Sentences with phrase «riddance from»

how much have we spent on his non playing career here if my mate loses 50 quid of my money, he gets alot more than good riddance from me

Goodbye and good riddance from all of us.

Not exact matches

But in death, the good priest in the third row seemed to be saying, the temple becomes suddenly devalued, suddenly irrelevant, suddenly negligible and disposable — «just a shell» from which we ought to seek a hurried and most often unseen riddance.

Where a dead body requires more or less immediate attention, riddance of lust the shell» can hold grief off for a few days, or a week, or a season, No cutting short the pastor's too brief vacation, no rushing home from a ministerial conference to deal with a death in the parish family.

I actually agree with Jon (maybe the first time and hopefully many more times) and from his recent comments he does not value us the fans, that little success he has achieved has altered his ego which is showing on and off the pitch.Good riddance

Good riddance is all I can say I knew Giroud was a deadwood from the 1st day he missed that sitter versus Sunderland on his debut.

Secondly shifting from expecting the players to stick with him no matter what!!!! I felt the exit of Song being accompanied with «good riddance» becos, AW has come to the point where he also did nt care anymore.

But, minutes later, there was a feeling of «good riddance», as his brainless challenge on Cazorla was met with a straight red card from Howard Webb.

You'd think it would be just as easy to clean up the poo from a diaper... No complaints, though, because we're both happier with our twins in cloth — and we, too said good riddance to the blowouts.

Kanu had stylishly remade himself a fugitive from the law — and good riddance!

Good riddance to him, and let us congratulate Mr. Grimm, a friend of Klal Yisroel, who has even garnered audiences and brachas from R» Pinto in Manhattan.

Good riddance to Brooklyn's Pamela Harris, who resigned Monday from the state Assembly three months after the feds indicted her on fraud charges.

«Additional Scenes» are a handful of context-less scenes — one of which is a phone call not taken from Ernest Hemingway — that either don't do much to further the plot or don't feature Jones prominently enough; extended bits involving the dissolution of Stump's marriage also find their way to the cutting room floor and good riddance.

But we are sorry... to consider Mr. Pratt's writings as «purely evil»... we should really look upon this author's departure from the world of literature as a good riddance of bad rubbish.

I know a lot of Kindle authors will say good riddance to the dead tree dinosaurs, and bring it on, but the big six is where a great deal of the good fiction comes from.

I know from watching your discussion group a lot of Kindle readers will say good riddance to the dead tree dinosaurs, and bring it on, but the big six is where a great deal of the good fiction you read every day comes from.

And if (as I hear from many authors these days) the traditional publishers are really paying their own suppliers (the authors) only 25 % of net profits, then it's the publishers who were the real monopsonists, and I say good riddance to them — their fall can't come soon enough.

And there was certainly a time, not so long ago, when I was also a fully paid - up McKeever Believer: his seriousness, his commitment to the act of painting, and the complete absence from his work of what the American painter Gary Stephan has dubbed «visual sarcasm» — that is, the use of paint only in order to flaunt its supposed inadequacy and redundancy — made him seem like a bulwark against the insufferable smart - alec nihilism of Richard Prince, Wade Guyton, or Christopher Wool; and against the prevailing attitudes within the Higher Education establishment at which I both teach, and study on the MA programme, where the buzz - phrase on the Fine Art Critical Studies syllabus is «post-Making»; in other words, goodbye and good riddance to all that messy business with brushes and squeegees and welding torches, once and for all.

2006 The Downtown Show, The New York Art Scene 1974 - 1984, New York University Grey Art Gallery, New York, US Onestar Shop by Hans Schabus, Art Metropole, Toronto, CA Public Space / Two Audiences, Works and Documents from the Herbert Collection, Museu d'Art Contemporani de Barcelona, ES Draft Deceit, Kunstnernes Hus, NO Location Shots, Galerie Erna Hecey, Brussels, BE Pierre Huyghe: Celebration Park, Musée d'Art Moderne de la Ville de Paris / ARC, FR Cerealart, Cerealart Lounge Pier 90, The Armory Show, New York, US Artists for Chinati, Phillips de Pury & Company, New York, US The Early Show: Video from 1969 - 1979, curated by Constance De Jong, The Bertha and Karl Leubsdorf Art Gallery at Hunter College, New York, US Onestar Press, The First Five Years, The Engholm Engelhorn Gallerie, Vienna, AT Message Personnel, Yvon Lambert, Paris, FR Not Quite Ten Years Without Martin Kippenberger, a project by Chris Hamond, Bar MOT for Kippenberger (MOT), London, UK That Was Then This Is Now, De Appel, Amsterdam, NL Czesław Miłosz / To Allen Ginsberg, Dvir Gallery, Tel - Aviv, IL Mental Image - Wortwerke und Textbilder, Kunstverein St. Gallen Kunstmuseum, CH Conceptual Comics, curated by AA Bronson, Max Schumann, Walter Phillips Gallery at the Banff Centre for the Arts, Banff Alberta, CA Libri Books Bücher, Museo D'Arte Contemporanea, Rivoli (Torino), IT The Shape of Sound, Radio Arte Mobile, Sound Art Museum, Rome, IT Wall Works - Sol LeWitt, C.A. Swintak, Lawrence Weiner, Art Gallery of Ontario, Toronto, Ontario, CA I: An Exhibition in Three Acts, Futura Gallery, Prague, CZ I Will Not Make Any More Boring Art, Lithographs, Publications and Ephemera from The Nova Scotia College of Art & Design, Printed Matter, Inc., New York, US On the Ball, Galerie Anselm Dreher, Berlin, DE Group Exhibition, curated by Peter Kogler, Galerie Mezzanin, Vienna, AT The Title As The Curator's Art Piece, A Summer Show by Mathieu Copeland (spoken word exhibition), Blow de la Barra, London, UK Into Me / Out Of Me, curated Klaus Bisenbach, P.S. 1 Contemporary Art Center, Long Island City, New York, US; KW Institute for Contemporary Art, Berlin, DE A Bit Of Matter And A Little Bit More, screening Turtle, curated by Michael Shamberg, Chelsea Space, London, UK Moving On: Motion, Galerie Thomas Schulte, Berlin, DE The Known and the Unknown, Gallerie Nicolai Wallner, Copenhagen, DK As If By Magic, Bethlehem Peace Center, West Bank & Art School Palestine, Palestine, IL The Materialization of Sensibility: Art & Alchemy, Leslie Tonkonow Gallery, New York, US The Urban Forest Project, Times Square Information Station, Times Square, New York, US Word, curated by L. Brandon Krall, Deborah Colton Gallery, New York, US Printemps de Septembre, Toulouse, curated by Jean - Marc Bustamante, City of Toulouse, FR Contraband, curated by Carolina Grau, Galeria Luisa Strina, São Paulo, BR São Paulo Bienale, Escola São Paulo, São Paulo, BR Busy Going Crazy, collection Sylvio Perlstein, La Maison Rouge, Paris, FR The RxArt Ball, New York, US The Title As The Curator's Art Piece (spoken word exhibition) curated by Matthieu Copeland, Blow de la Barra, London, UK Concrete Language, Contemporary Art Gallery, Vancouver, CA Project 2023 - Arteast Collection 2000 +23, Moderna Galerija Ljubljana, SL Break Even, Andrew Roth Gallery, New York, US Open, CCS Bard Hessel Museum, Annandale - on - Hudson, New York, US Wrestle, CCS Bard Hessel Museum, Annadale - on - Hudson, New York, US Ideal City - Invisible Cities, curated by Sabrina von der Ley & Markus Richter, Europe Projects, Zamość, PL Into A Journey, Meyer Riegger, Karlsruhe, DE Magritte and Contemporary Art: The Treachery Of Images, designed by John Baldessari, LACMA, Los Angeles, California, US Art Metropole: The Top 100, National Gallery of Canada, Ottawa, CA Poster, Paula Cooper Gallery, New York, US Pandora's Reisen, Brigitte March Galerie, Stuttgart, DE Dedica - 20 Anni Della Galleria Alfonso Artiaco, curated by Julia Draganovic, Palazzo delle Arti Napoli, Naples, IT Good Riddance, curated by Claire Davies & Sam Gathercole, MOT, London, UK Art in America: 300 Years of Innovation, curated by Susan Davidson, National Art Museum of China (NAMOC), Beijing, CN Not For Sale, curated by Alanna Heiss, P.S. 1 Contemporary Art Center, New York, US Il Faut Rendre À Cézanne, The Collection Lambert, Avignon, FR

There's nothing wrong with that kind of a practice, but some of that work that is coming away from law firms and lawyers, in my personal opinion good riddance.

Good riddance, though I wonder whether their inherent toxicity has travelled to those firms «fortunate» enough to pick from these carcasses.