Sentences with phrase «series space in between»

MARGARITA CABRERA (detail) Maria Lopez: Saguaro, 2010 In collaboration with Maria Lopez From the series Space In Between, 2010 Border patrol uniforms, copper wire, foam, embroidery thread, terracotta pots Dimensions variable Partial Commission of Ballroom Marfa Photography © Fredrik Nilsen

MARGARITA CABRERA Maria Lopez: Saguaro, 2010 In collaboration with Maria Lopez From the series Space In Between, 2010 Border patrol uniforms, copper wire, foam, embroidery thread, terracotta pots Dimensions variable Partial Commission of Ballroom Marfa Photography © Fredrik Nilsen

MARGARITA CABRERA Carlos Calles: Nopal, 2010 In collaboration with Carlos Calles From the series Space In Between, 2010 Border patrol uniforms, copper wire, foam, embroidery thread, terracotta pots Dimensions variable Partial Commission of Ballroom Marfa Photography © Fredrik Nilsen

Not exact matches

Cassini, a collaboration between NASA, the European Space Agency and the Italian Space Agency, has been studying the Saturn system since 2004, and its grand mission will come to a close in 2017, after the spacecraft makes a series of dives through the space between the planet and its rSpace Agency and the Italian Space Agency, has been studying the Saturn system since 2004, and its grand mission will come to a close in 2017, after the spacecraft makes a series of dives through the space between the planet and its rSpace Agency, has been studying the Saturn system since 2004, and its grand mission will come to a close in 2017, after the spacecraft makes a series of dives through the space between the planet and its rspace between the planet and its rings.

The AT&T system sends digital code down the line as a series of pulses that can have additional information incorporated in them in two ways: the pulses can be varied through several amplitude steps and the spacing between each pulse can be varied.

With dogged determination, the producers continued onward with Star Trek II: The Wrath of Khan (1982), at which point fans finally flocked to the series, rallying behind the film's crisp space battles and the melodramatic tête - à - tête between Shatner and Ricardo Montalban.Shatner had to wrestle with his advancing age and the deaths of several characters in Star Trek II and Star Trek III: The Search for Spock (1984), but by Star Trek IV: The Voyage Home (1986), the actor got to indulge in his more whimsical side, which has since characterized his career.

Given the picture's enduring popularity, there's really no point in rehashing the plot — OK, for the uninitiated (all two of you): Ripley (series star Sigourney Weaver) heads back into space and leads a team of military grunts against the nasty extra-terrestrials — but there's always room to rehash many of the highlights: Weaver's terrific performance in the central role; the contrast between the heroic Corporal Hicks (Michael Biehn) and the cowardly Private Hudson (Bill Paxton); the escalating villainy of company man Burke (Paul Reiser); scripter Cameron's ability to keep piling on confrontations and director Cameron's ability to milk them for maximum tension; and, of course, those wonderful alien creations.

This leaves some space between the 8 - Series and the Rolls - Royce Wraith in the greater BMW empire, while stretching BMW upward.

Include hashtags that apply to your book Hashtags are the «#» sign next to a word or series of words with no spaces in between.

The Spotlight includes an event page, top banner space, homepage above - the-fold blog space and outreach beyond RECTV to our partners such as Black Pearls Magazine and Between Your Sheets who also will feature your author, book or series that same week for a huge push in promotion and a great opportunity to reach new readers.

It takes place between the first and second games in the series and is set on the moon and the Hyperion space station.

It's the same series of disguised locks and keys as in other Zeldas, only with leagues of space in between.

It doesn't show up by default in the New Releases page on the web store, so people have to search for it (and it doesn't show up by searching for Trails in the search string, as there's no space between the colon and the T on the PSN store, you have to use the search string of Legend instead, which people wouldn't necessarily do as it's generally referred to as the Trails series.).

In the end, Maxis has successfully condensed down the full The Sims series into an easy to play, accessible game that can be played in the spaces between your daily taskIn the end, Maxis has successfully condensed down the full The Sims series into an easy to play, accessible game that can be played in the spaces between your daily taskin the spaces between your daily tasks.

Yet the compositions of lines and empty spaces in Charlie Was a Sailor hark back to the Tombeaux, a series of works created by the artist between 1987 and 1994 (two of which are included in the exhibition).

The artist's latest series, Revisiting the Area, currently on view at Rachel Uffner Gallery in New York, is an intimate look at the neighborhood where he grew up, which he refers to as occupying a uniquely - American «middle space,» situated in the middle - ground between poverty and middle class.

Kate Hoffman's Dream Home series, photographs taken from performative collage collaborations, has a malleable quality that emphasizes the viewer's own socio - political leanings; Samira Yamin's intricate patterns of Islamic sacred geometries cut into TIME Magazine photos of war oscillate between greater ambiguity and flirting with the didactic depending on the density of the cuttings; Sandra de la Loza's photographs of Stoner Spots underscore the politics of leisure through the exploration of pot - safe spaces, with a subtext of the not - quite - yet absorbed by development; Scott Short's «abstract» paintings replicate multiple generations of photocopying through the prism of Walter Benjamin; and Suzanne Wright will exhibit a deftly humorous Étant donnés-esque collage alongside mandala targets — each salves, in their respective forms, for our tumultuous zeitgeist.

Art Basel Miami Beach, with GAVLAK Los Angeles / Palm Beach, Miami, FL (catalogue) Ten Year Anniversary Show, Gavlak, Palm Beach, FL and Los Angeles, CA Re (a) d, curated by Ryan Steadman, Nathalie Karg Gallery, New York, NY The Valentine's Day Cardiovascular, Geoffrey Young Gallery, Great Barrington, MA Puente, KINMAN, London, UK 2014 The Go Between: Selections from the Ernesto Esposito Collection, Museo di Capodimonte, Naples, Italy Art Basel Miami Beach, Gavlak booth, Miami Beach, FL 100 Painters of Tomorrow: New York Exhibition, One Art Space, New York, NY Inaugural Exhibition, Gavlak, Los Angeles, CA The Armory Show, Gavlak Booth, Pier 94, New York NY Painting: A Love Story, Contemporary Arts Museum Houston, Houston, TX (catalogue) 2013 Art Basel Miami Beach, Gavlak Booth, Miami Beach, FL (catalogue) This is the Story of America, Brand New Gallery, Milan, Italy Rema Hort Mann Foundation LA Arts Initiative Auction, Hannah Hoffman Gallery, Los Angeles, CA Acid Summer, Curated by Matthew Craven, DCKT Contemporary, New York, NY All Fucking Summer, Gavlak, Palm Beach, FL Whitney Museum Art Party Benefit Auction, Whitney Museum of American Art, New York, NY MiArt2013, Gavlak Booth, Milan, Italy The Armory Show, Focus: USA, Gavlak Booth # 908, New York, NY (catalogue) Art Rotterdam, Office Baroque Gallery, Rotterdam, Netherlands My Echo, My Shadow, Gavlak, Palm Beach, FL 39 Great Jones, Galerie Eva Presenhuber, Zurich (catalogue) 239 Days, School of Visual Arts MFA Alumni Show, Allegra LaViola Gallery, New York, NY 2012 News From Chicago and New York City, Curated by Henning Strassburger, Fiebach Minninger, Cologne, Germany Time, After Time, Curated by ARTNESIA, Ronchini Gallery, London, UK (catalogue) SUNY New Paltz Alumni Show, Dosky Projects, Long Island City, NY What's the Point, Jen Bekman Gallery, New York, NY It's a Small, Small World, Curated by Marilyn Minter and Organized by Hennessy Youngman, Family Business, New York, NY The Virgins Show, Curated by Marilyn Minter, Family Business, New York, NY Just the Tip, SVA MFA Fine Arts Thesis Exhibition, Organized in Collaboration with Mike Egan, Visual Arts Gallery, New York, NY (catalogue) 2011 MFA Fine Arts Fall Open Studios, School of Visual Arts, New York, NY Sentimental Education, Gavlak, Palm Beach, FL Things Fall Apart, Curated by Asya Geisberg, Visual Arts Gallery, New York, NY Abstract Means, Curated by Richard Brooks, Visual Arts Gallery, New York, NY MFA Fine Arts Spring Open Studios, School of Visual Arts, New York, NY Celebrating 15 Years: Young Artists at Heckscher, Heckscher Museum of Art, Huntington, NY College Art Association New York MFA Exhibition, Hunter College / Times Square Gallery, New York, NY Vuu Collective W / S 2011 Show, K&K Gallery, Brooklyn, NY 2010 MFA Fine Arts Winter Open Studios, School of Visual Arts, New York, NY Emerge to be Seen, Westside Gallery, New York, NY Marks That Matter, Juried by Gillian Jagger, Muroff Kotler Visual Arts Gallery, SUNY Ulster, Stone Ridge, NY The New, Art (That Matters), Oyster Bay, NY New York Art & Culture Exhibition Series, Albany International Airport, Albany, NY 2009 No Girls Allowed: BFA Thesis Exhibition, Samuel Dorsky Museum of Art, SUNY New Paltz, New Paltz, NY Best of Show: 2009 Best of SUNY Exhibition, State University Plaza, Albany, NY 2008 Crit 3: Work from Students and Alumni of SUNY New Paltz, Curated by Kathy Goodell, Spencertown Art Gallery, Spencertown, NY Somewhere I Have Never Traveled, Smiley Art Gallery, New Paltz, NY Three, Smiley Art Gallery, New Paltz, NY SPECIAL PROJECTS 2013 Shinola x Andrew Brischler, Installation & Capsule Collection, Tribeca Flagship Store, New York, NY Converse Footwear for Publicolor, organized by Grey Area COLLECTIONS Norton Museum of Art, West Palm Beach, FL AWARDS AND HONORS 2015 Painting Fellowship, New York Foundation for the Arts

The entire show consists of six different chapters, each showing different relation between the body and the space, from a large 8x2 meter charcoal studies depicting football hooligans fighting, four paintings of the skaters in a modern art museum breaking a series of paintings by Ellsworth Kelly, six black paintings representing the infinite space beyond the surface of the abstract paintings, a cast resin sculpture and a drawing of Colonel Kurtz from Apocalypse Now, all the way to the interactive app that allows viewers to interact with the works on view.

Simone Rocha Simone will launch a collection of special T - shirts in her space which feature an image from the photographic series «Flowers and Cars» — a long - running collaborative project between Simone Rocha and Jacob Lillis.

This series of paintings undeniably deal in part with the dissolving and transitional nature of expressive forms in the visual and mental space that exists between drawing and painting in the extended mark making process.

Establishing a tension between symmetry and asymmetry, a geometry of intertwining circles intricately outlined in brick dimensioned York stone subtly maps a series of discrete spaces or notional rooms in the overall garden.

The first iteration in a three - part exhibition series, Expanding Narratives uses the formal relationship between the figure and the ground in Western art history as a conceptual springboard into discussions around visual representation, the museum space, and the role of the Smart Museum's collection in fostering the exchange of diverse perspectives.

The exhibition is based on a series of inversions and infiltrations: from transposing how the work of art is viewed in a collector's private home into a public space to physically shifting and personalizing the sometimes passive viewing experience of a museum; from recreating aspects of the domestic interior to choosing artworks that speak about the psychic interior to new works that intentionally blur the relationship between abstraction and décor.

The project space stay hungry announces an open call for the experimental and interdisciplinary exhibition series Capturing Spaces — Views on the In - Between.

Later series of Tanktotems and Sentinels, as well as Smith's white sculpture, continue the concern for a confrontation in space between the artist's persona, the work, and the viewer.

Or consider the four paintings presented in the exhibition from the Above the Earth series, created between 1953 and 1956, which each depict a portion of a circle in space (presumably the Earth).

This variety, and the ease with which the work slips between more and less referential imaging allows us to find that the edge of a mountain is similar to her idea of a line in space; or to track the use of idiosyncratic color combinations and compositional strategies over visually unrelated series.

Everything Is Collective play with the limits of human perception in their Brief History series (2014), crossing back and forth between photographed and computer - modelled imagery with their immaculate monochromatic still life images that experiment with the weight and placing of objects in space.

A previous version of this exhibition and program series took place between Houston, TX and New York, NY in 2017, where it was made possible with the generous support of EFA Project Space, a program of The Elizabeth Foundation for the Arts; The Museum of Fine Arts, Houston's Core Residency Program; and The Idea Fund.

In both series, Umbrico explores and exploits the beauty of the space between function and ruin, material presence and absence.

Between 1990 and 1992, he studied with Gerhard Merz, at the Kunstakademie in Düsseldorf, contacting extensively with a series of theoretical, literary and artistic references — German Romanticism, the Middle Ages, Late Gothic — that will play an important role in the structuring of Chafes» activity and interests: the role of light, color, weight, the balance of forms, their relationship with nature, the surrounding space and Men.

Since, Lydia has created «In / Between Spaces» - a mobile group exhibition series in a 26» U-Haul that explores Black identity in various spheres of modern life and that travels to predominantly Black neighborhoods in New Orleans to engage those who have been alienated from the world of contemporary fine arIn / Between Spaces» - a mobile group exhibition series in a 26» U-Haul that explores Black identity in various spheres of modern life and that travels to predominantly Black neighborhoods in New Orleans to engage those who have been alienated from the world of contemporary fine arin a 26» U-Haul that explores Black identity in various spheres of modern life and that travels to predominantly Black neighborhoods in New Orleans to engage those who have been alienated from the world of contemporary fine arin various spheres of modern life and that travels to predominantly Black neighborhoods in New Orleans to engage those who have been alienated from the world of contemporary fine arin New Orleans to engage those who have been alienated from the world of contemporary fine art.

- Richard Birkett, curator of Artists Space Taking the starting point in writings of Sergeï Eisenstein where the latter makes an analogy between the Disney movies and the ever changing form of fire, Wardill's new series of marble ink works entitled «Fire shakes itself in the air» embody a willingness to capture the transcendental.

«The Space Between Us» originates specifically from images of the 1995 Murrah Federal Building attack in Oklahoma City, though Parducci expands this original central image into a series of darkly suggestive works that are confoundingly beautiful.

This was the first in a series of programs presented by W.A.G.E. in conjunction with Artists Space in New York as part of a Research Partnership between the two organizations.

in the main gallery, antony gormley's exploration of body «mapping» continues with a series of bold sculptures that elaborate on the dynamic between space and mass.

Recent solo show (in) visible space: a series of visual essays that explored the links between the South Asian queer body and the social constructions of space and how those racialised queer bodies are read depending on the interlinked performance of gender and ethnicity through dress.

Alice Channer was one of the participating artists in Drawing Sculpture, Drawing Room London and Leeds City Art Gallery touring show (2012), Contemporary Collection Display: The Space Between, Tate Britain, London (2012), The London Open, Whitechapel Gallery, London (2012), Caroline Achaintre, Sara Barker, Alice Channer, Eastside Projects, Birmingham, UK (2012) and Hard Metal Body, Art on the Underground Central Line Series commission for Notting Hill Gate tube station, London (2012) among many others.

Paintings by the early Australian modernist Roy De Maistre, for example, share a space with a series of pieces by the young Dutch artist Riet Wijnen, whose interest in «the impossibility» of pure abstraction has led her to create a fictional dialogue between Grace Crowley (also a pioneering early Australian modernist), and the British constructivist Marlow Moss.

Her Surveillance Series has been in the Contemporary Art Museum St. Louis Flat Files, the University of Wisconsin Foster Gallery and was recently at the Regional Arts Commission gallery in St. Louis; the Space Between Series is currently on view at Quadratfuß, NX2, Annex Art, Berlin.

The new photography series installed in the gallery's main exhibition space delves further into the dynamics between artist and viewer through the opposing lens of performer and audience.

Traveled to Nasher Sculpture Center, Dallas The Future Demands Your Participation: Contemporary Art from the British Council Collection, Minsheng Art Museum, Shanghai Grand National: Art from Britain, Vestfossen Kunstlaboratorium, Norway The Contemporary Figure, Donald Young Gallery, Chicago 2009 Accrochage, Galerie Max Hetzler, Berlin Classified, Tate Britain, London DLA Piper Series: This is Sculpture, Tate Liverpool Donald Young Gallery, Chicago British Council Collection: The Third Dimension, Whitechapel Gallery, London 2008 The Vincent Award 2008, Stedelijk Museum CS, Amsterdam Origins, Hudson Valley Center for Contemporary Art, Peekskill, NY Martian Museum of Terrestrial Art, Barbican Art Gallery, London Donald Young Gallery, Chicago 2007 Five Works in Bronze: Darren Almond, Robert Gober, Ellsworth Kelly, William de Kooning, Rebecca Warren, Matthew Marks Gallery, New York Unmonumental: The Object in the 21st Century, New Museum, New York The Third Mind, Palais de Tokyo, Paris Makers and Modelers, Gladstone Gallery, New York No Room for the Groom, Herald St. London 2006 Turner Prize Exhibition, Tate Britain, London Tate Triennial 2006: New British Art, Tate Britain, London Toutes Compositions Florales, Counter Gallery, London Anne Chu, Gary Hill, Martin Puryear, Rebecca Warren, James Welling, Donald Young Gallery, Chicago flutter, The approach, London If it didn't exist you'd have to invent: a partial Showroom history, The Showroom, London China Art Objects Galleries, Los Angeles 2005 The British Art Show 6, Hayward Gallery (catalogue) Trumpets of Justice, Counter Gallery, London Body: New art from the UK, Vancouver Art Gallery (1995); The Ottawa Art Gallery (2006); Oakville Galleries (2006); Edmonton Art Gallery (2006)(catalogue) 2004 Strange, I've seen that face before, Gallery of Modern Art, Glasgow, Scotland Sculpture: Precarious Realism between the Melancholy and the Comical, Kunsthalle Wien, Vienna Collage, Bloomberg Space, London 2003 Rachel Harrison, Hirsch Perlman, Dieter Roth, Jack Smith, Rebecca Warren, Matthew Marks Gallery, New York Still Life, Museo Nacional de Bellas Artes, Santiago, Chile.

Beckman's shifts between various types of representational space — digital versus real, sculptural versus filmic — carried into two related photo works and a series of four drawings also included in this show.

Other works rely on unusual juxtapositions, such as his weeds series in which plants sprout from the space between gallery walls and floors.

Her solo show at CAAM gathers works from various series exploring the in - between spaces of gender, race and the mind.

Together with the Dark Space series begun in 1983, Shards shares this dissolving of the juncture between the light outside and the light inside.

The artist's works incorporate the Hayward's outdoor sculpture terraces, creating an interrelated series of spaces in which the relationships between inside and outside are provocatively reconfigured.

These disconnected passages form a series of transitions that hover in an architectural uncanny, somewhere between model and fragment, calculated rendering and lived space.

Come and see the results in a series of exhibitions in the Education Space at Rivington Place between June and July 2008.