the way of optimism — and the denizens of Villa Park are notoriously glass - half - empty at the best of times.

Read part two of this report here... & Check out my review on the New Glass Sippy.

JUST across the Thames from New Scientist, you can treat yourself to a view of Brian Clarke's architectural glass work, which forms part of a new office block near St Paul's CathedrNew Scientist, you can treat yourself to a view of Brian Clarke's architectural glass work, which forms part of a new office block near St Paul's Cathedrnew office block near St Paul's Cathedral.

Here is my guess on what it was... the metal part was part of a vase that might have had a glass center to it, it broke and the previous owners decided to make a new vase with tin HAHAHAHA.

Now, 65 years later, as part of The Mouse House's current trend of remaking / reimagining classics from the vault (which will continue over the next few years with new versions of «The Jungle Book», «Pete's Dragon» and «Beauty and the Beast»), veteran director Kenneth Branagh brings to life the latest live - action interpretation of the glass slipper story.

Part of the reason for this, however, may be because this new installment in the unceasing «Pirates» franchise is in 3 - D, and wearing those glasses makes it's much more difficult to look at your watch.

When he was part of New York's «downtown scene» in the «70s, Philip Glass was the target of vituperative put - downs by critics and the older generation of modernist composers, who scripted their music according to the dictates of intellectual theo..

The studio teases part of its 2016 film slate with new images from «Alice Through the Looking Glass,» «The Jungle Book» and «Zootopia.»

Nick Kroll («Kroll Show «-RRB- stars as Jake, who when the movie opens is on top of the world, about to launch a major new tech device (similar to Google glass), when a manufacturer of one of the crucial parts pulls out of the deal.

Disney has debuted new images from «Zootopia,» «The Jungle Book» and «Alice Through the Looking Glass,» all part of the studio's 2016 slate.

As part of that effort, it implemented a new engineering program for all Buicks called «QuietTuning,» featuring greater application of existing sound - deadening technologies like door and window gaskets, double - glazed windshields and side glass, engine compartment insulation, and careful attention to aerodynamics.

all new glass, lots of new parts..

A panoramic glass roof is an integral part of the all new XJ's design concept, enabling the car to have a lower, more streamlined roofline, while dramatically enhancing the feeling of light and space inside.

He started by removing the original Carbon Fiber roof and replaced it with a new design, incorporating a glass part just above the front seats, this way the cockpit received a lot more light and the overall impression of room was emphasized this way.

1967 Mustang Coupe * No Title * Over $ 1500 of New Parts * Whole car is there plus more * Interior is all there in Good shape * Glass in real good shape * Motor & Trans work GreatCall Wayne for info

On the outgoing model, the quarter glass was part of the door, but on the new Panamera, the door is cut farther inward at the top with the glass mounted to the C - pillar.

Avoid touching the glass part of the new halogen bulb with your fingers or anything greasy in the engine bay.

In 1997, Stephen Glass admitted to fabricating parts of twenty - seven articles for the New Republic, the New York Times, George, and Harper's magazine.

An integral part of the renaissance of Western Michigan, Amway Grand Plaza Hotel, with the historic wing and new Glass Tower, is located in the heart of downtown Grand Rapids contributing to the growing skyline of the business and entertainment district.

As part of the new update, some new items have been added to the game including a new area within the Disney Hall of Heroes and more importantly have added some new content from «Alice Through The Looking Glass».

This photograph by James Welling is part of an ongoing series of works begun in 2006 which documents Philip Johnson's iconic Glass House built in 1949 in New Canaan, Connecticut.

Photo: Jonathan Muzikar, © Isa Genzken; Isa Genzken, Rot - gelb - schwarzes Doppelellipsoid «Zwilling» (Red - yellow - black Double Ellipsoid «Twin»), 1982, lacquered wood, two parts, Collection of the artist, Courtesy the artist and Galerie Buchholz, Cologne / Berlin, © Isa Genzken; Isa Genzken, MLR, 1992, lacquer on canvas, Lonti Ebers, New York, Courtesy the artist and Galerie Buchholz, Cologne / Berlin, © Isa Genzken; Isa Genzken, Hospital (Ground Zero), 2008, metal tray dolly, plastic flowers in spray - painted vase, ribbon, metal, mirror foil, synthetic polymer paint on fabric, shot glasses, fiberboard, and casters, Collection Charles Asprey, Courtesy the artist and Galerie Buchholz, Cologne / Berlin, © Isa Genzken; Isa Genzken, New Buildings for Berlin, 2004, glass and silicone on wood pedestal, four parts, Kravis Collection, Courtesy David Zwirner Gallery, New York / London, © Isa Genzken; Isa Genzken, Fuck the Bauhaus # 4, 2000, plywood, Plexiglas, plastic slinky, clipboards, aluminum light shade, flower petals, tape, printed paper, shells, and model tree, Private Collection, Turin, Courtesy AC Project Room, New York, © Isa Genzken

Taking direction from architect and theosophist Claude Bragdon's treatise on drawing four - dimensional patterns on a two - dimensional plane, Ms. Auerbach presents a series of glass sculptures and a sculpture consisting of 3D - printed parts, along with large - scale acrylic paintings created with custom - made tools and a new group of her coveted Weave paintings.

The new building, while incorporating most of the constructional parts of the Hyde Park building, was so completely different in form as to be properly considered a quite different structure — a «Beaux - arts» form in glass and metal.

Los Angeles Metropolitan Transit Authority awarded her a large glass pavilion project, which will be a part of the new LAX / Crenshaw line, slated for completion in 2019.

Joyce J. Scott: Harriet Tubman and Other Truths is supported in part by the following funders: National Endowment for the Arts Art Works, Bank of America, New Jersey Council for the Humanities, Agnes Gund Foundation, Art Alliance for Contemporary Glass, The Coby Foundation, LTD., Rotasa Foundation, PNC Fund of the Princeton Area Community Foundation, Goya Contemporary, Shirley and Arthur Martin Family Fund, and the following Exhibition and Education Supporters: Robbye D. Apperson, Jackie & René Copeland, Gordon and Lulie Gund, Barbara Lawrence and Allen Laskin, Mike De Paola and Alan White.

Engaging with the history and mission of The Arts Club itself, the two - part installation will bring together McElheny's film The Light Club of Vizcaya: A Women's Picture (2012) and a new site - specific installation titled The Club for Modern Fashions (2013), a constructed glass pavilion into which performers and guests are invited during the lunch hour, Tuesdays through Fridays, dressed in vintage attire from the 1920s to the 1970s — decades that signify the height of a modernist imperative across the cultures of fashion, design, and architecture.

The exhibitions program are part of a strategic initiative introduced by the new director of the Glass House, Henry Urbach, who is leading efforts to rededicate the site as a lively, creative cultural center consistent with the spirit and values of its former occupants, renowned architect Philip Johnson and independent curator David Whitney.

Balançoires (2010) are two glass swings with the map of Beirut carved onto the seats and are parts of the Mona Hatoum's New York exhibition Bourj.

Glass's autograph score for the landmark work, as well as scene designs and other items from the landmark opera, are to become part The Morgan Library & Museum's collection through a bequest from the estate of Paul F. Walter, a New York collector and philanthropist, announced the New York museum.

Elsewhere, a perfectly circular «bomb pond», made by an American bomb in a Cambodian rice - field, forms part of the photographic series «Takeo» (2009) by the young Cambodian artist Vandy Rattana, while an antique exhibit from the National Museum in Beirut was transformed into a fusion of metal, ivory, glass and terracotta by the bombs that fell there during the Lebanese civil war (1975 — 90) and thus given a new abstract beauty.

It features new works in ceramic, glass, and photography by the artists, who founded Villa Design Group, is on the editorial board of Montez Press and recently took part in Emalin's FOLLY exhibition in the UK's Stirling.

On returning to America in 1966 he settled in New York, becoming part of a small but enduringly influential underground art scene that included Eva Hesse, Chuck Close, Joan Jonas, the writer Spalding Gray and the composers Steve Reich and Philip Glass.

Filmed at the Michael Davis Stained Glass workshop in Long Island City, New York, objects from this session were later given a mirrored surface as part of the artist's Total Reflective Abstraction series of works that took as their point of departure a conversation between Buckminster Fuller and Isamu Noguchi.

ROYAL DANISH ACADEMY OF FINE ARTS, Copenhagen, Denmark 2011 «Some Structures; drawing, writing, finance» AARHUS, SCHOOL OF ARCHITECTURE, Aarhus, Denmark 2011 «Hunting Life in an Open Book» «Arts, Letters and Numbers: An expanded disciplinary geography» PARSONS THE NEW SCHOOL FOR DESIGN, New York, NY 2010 «Design and Existential Risk» Fall Lecture series «Risk Distribution: Why I teach algorithmic trading in an art school» GLASS HOUSE CONVERSATIONS; Dialogue in the Digital Age 2010 Invited Participant by Geoff Manaugh philipjohnsonglasshouse.org ACADIA 2010 Conference LIFE in: formation, New York, NY 2010 Lecture: «Time Promise Land: Notes on our current geographies» COOPER UNION, New York, NY 2010, «Hejduk, Hamlet and the Ghost Promise» with response from David Shapiro (poet) Rhode Island School of Design, Providence, RI 2010, National Science Foundation, Making Science Visible Conference «Embodied Knowledge Navigating Disciplinary Geographies» COOPER UNION Panel discussion, New York, NY 2010, «Light is Calling» Participant and moderator Bill Morrison, Kyna Leski, Chris Rose CÍRCULO DE BELLAS ARTES, Madrid, Spain Conference on John Hejduk 2009, «Hejduk, Hamlet and the Ghost Promise» COOPER UNION, New York, NY Public Art lectures with Dennis Adams 2009, «No More Shall We Part» HARVARD UNIVERSITY, GSD, Cambridge, MA Critical Digital Conference 2009, «Creative Imagination In the Shadow of Oppenhiemer» Rhode Island School of Design, Providence, RI How Do We Look to the OutsidOF FINE ARTS, Copenhagen, Denmark 2011 «Some Structures; drawing, writing, finance» AARHUS, SCHOOL OF ARCHITECTURE, Aarhus, Denmark 2011 «Hunting Life in an Open Book» «Arts, Letters and Numbers: An expanded disciplinary geography» PARSONS THE NEW SCHOOL FOR DESIGN, New York, NY 2010 «Design and Existential Risk» Fall Lecture series «Risk Distribution: Why I teach algorithmic trading in an art school» GLASS HOUSE CONVERSATIONS; Dialogue in the Digital Age 2010 Invited Participant by Geoff Manaugh philipjohnsonglasshouse.org ACADIA 2010 Conference LIFE in: formation, New York, NY 2010 Lecture: «Time Promise Land: Notes on our current geographies» COOPER UNION, New York, NY 2010, «Hejduk, Hamlet and the Ghost Promise» with response from David Shapiro (poet) Rhode Island School of Design, Providence, RI 2010, National Science Foundation, Making Science Visible Conference «Embodied Knowledge Navigating Disciplinary Geographies» COOPER UNION Panel discussion, New York, NY 2010, «Light is Calling» Participant and moderator Bill Morrison, Kyna Leski, Chris Rose CÍRCULO DE BELLAS ARTES, Madrid, Spain Conference on John Hejduk 2009, «Hejduk, Hamlet and the Ghost Promise» COOPER UNION, New York, NY Public Art lectures with Dennis Adams 2009, «No More Shall We Part» HARVARD UNIVERSITY, GSD, Cambridge, MA Critical Digital Conference 2009, «Creative Imagination In the Shadow of Oppenhiemer» Rhode Island School of Design, Providence, RI How Do We Look to the OutsidOF ARCHITECTURE, Aarhus, Denmark 2011 «Hunting Life in an Open Book» «Arts, Letters and Numbers: An expanded disciplinary geography» PARSONS THE NEW SCHOOL FOR DESIGN, New York, NY 2010 «Design and Existential Risk» Fall Lecture series «Risk Distribution: Why I teach algorithmic trading in an art school» GLASS HOUSE CONVERSATIONS; Dialogue in the Digital Age 2010 Invited Participant by Geoff Manaugh philipjohnsonglasshouse.org ACADIA 2010 Conference LIFE in: formation, New York, NY 2010 Lecture: «Time Promise Land: Notes on our current geographies» COOPER UNION, New York, NY 2010, «Hejduk, Hamlet and the Ghost Promise» with response from David Shapiro (poet) Rhode Island School of Design, Providence, RI 2010, National Science Foundation, Making Science Visible Conference «Embodied Knowledge Navigating Disciplinary Geographies» COOPER UNION Panel discussion, New York, NY 2010, «Light is Calling» Participant and moderator Bill Morrison, Kyna Leski, Chris Rose CÍRCULO DE BELLAS ARTES, Madrid, Spain Conference on John Hejduk 2009, «Hejduk, Hamlet and the Ghost Promise» COOPER UNION, New York, NY Public Art lectures with Dennis Adams 2009, «No More Shall We Part» HARVARD UNIVERSITY, GSD, Cambridge, MA Critical Digital Conference 2009, «Creative Imagination In the Shadow of Oppenhiemer» Rhode Island School of Design, Providence, RI How Do We Look to the OutsiNEW SCHOOL FOR DESIGN, New York, NY 2010 «Design and Existential Risk» Fall Lecture series «Risk Distribution: Why I teach algorithmic trading in an art school» GLASS HOUSE CONVERSATIONS; Dialogue in the Digital Age 2010 Invited Participant by Geoff Manaugh philipjohnsonglasshouse.org ACADIA 2010 Conference LIFE in: formation, New York, NY 2010 Lecture: «Time Promise Land: Notes on our current geographies» COOPER UNION, New York, NY 2010, «Hejduk, Hamlet and the Ghost Promise» with response from David Shapiro (poet) Rhode Island School of Design, Providence, RI 2010, National Science Foundation, Making Science Visible Conference «Embodied Knowledge Navigating Disciplinary Geographies» COOPER UNION Panel discussion, New York, NY 2010, «Light is Calling» Participant and moderator Bill Morrison, Kyna Leski, Chris Rose CÍRCULO DE BELLAS ARTES, Madrid, Spain Conference on John Hejduk 2009, «Hejduk, Hamlet and the Ghost Promise» COOPER UNION, New York, NY Public Art lectures with Dennis Adams 2009, «No More Shall We Part» HARVARD UNIVERSITY, GSD, Cambridge, MA Critical Digital Conference 2009, «Creative Imagination In the Shadow of Oppenhiemer» Rhode Island School of Design, Providence, RI How Do We Look to the OutsiNew York, NY 2010 «Design and Existential Risk» Fall Lecture series «Risk Distribution: Why I teach algorithmic trading in an art school» GLASS HOUSE CONVERSATIONS; Dialogue in the Digital Age 2010 Invited Participant by Geoff Manaugh philipjohnsonglasshouse.org ACADIA 2010 Conference LIFE in: formation, New York, NY 2010 Lecture: «Time Promise Land: Notes on our current geographies» COOPER UNION, New York, NY 2010, «Hejduk, Hamlet and the Ghost Promise» with response from David Shapiro (poet) Rhode Island School of Design, Providence, RI 2010, National Science Foundation, Making Science Visible Conference «Embodied Knowledge Navigating Disciplinary Geographies» COOPER UNION Panel discussion, New York, NY 2010, «Light is Calling» Participant and moderator Bill Morrison, Kyna Leski, Chris Rose CÍRCULO DE BELLAS ARTES, Madrid, Spain Conference on John Hejduk 2009, «Hejduk, Hamlet and the Ghost Promise» COOPER UNION, New York, NY Public Art lectures with Dennis Adams 2009, «No More Shall We Part» HARVARD UNIVERSITY, GSD, Cambridge, MA Critical Digital Conference 2009, «Creative Imagination In the Shadow of Oppenhiemer» Rhode Island School of Design, Providence, RI How Do We Look to the OutsiNew York, NY 2010 Lecture: «Time Promise Land: Notes on our current geographies» COOPER UNION, New York, NY 2010, «Hejduk, Hamlet and the Ghost Promise» with response from David Shapiro (poet) Rhode Island School of Design, Providence, RI 2010, National Science Foundation, Making Science Visible Conference «Embodied Knowledge Navigating Disciplinary Geographies» COOPER UNION Panel discussion, New York, NY 2010, «Light is Calling» Participant and moderator Bill Morrison, Kyna Leski, Chris Rose CÍRCULO DE BELLAS ARTES, Madrid, Spain Conference on John Hejduk 2009, «Hejduk, Hamlet and the Ghost Promise» COOPER UNION, New York, NY Public Art lectures with Dennis Adams 2009, «No More Shall We Part» HARVARD UNIVERSITY, GSD, Cambridge, MA Critical Digital Conference 2009, «Creative Imagination In the Shadow of Oppenhiemer» Rhode Island School of Design, Providence, RI How Do We Look to the OutsiNew York, NY 2010, «Hejduk, Hamlet and the Ghost Promise» with response from David Shapiro (poet) Rhode Island School of Design, Providence, RI 2010, National Science Foundation, Making Science Visible Conference «Embodied Knowledge Navigating Disciplinary Geographies» COOPER UNION Panel discussion, New York, NY 2010, «Light is Calling» Participant and moderator Bill Morrison, Kyna Leski, Chris Rose CÍRCULO DE BELLAS ARTES, Madrid, Spain Conference on John Hejduk 2009, «Hejduk, Hamlet and the Ghost Promise» COOPER UNION, New York, NY Public Art lectures with Dennis Adams 2009, «No More Shall We Part» HARVARD UNIVERSITY, GSD, Cambridge, MA Critical Digital Conference 2009, «Creative Imagination In the Shadow of Oppenhiemer» Rhode Island School of Design, Providence, RI How Do We Look to the Outsidof Design, Providence, RI 2010, National Science Foundation, Making Science Visible Conference «Embodied Knowledge Navigating Disciplinary Geographies» COOPER UNION Panel discussion, New York, NY 2010, «Light is Calling» Participant and moderator Bill Morrison, Kyna Leski, Chris Rose CÍRCULO DE BELLAS ARTES, Madrid, Spain Conference on John Hejduk 2009, «Hejduk, Hamlet and the Ghost Promise» COOPER UNION, New York, NY Public Art lectures with Dennis Adams 2009, «No More Shall We Part» HARVARD UNIVERSITY, GSD, Cambridge, MA Critical Digital Conference 2009, «Creative Imagination In the Shadow of Oppenhiemer» Rhode Island School of Design, Providence, RI How Do We Look to the OutsiNew York, NY 2010, «Light is Calling» Participant and moderator Bill Morrison, Kyna Leski, Chris Rose CÍRCULO DE BELLAS ARTES, Madrid, Spain Conference on John Hejduk 2009, «Hejduk, Hamlet and the Ghost Promise» COOPER UNION, New York, NY Public Art lectures with Dennis Adams 2009, «No More Shall We Part» HARVARD UNIVERSITY, GSD, Cambridge, MA Critical Digital Conference 2009, «Creative Imagination In the Shadow of Oppenhiemer» Rhode Island School of Design, Providence, RI How Do We Look to the OutsiNew York, NY Public Art lectures with Dennis Adams 2009, «No More Shall We Part» HARVARD UNIVERSITY, GSD, Cambridge, MA Critical Digital Conference 2009, «Creative Imagination In the Shadow of Oppenhiemer» Rhode Island School of Design, Providence, RI How Do We Look to the Outsidof Oppenhiemer» Rhode Island School of Design, Providence, RI How Do We Look to the Outsidof Design, Providence, RI How Do We Look to the Outside?

, Tony Shafrazi Gallery, New York, US Intervention / Decoration, Foreground Projects, Frome, Somerset, UK Ambition d'Art, Institute d'Art Contemporain, Villeurbanne - Lyon, FR Redone, Kröller - Müller Museum, Otterlo, NL A Bookcase for Onestar Press by Lawrence Weiner, Christophe Daviet - Thery, Paris, FR Mes Amis, Dvir Gallery, Tel Aviv, IL Reconstruction # 3: Artists» Playground, Sudeley Castle, Winchcombe, Gloucestershire, UK Advancing the Experience: Robert Ryman & Urs Raussmüller, Hallen für Neue Kunst, Schaffhausen, CH Art Basel, Kino Mascotte, Basel, CH Cul - de-sac, curated by Lino Polrgato, Small Dead End Courts Around Venice, IT 2008: FREEDOM - American Sculpture, curated by Marie Jeanne de Rooij, Stichting Den Haag Sculptuur, Den Haag, NL Revolutions - Forms That Turn, Biennale of Sydney, Museum of Contemporary Art, Sydney, AU Slow Glass, Lisa Cooley, New York, US Thoughts On Democracy: Reinterpreting Norman Rockwell's «Four Freedoms» Poster, The Wolfsonian, Florida International University, Miami, Florida, US artCRUSH, Aspen Art Museum, Colorado, US NOLEFTOVERS, Kunsthalle Bern, CH Translocomotion 7th Shanghai Biennale, curated by Julian Heynan, Henk Slager, Shanghai, CN German Angst, Neuer Berliner Kunstverein, Berlin, DE TEXT drawings, Leo Castelli Gallery, New York, UK Drawings on Graph Paper, Leslie Tonkonow Artworks + Projects, New York, US Pleinairism, curated by Kitty Scott, i8 Gallery, Reykjavik, IS Une Grosse Caisse dans un Orchestre Symphonique, Center d'art Contemporain, Saint Restitut, FR Variation 1, Wiener Konzerthaus, Vienna, AT Wall Rockets: Contemporary Art Artists and Ed Ruscha, curated by Lisa Dennison, The FLAG Art Foundation, New York, US; Albright - Knox Art Gallery, Buffalo, New York, US XX, CAG, Vancouver, CA Wall Works, Buchmann Galerie, Lugano, CH ABC No Rio 2008 Gala & Benefit Auction, Angel Orensanz Foundation for the Arts, New York, US The Panza Collection, The Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington DC, US 2 x -LSB-(2 x 20) + (2 x 2)-RSB- + 2 = XX (DESPERATELY) TRYING TO FIGURE OUT THE WORLD, curated by Konrad Bitterli, Part I, Mai 36 Galerie, Zurich, CH, Part II, Brook Alexander Gallery, New York, US Collected Visions Modern and Contemporary Works from the JP Morgan Chase Art Collection, Pera Museum, Istanbul, TR This is the Gallery and the Gallery is Many Things, Eastside Projects, Birmingham, UK Love Love Love, Martos Gallery, New York, US Whatever Happened to Sex in Scandinavia, curated by Marta Kuzma, Office for Contemporary Art Norway, Oslo, NO Passage To The North, screening SI Annual Benefit, Swiss Institute, New York, US Posesion, curated by Montserrat and Pablo Sigg, Petra, Mexico City, MX Now You See It, Aspen Art Museum, Colorado, US Order.

2001 Words and Landscape, Art Affairs, Amsterdam, NL Conception: Conceptual Documents 1968 - 1972, Norwich School of Art and Design, Norwich, UK; The Library, Henry Moore Institute, Leeds, UK; Chisenhale Gallery, London, UK; Baskin Gallery, University of British Columbia, Vancouver, CA Rolling Stones Adorned With Starlight, Galerie Hubert Winter, Vienna, AT Words + Landscape, Art Affairs, Amsterdam, NL The Starving Artists» Cookbook Video Series, Anthology Film Archives, New York, US; Galerie Rachel, Haferkamp, Cologne, DE «Für Hanne», Galerie Ascan Crone, Hamburg, DE Yossi Breger, Douglas Gordon, Jonathan Monk, Lawrence Weiner, Dvir Gallery, Tel Aviv, IL Dead, The Roundhouse, London, UK Vette Vazen, Brutto Gusto, Rotterdam, NL AM The Record Man: Artists» Audio Projects, Art Metropole, Toronto, CA From the Marzona Collection, Kunstverein Ludwigsburg, DE Presentation of the Works, Frankfurt, DE Imago Mundi, CAPC - Musée d'Art Contemporain, Bordeaux, FR Group Exhibition, Cab Gallery, London, UK Collaborations with Parkett, Museum of Modern Art, New York, US DIN ART 4: 540 Künstlers und 1 Formular Sammlung Klaus Hömberg, 1985 bis 1997, Museum für Telekommunication, Frankfurt, DE; Museum für Kommunikation, Hamburg, DE; Museum für Kommunikation, Berlin, DE The First Ten Years: Selected Works form the Collection, Irish Museum of Modern Art, Dublin, IR Nothing, Northern Gallery for Contemporary Art, Sunderland, UK; CAC, Vilnius, LT; Rooseum, Malmö, SW Sammlung Ingo Glass, Herbergen - Museum des Münchner Stadmuseums, DE Counting Coup / Undo, The Theatre for the New City, New York, US Wall > Sculpture, Margarete Roeder Gallery, New York, US Wert Wechsel, Zum Wert des Kunstwerks, Museum für Angewandte Kunst, Cologne, DE So Oke, Benefit Auction for Infoscreen, Futuregarden Kunstverein, Vienna, AT Archilab 2001, 3rd Intern» l Architect, Conf, Ville d'Orléans, FR Drawings, Regen Projects, Los Angeles, California, US Von Edgar Degas bis Gerhard Richter: Arbeiten auf Papier aus der Sammlung des Kunstmuseum Winterthur, Westfälisches Landesmuseum für Kunst und Kulturgeschichte, Munster, DE Markers: Outdoor Banner Event of Artists and Poets, part of 49th Venice Biennale, org.

She recently oversaw its renovation and curated a new installation to celebrate its 10th anniversary, with lectures, tours and exhibitionsthat are part of the Lowe's «2018: Year of Glass.»

«A Cloud Index», a 120 metre - long glazed glass canopy, has been commissioned for the new Elizabeth line station in London as part of the Crossrail Art Programme

The viewer, as a pedestrian, a participant and a vital component of New York's energetic system, becomes part of the work, and of the interactive personal landscape that Aitken creates in and among the hard - edged concrete and glass language of Manhattan's architecture.

In mid-to-late Sixties New York, Serra became part of a small but enduringly influential downtown underground art scene that included Chuck Close, the writer Spalding Gray and the minimalist composers Philip Glass and Steve Reich.

«Stran,» part of «Robert Rauschenberg: Spreads and Related Works,» on display at the Glass House in New Canaan, Conn., until August 15, 2016.

«Helm,» part of «Robert Rauschenberg: Spreads and Related Works,» on display at the Glass House in New Canaan, Conn., until August 15, 2016.

«Recital,» part of «Robert Rauschenberg: Spreads and Related Works,» on display at the Glass House in New Canaan, Conn., until August 15, 2016.

«Recital» and «Helm,» part of «Robert Rauschenberg: Spreads and Related Works,» on display at the Glass House in New Canaan, Conn., until August 15, 2016.