Sentences with phrase «see such great work»

We are happy to help more people see such great work.

Not exact matches

He also told The New Yorker he felt the ambitious undertaking would allow him to «confront a lot of our shared anxieties about the future of human expression (see: Twitter or text messages) by forcing a great work of literature through such a strange new filter.»

I also asked them questions such as, «Based on my strengths, what do you think would be a great job for me» or «Where have you seen me do my best work?»

«The Great Document Hunt» saw his Chicago sales force help customers identify the most important documents in their companies, such as new business proposals or contracts, and then work out which ones caused bottlenecks or reduced productivity, and look at how Xerox could help.

He could do such painting without reverence, but when you think of Millet's great works, that make his name immortal, that he loved, brooded over, and put himself into, you know that he inwardly bowed himself, like the worshipping figures of his «Angelus,» before the vision of beauty that he saw.

It's such a great feeling when you can think about a problem, see a possible solution to fix the issues that came up before, and then find out that applying a little logic and rules actually works!

Thanks for the great recipe and CONGRATS on the cookbook, it looks fantastic, always great to see results of such hard work and dedication come together so beautifully.

The more bloggers such as yourself and Jennifer (from Savoring the Thyme, above in the comments) join in the fun and let others know about it, the more great sponsors that will see what a fantastic venue it is for promoting their products (and the more work for everybody!).

This win for Arsenal over Premier League rivals Manchester United saw a great all round performance from the Gunners, both in attack and defence and there were lots of candidates for the Man of the Match, such as Petr Cech who made three crucial saves, Alexis Sanchez for his two great goals and Theo Walcott for his best game at centre forward, but for me it was Mesut Ozil who stood out with his sublime passing, movement, vision and work rate.

Since I get such a great snug fit on my skinny guy, I can see how the One Size might not work for chunky monkeys.

Carothers would like to see more businesses provide a discreet place for working mothers to pump breast milk; greater acceptance of nursing in public areas, such as malls; and family and friends of breast - feeding mothers lending more support.

It is such a great way to see what other women are sharing and working on, and to share your own ideas.

The Pure Madness Challenge has been such a great experience in encouragement and seeing people work together.

Learn why we see such great results when self - myofascial release (SMR) is used in conjunction with regular physical therapy sessions, how you can implement self - myofascial release (SMR) techniques and experiment with various tools to see what works best for you.

I have to admit I saw immediate effects, such as improved focus at work and dimenished anxiety, which is great.

It was great to have a behind - the - scenes look into the process and such a treat to have our work professionally photographed by Nat Rea — and fabulous to see it in print!

That's such a great post and you can clearly see how much work you put into this post!

The turtleneck is so fun, and seeing an Angie casual - day outfit is such great inspiration for this stay - home / work - at - home mama.

I bet she's looking down on you from heaven since she was such a giving lady (although I've never met her) and I'm sure she'd love to see you prosper and work harder on everything great that you do.

down to earth.with a great sense of humor i honestly love to make people laugh.and put a smile on your pretty face.i love to work out and keep myself in shape its such a turn - on for me to see that look on your face when i know you like what you seei have been single for the past 4 years.

Those film historians who've summed up Kemp's post-Z Cars TV appearances as «sporadic» evidently haven't seen his small - screen work in such miniseries as Winds of War and its sequel War and Remembrance (he played German general Armin Von Roon in both); he also played Cornwall in Sir Laurence Olivier's 1983 television adaptation of King Lear, and was featured in the internationally produced historical multiparters George Washington (1985) and Peter the Great (1986).

DT: Yeah I'll have to tell you about a scene in «Eastbound & Down» where Danny put a sword to my neck and I grabbed him by the balls, He definitely didn't see that coming, I was sure they would edit it out, But they didn't but he is such a great guy to work with and a consummate professional, he just yelled, LOL!!

Wilson is very likable, and it was fun to see him work with such a great script.

Journalist: Ms. Faris, you've done such great comedic work in films like the tragically under seen «Smiley Face.»

Working in new languages can often be problematic, even for great filmmakers, but I'm fascinated to see how a craftsman like Kurosawa works with such a raw, emotional actor as Rahim.

1 the 38 can 75 been 112 too 2 of 39 an 76 its 113 any 3 and 40 your 77 who 114 dy 4 a 41 which 78 now 115 same 5 to 42 their 79 people 116 right 6 in 43 said 80 my 117 look 7 is 44 if 81 made 118 think 8 you 45 do 82 over 119 also 9 that 46 will 83 did 120 around 10 it 47 each 84 down 121 another 11 he 48 about 85 only 122 came 12 for 49 how 86 way 123 come 13 was 50 up 87 find 124 work 14 on 51 out 88 use 125 three 15 are 52 them 89 may 126 must 16 as 53 then 90 water 127 because 17 with 54 she 91 long 128 does 18 his 55 many 92 little 129 part 19 they 56 some 93 very 130 even 20 at 57 so 94 after 131 place 21 be 58 these 95 words 132 well 22 this 59 would 96 called 133 such 23 from 60 other 97 just 134 here 24 I 61 into 98 where 135 take 25 have 62 has 99 most 136 why 26 or 63 more 100 know 137 help 27 by 64 her 101 get 138 put 28 one 65 two 102 through 139 different 29 had 66 like 103 back 140 away 30 not 67 him 104 much 141 again 31 but 68 see 105 go 142 off 32 what 69 time 106 good 143 went 33 all 70 could 107 new 144 old 34 were 71 no 108 write 145 number 35 when 72 make 109 our 146 great 36 we 73 than 110 me 147 tell 37 there 74 first 111 man 148 men 149 say

It is great to see such a respected university publish a study that validates our work,» said Kevin Teasley, president and founder of the Indianapolis - based GEO Foundation.

It's great to see someone of such stature acknowledging the importance of the rights they hold to their work and having the foresight to appreciate the full value attached to them.

Such a great event, so many hard working volunteers and RT staff, sad to see that overshadowed.

Having the ability to discover that and see what will work best for you is truly marvelous, and one of the things I feel makes this such a great time to choose to write as your career.

Of those respondents who had moved to full or significant production in - house, all previously having outsourced such work, 100 % stated that they were able to achieve greater efficiencies and net benefits by producing internally than they had seen from outsourcing, even factoring additional personnel overhead.

Samsung has done such great work on smartphones that it's all the more disappointing to see these three Galaxy Tabs come to market.

You give such great advice, such pin - pointed advice that we can learn so much about how this crazy credit system works, but what are the biggest mistakes that you see people doing over and over and over again regarding credit?

At the time I wrote this article, I had trained or was currently training dogs such as a Bichon, Great Dane, German Shepherd Dog, Catahoula Leopard Dog, Basset Hound, Puggle, Maltese, Miniature Schnauzer, Rottweiler, Labrador Retriever, and a Border Collie mix... and others that I don't now even remember... I see and work with a lot of dogs every year!

Some of Italy's greatest and most famous works of literature, architecture and art were produced during this period and can still be seen by our guests today in locations such as Florence's Cathedral and Uffizi Gallery, Saint Peter's Basilica in Rome, and the Basilica di Santa Maria delle Grazie in Milan, where Leonardo da Vinci's famous mural, The Last Supper, is located.

I have never seen a publisher go to such great lengths to please its fanbase, and I give them a friendly nod and firm handshake for their work.

That was attributed to the harsh reality that a mid-sized studio faces in the forever turbulent games industry, and, despite working hard to avoid such move, has seen the developer «let some really great people go.»

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 gGreater 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 ggreater 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 ggreater 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 ggreater 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 ggreater 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 ggreater 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 ggreater 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 ggreater 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 ggreater 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 ggreater 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 gGreater 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 ggreater 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 ggreater 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 ggreater, 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 ggreater, 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 ggreater 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 gGreater 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 ggreater 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 ggreater 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 ggreater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater, when the lesser is invested in its lesser relationship to the greatergreater.

The books come in a special clothbound slipcase and boast features such as tinted paper, full - bleed photographs and fold - out pages that allow the reader to see Matisse's work in great detail — all of it elegantly composed by Pentagram, an award - winning design firm.

On the other hand, after Smith had made his statement with the black cube, he quickly moved on to the tetrahedrons and parallelepipeds, thus challenging himself with a rigorous complexity, as seen in Duck (1962) and Amaryllis (1965), and later with ever greater rigor in works such as Smoke (1967) and One — Two — Three (1976).

It is sad to see such a great opportunity lost to self indulgence and grand standing by many of these young artists who know nothing of Elizabeth Cattlet's work or her sacrifice.

oil on canvas titled «Jubilee, C. 1955 a total mastery of composition and lyrical — gestural painting and also the work «Untitled II, C 1957 Collage and Gouache on paper, 22.5 x 28.5 in I wish I could call this work one of my own — It just resonates, What a treat for me to see this work and be introduced to such a great painter!

It was such a strongly curated event more with great variation and good to see the work of these two artist alongside other great works.

The solo show at the Hashimoto Contemporary (that has hosted previous shows by artists such as Erik Jones whom you can read about in the article about his exhibition Motion and the colourful show by Scott Scheidly titled The Pinks 2) will see Hamburg based 1010 present a new body of works on paper and panels along with new indoor and outdoor murals in the greater San Francisco Bay Area that further push the limits of his eye catching and mind expanding «portals» and invites the public to explore art beyond the confines of the gallery space.

While biodiesel from used restaurant grease is great and would ideally be of a scale that would use all such waste, I have yet to see how biofuels will work well on a large scale as an industry in a global market.

It's great to see a True skeptic such as Dr Curry linking to the solid scientific work of David Rose and the GWPF and WUWT.

Great works in science, and great men of science are such because they see further and clearer through the gloom of human ignorance, to a better approximation of tGreat works in science, and great men of science are such because they see further and clearer through the gloom of human ignorance, to a better approximation of tgreat men of science are such because they see further and clearer through the gloom of human ignorance, to a better approximation of truth.

Now I am not a great fan of the aggregated tide gauge record seeing as it relies on so few gauges (as cited) most with short histories (as cited) or have moved (as cited) or have been interpolated (as cited) To globally aggregate such low grade information only compounds the errors However, anyone working on flood defence work would use a tide gauge as it provides a more accurate record of the place where the sea actually hits the land, where people live, as opposed to satellites which measure open sea.

As usual, HP did great with business - centric features, such as the Sure View display that keeps people from seeing what you're working on.

I was very excited to see you're posting for an Accounts Receivable Specialist on New York Daily News last week, as I am in the market for just such a position, and am familiar with the great work you do at Severn Trent Services.