Sentences with phrase «pieces in the show seem»

Certain pieces in the show seem to have evolved from representational objects and into more abstract forms.

Not exact matches

A BBC journalist has put together a short piece of video analysis that seems to show who the murderer speaking with a British accent in a recent ISIS propaganda video is.

The person, whether Christian or not, who feels let down if his expectation of a life after death is shown to have no substance, stands under the rebuke of J.B.S. Haldane when he says, «The belief in my own eternity seems to me indeed to be a piece of unwarranted self - glorification, and the desire for it a gross concession to selfishness.

In the comments section, some Christians seemed to mistake the piece for a genuine criticism of Jesus» leadership style, or took exception to the idea that our saviour wouldn't have won the reality TV show.

The Trotters are still nursing an FA Cup semi-final hangover it would seem, losing 5 - 0 to Stoke last month to miss out on the opportunity to feature in this weekend's show - piece against Manchester City, and are now finishing a campaign full of promise with a real whimper, with last week's 2 - 1 reverse to Sunderland at home their third consecutive defeat following disappointing outcomes away at first Fulham (3 - 0) before helped Blackburn, who were previously without a win for ten games, to end their barren streak (1 - 0).

When I show him this picture of him at his first Gay Pride Parade, I hope it will seem an interesting piece of history - a relic from a time long past, before gay people were granted equal rights under the law in this country.

If they show signs of wanting more after the first few pieces then by all means give them more until they seem full and are no longer interested in eating!

However, one slight problem was that astute Sun readers might have noticed a pie chart in the piece showing 62 per cent of the nation seemed unbothered.

Olivia Munn in Marchesa; While I think the dress is pretty... It seems to be missing some pieces... lol (and I didn't even show it from the side).

In fact, every outfit that you show on this blog is special and timeless and every piece of clothing seems to have its own identity.

When it was unveiled at the 2014 Geneva Motor Show back in March, the Quant e-Sportlimousine seemed like an obvious piece of automotive vaporware.

This notion of papers shows up throughout Underground Airlines — Victor frequently has to show his own, proving he's a free man — and I thought about another piece of recent history, especially potent to me a few years ago when I was living in Arizona: the passage of SB 1070, giving authorities the right to stop you and ask for identification if you seem like you might not be a citizen.

Now he's left with a tablet - sized piece of electronics in his hand, and New York Magazine seems to catch him showing some ambivalence.

The kind of ambiance it has, seems to contemporize the past and show respect to it by means of beautiful vintage pieces all made part of the décor and displayed with a vibrant usage of a canvas of bright and bold colors in the décor.

Both pieces are mainly text, which serves the Creed article well (all those odd story and background details to talk about), but not even Michel Ancel showing up in the Rayman bit keeps it from seeming a little overlong.

But I am hoping for the day when museums move to pull out all the stops and strive to bring in huge crowds for single - work, or tightly focused, shows of pieces that have not recently sold for nine figures — even pieces that simply reside in their own collections, particularly when they seem urgently to require spotlighting.

Some of those I'd been most drawn to appeared reduced, hardened and flattened, a little too obvious: the 1973 expanse of white Enamelac on an aluminium base that shows in a thin line down the left - hand side and along the bottom; a row of square pieces from the same year, their fat L - shapes of black (oxidised copper, apparently) set off by smaller white baked - enamel squares; and 1985's Catalyst III, with its steel bolts and thin, intermittent lines of black enamel seeming to divide the aluminium base and contain it in a pointedly incomplete frame.

It was in that show that he included a piece called Our New Quarters, which was — or seemed to be because it is, of course, ambiguous — the interior of a concentration camp bunker.

Another Smith piece in the show, a rippling work on paper, seems to turn the slim silhouette of the sculpture on its side.

The Morehouse College professor is as talented as he is multifaceted, whether creating photographs, performance pieces, drawings that seem to stain and mark their paper surfaces like wounds, or powerful works in charcoal like «Sweet Sweet Back,» which shows male breakdancers contorting their bodies into painful - looking positions.

The group show that opened on Orchard St. last week may seem disjointed, but in fact the dichotomous nature of each piece is a unifying theme in itself.

I think this was my favorite piece in the show, because of the way it seemed to bring every other object on view in the gallery together in harmonious relationship.

Here the title piece of the show, which at first seems out of place in glowing neon, takes on a new meaning.

The show's fourth edition is generationally expansive — the earliest dated pieces seem to be Mary Beth Edelson prints from 1973 — as opposed to the physically expansive concentration of works by young bucks installed in the galleries in shows past.

If Fite - Wassilak's group show chose to accentuate the material aspects of the artist's work, then Alice Channer's solo show of fabric pieces, Worn - work, seems to play on the notions of wearing, wearing down and wearing in.

That beast makes an appearance elsewhere — in the floor sculpture «Inside Outside,» in which it's deconstructed into bits and pieces, and in «Head on Spear,» a furry, impaled camel head that seems to be surveying the entire show, barely suppressing a smirk.

It seems consistent with a language piece, shown in the same gallery with a Donald Judd sequential wall sculpture and a small bright gouache by the Pattern and Decoration painter Kim MacConnel that is tellingly titled «Better Looking.»

The most successful piece in the show - insofar as Gallacio seems at last to have solved the problem of architecture vs art - is the delightful «Falling from Grace», which consists of strings strung vertically from floor to ceiling on to which apples have been threaded - Tuscan apples, we assume and hope.

Anya Gallaccio 22 Jan - 1 May Palazzo delle Papesse, Siena ([phone], www.papesse.org) Review by Charles Darwent On the face of it, «post-minimalist» seems an odd way of describing Anya Gallaccio's work, although in retrospect I think I know what the curator of her show in Siena was getting at Along with two other artists, Elisa Sighicelli and Sergio Prego, Gallaccio has been invited to occupy a floor of the Palazzo delle Papesse with pieces that respond in some way to the space itself and, more generally, to an idea of Sienese - ness.

My pieces seem to show up more in this new space, maybe it's the wall colors, maybe its the better lighting....