Sentences with phrase «scale objects made»

The small scale objects made of painted laser - cut steel measure 9 1/8 x 14 5/8 x 5 1/2 inches and, among others, were acquired by Gibbes Museum of Art in Charleston, S.C., Albright - Knox Art Gallery in Buffalo, N.Y., and New - York Historical Society where it will be featured in the fall 2018 exhibition «Black Citizenship in the Age of Jim Crow.»

Not exact matches

The printers — used industrially and also on a smaller scale to make digitally designed, three - dimensional objects from plastic — have not been used much for building.

The general point that has been made is that in the new conditions of the modern world the comparative study of religion has moved into a new phase — first, in that the object of inquiry has on a quite new scale been seen to be communities of persons.

In this case, sets of oscillating ions can be made to act as if they are connected, even though equivalent human - scale objects, like pendulums and springs, «certainly don't behave in this entangled way,» Hanneke says.

We can not make a direct connection with it: at a small scale, objects do not behave like rods or balls or waves or clouds or anything we have ever directly experienced.

The resulting nanoforms include symmetrical lattice arrays, quasicrystalline structures, curvilinear arrays, and a simple wire art sketch in the 100 - nm scale, as well as 3D objects including a snub cube with 60 edges and 24 vertices and a reconfigurable Archimedean solid that can be controlled to make the unfolding and refolding transitions between 3D and 2D.

In this 50 - minute videoconference program, students are given a brief introduction to the UT McDonald Observatory and then they make a volume and distance scale model of two objects in the Solar System.

These can include engineered (or man - made) nanometer - scale objects such as nanoparticles, nanotubes, and nanofilms, as well as naturally occurring nanoparticles such as volcanic ash, sea spray, and smoke.

Just make sure you center your objects as much as possible, as the scale will be off by a gram or two if the objects are off center.

Thus in the Preface to Person and Object (1979) he writes «The book would not have been completed without the epoch - making File Retrieval and Editing System...» [21] Brown University's work in electronic book systems continued for many years, including US Navy funded projects for electronic repair - manuals; [22] a large - scale distributed hypermedia system known as InterMedia; [23] a spinoff company Electronic Book Technologies that built DynaText, the first SGML - based e-reader system; and the Scholarly Technology Group's extensive work on the Open eBook standard.

- as Captain Olimar is making his way home, an asteroid onslaught forces him to land on a nearby planet - Sparklium is the fuel for Olimar's Dolphin III ship - with the ship's fuel depleted, you have to find items on this planet which can be turned into fuel - collect everything from seeds to large scale treasures - you need 30,000 Sparklium to make your way home - you are eventually required to find a lost ship part at the end of the game - levels are more linear and puzzle based, and include specific goals / goodies to collect - move Captain Olimar with the Circle Pad, while all other interactions use the touchscreen - blow your whistle, throw Pikmin and also touch certain objects - worlds are called Sectors, with six areas altogether - find all the treasure and look for new passageways to complete a sector 100 % - passageways can grant you access to secret spots or additional levels highlighted with the letter X - the first world is called Brilliant Garden, which has lush forest environments - Yellow Pikmin can easily reach the upper screen, where you can sometimes collect goodies and pull down vines - there's a level where you use yellow Pikmin as a source to connect two wires - connecting the wires lets you see enemies and platforms that were hidden in the shadows - Winged Pikmin can be flung at high speeds, and they can pick up Olimar and help him descend down into new areas - in a later level, you need to use red Pikmin to stomp out fire and clear the way for you - Rock Pikmin are the strongest ones of the bunch and can break crystals - blue Pikmin can swim and fight well underwater - the maximum amount of Pikmin you can have in a stage is 20 - blow your whistle to call over the correct Pikmin for a task or puzzle - Ravaged Rustworks offers a unique industrial environment where you climb on pipes - Loney Tower has you climbing to the top of a tower without any help of Pikmin, and instead use pipes and Olimar's jetpack - Valley of the Breeze, found in the Leafswirl Lagoon sector, relies complete on Winged Pikmin - Barriers of Flame is in the Sweltering Parchlands sector - here you «lll be forced to improvise with Yellow and Rock Pikmin to get around fire - every world ends with a boss stage - one boss fight puts you up against a Fiery Blowhog, where you use Red Pikmin to pick up / feed bombs to the boss - beating bosses gives you treasures worth 1,000 Sparklium each - supports amiibo in the Splatoon, Super Mario and Animal Crossing lines - amiibo can be scanned in to grant you access to secret spots - these are one room puzzle challenges where you collect a statue - these bonus rooms will also get you 200 Sparklium every time - you are limited by how many amiibo you can summon to each secret spot - one of the treasures you will find is an NES cartridge for Ice Climbers, which carries the name «Revenge Fantasy».

This listing is for a 3D printed 54 % scale sized object that makes it look like a SNES cartridge is inserted into your SNES Classic.

all of your game objects have 3D hierarchical positions, meaning that you can easily make groups of objects and move, rotate and / or scale all of them at once

The graphics lose much of the bright color that made the original so attractive, but since the objects here are actual 3D objects instead of 2D sprites, it gives a better impression of depth and scale.

This work varies widely in scale and format, making each one feel particular as an object, and color moves at varying speeds.

Through subtle shifts in color, tone, scale, composition, and mark - making, Morandi was able to convey the ever - changing perceptual understanding and memory of the objects and spaces one encounters.

This group of intergenerational artists closely considers the process of art - making in their work by playing with scale, the ephemeral quality of their materials, the nature of time and language, and the relationships between the objects that they create.

The exhibition brings together over 100 works, including several large - scale illustrated books by Kiefer (b. 1945) made in homage to Rodin (1840 — 1917) from materials like plaster; a series of large paintings titled Cathedral Towers; and vitrines filled with assorted objects including molds, dried plants, stones, and pieces of fabric.

She deliberately juxtaposes objects whose scale, textures, or categories of use combine to make statements, at once biting and humorous, about the human condition.

Alexandros Vasmoulakis is a Greek contemporary artist creates large - scale murals, installations, and sculptures made out from found objects.

Contemporary sculpture is a broad and diverse field that includes object making, large - scale architectural installation, performance - based work, time - based work, and time - based media.

It includes small - scale paintings by «other art» artists of various trends, key pictures and objects by masters who make up the nucleus of the «Moscow conceptual school», works by classics of Sots - Art, Post-Modernist painting and photo - realism, as well as works by leading figures of the post-Soviet period.

It is also the reason why Donovan's large - scale installations and sculptures made from everyday objects have earned her a worldwide acclaim.

Audrey Shachnow — Golden Pears, 2015 Ms. Shachnow makes large - scale sculptures with the purpose of creating beauty in everyday objects.

His early work drew together materials and objects to question the nature of artistic representation and he quickly made a name for himself for his large scale artworks that reshaped how 20th century art could operate.

During the two - month exhibition, Sargent will be working in the gallery on March 20, 30 & 31 and April 1, 6, 7 & 8 constructing Not To Scale, a working relief map of the Great Lakes and St. Lawrence Seaway made entirely from found objects illustrating the lock system, canals, and waterways necessary for travel from the Atlantic Ocean to ports along each of the Great Lakes.

She creates large - scale installations and sculptures made from everyday objects.

The reddish - orange objects in a pair of paintings from 1938 seem positively blaring, while in another piece, from 1941, we look up at three objects whose scale makes them seem heroic, in a way all too uncomfortably resonant with the ideals of that moment.

This book features both well - known and emerging artists from Europe and the United States, and explores a recent shift in object making from the large - scale and heroic to the vernacular, spunky, and blatant.

The installation will be complemented by a selection of Oka Doner's large - scale sculptures, works on paper, books, and design objects, made with a wide - range of materials.

Beaubien creates large - scale, immersive installations made from cut photographs and other objects.

Photography from the Collections, Wadsworth Atheneum Museum of Art, Hartford, Connecticut Hand made in America, Sprovieri Gallery, London, England Collector's Choice, Exit Art, New York, USA (selected by Gregory Allen) Drawing, Stephen Friedman Gallery, London, England 1999 Waste Management, Art Gallery of Ontario, Canada On the Ball: The Sphere in Contemporary Sculpture, DeCordova Museum and Sculpture Park, Lincoln, Massachusetts, USA Collectors Collect Contemporary Art: 1990 - 1999, Institute of Contemporary Art, Boston, USA (catalogue) Zero - G: When Gravity Becomes Form, Whitney Museum of American Art at Champion, Stamford, Connecticut, USA (catalogue) Ideas in Things, Irvine Fine Arts Center, Irvine, California, USA Holding Court, L & R Entwistle & Co Ltd, London, England Stuff, TBA Exhibition Space, Chicago, Illinois, USA 1998 More Pieces for the Puzzle: Recent Additions to the Collection, The Museum of Modern Art, New York, USA Hindsight: Recent Work from the Permanent Collection, Whitney Museum of Contemporary Art, New York, NY Young Americans Part II, Saatchi Gallery, London, England Poussière (Dust Memories), Fonds Regional d'art Contemporain de Burgogne, Dijon, France; Fonds Regional d'Art Contemporain Bretagne, Galerie du Trib, Rennes, France (catalogue) Blunt Object, The David and Alfred Smart Museum of Art, The University of Chicago, Chicago, Illinois, USA Drawing the Question, Dorsky Gallery, New York, USA (brochure) Dust Breeding, Fraenkel gallery, San Francisco, CA; Luhring Augustine Gallery, New York, USA (catalogue) Transience and Sentimentality: Boston and Beyond, The Instate of Contemporary Art, Boston, USA Humble County, D'Amelio Terras, New York, USA Pop Surrealism, Aldrich Museum of Contemporary Art, Ridgefield, USA (catalogue) Word perfect, Gallery 400, University of Illinois at Chicago, Chicago, USA Bob and Wheel, dfn Gallery, New York, USA At the Threshold of the Visible: Minuscule and Small - Scale Art, 1964 - 1996, Johnson Museum of Art, Cornell University, Ithica NY; Meyerhof Galleries, Maryland Institute of Art, Baltimore, MD; Art Gallery of Ontario, Toronto, Ontario, Canada; Art Gallery of Windsor, Windsor, Ontario, Canada; Virginia Beach Centre for the Arts, Virginia Beach, VA; Santa Monica Museum of Modern Art, Santa Monica, CA; Edmonton Art Gallery, Edmonton, Alberta, Canada, (ICA travelling exhibition) 1997 A Lasting Legacy: Selections from the Lannan Foundation Gift, The Geffen Contemporary at MOCA, Los Angeles, USA New Work: Drawings Today, San Francisco Museum of Modern Art, San Francisco, USA (catalogue) Identity Crisis: Self - Portraiture at the End of the Century, Milwaukee Art Museum, Milwaukee, USA (catalogue) Inaugural installation of the new galleries of contemporary art, The Art Institute of Chicago, USA Dane County Collects, Madison Art Centre, Madison, USA (brochure) Frankensteinian, Caren Golden Fine Art, New York, USA Lovecraft, Centre for Contemporary Art, Glasgow; Cabinet Gallery, London, England

Robert Smithson, an artist associated with the Land Art and Post-Minimalist movements, used natural objects in both his large - scale land installations, such as Spiral Jetty (1970), and his smaller museum installations made of stones and dirt removed from specific locations.

Often working on a monumental scale, with light and temporary materials, some of her sculptures seem to represent an ordinary object (a raspberry, a pile of newspapers), whereas some represent «sculpture» itself (public monuments, an ancient goddess, Neolithic stones), and some represent the act of making (a swoop of the hand, a crush of the fist).

Tara Donovan creates large - scale installations and sculptures made from everyday objects.

The exhibition featured both well - known and emerging artists from Europe and the United States, and explored a recent shift in object making from the large - scale and heroic to the vernacular, spunky, and blatant.

The vast wall space and soaring ceilings escalated everything to scale of grandeur and made the venue ideal for exhibiting large sculptural objects, minimalist readymades and monochromatic canvases as Lisson Gallery, David Zwirner and Gagosian (respectively) demonstrated.

His exhibition Roy McMakin: A Breadbox and a Mug, Each Depicted in Sculpture and Photography (2007) involved the artist painstakingly photographing quadrants of home furnishings then splicing them together to make a 1:1 scale whole, revealing the imperfections of the objects and our perceptions.

In his sculptural works that explore materials such as bronze and ceramic, the artist makes physical some of his more curious and eccentric propositions by transforming found objects or by playing with their scale.

, the second installation of the photo series, is a continuation of his «exploration of the things we normally can't see in common household objects and foods, as well as of the natural and man - made design at a macro scale.»

They manifest themselves in different ways: either in the materiality and scale of an object and / or in the interactions that make up one work as well.»

Amazing Worlds II, the second installation of the photo series, is a continuation of his «exploration of the things we normally can't see in common household objects and foods, as well as of the natural and man - made design at a macro scale.»

Another artist in the show, Jennifer Steinkamp, makes large - scale videos — moving pictures of still images or still images of moving objects — that might best be understood as projected paintings.

He and a team of four assistants and an architect spent more than a year on Checkpoint, making drawings, diagrams, and scale models of the objects before meticulously carving them out of maple or birch.

Perhaps even shifting the objects around could have accomplished this — the core of the show appears to be in the main gallery, and almost all of those works are large - scale paintings made in the fifty years after WWI.

A strange cross between a butchers shop and a nightclub 26 May — 7 July 2013 Jonathan Baldock's first solo exhibition in the UK for three years will include an entirely new body of work initiated during his residency at Wysing last year; large - scale felt sculptures, ceramic objects, corn - dolly masks and hand - made wall prints.

Highlights from the show include Royal College of Art graduate Jodie Carey's eight foot chandeliers made out of fluff from a hoover, Tom Price's animated, small scale sculpted plaster heads, Emma Puntis's mesmerizing miniature portraits, Tatsuya Kimata's ironic sculptures of everyday objects sculpted using traditional marble and stone carving skills, Doug White's majestic palm trees crafted from thousands of abandoned car tyres retrieved from road sides in Belize, Michael Lisle - Taylor's army uniforms crossed with straight jackets, which play to his 19 years in the Navy, and Boo Ritson's large - scale photographs of people she transforms into characters caked in thick paint, which have sold out in her second solo show only a year after graduating.

Made up mostly of small - scale objects and paintings, this group exhibition transforms the traditional gallery space into a room - sized Wunderkammern of nostalgia, memory, and rediscovery.

In earlier work, Fishman made large - scale pills and tablets as art objects, highly fabricated using glass and displayed in groups on the floor.

Kachadourian makes scale pencil and pen drawings of everyday objects and