Sentences with phrase «show darker markings»

Only their tails, ears, and the outer part of their masks show the darker markings.

In the Van pattern, only the top of the mask, ears, and tail, and perhaps a few spots on the body, show darker markings.

Not exact matches

And the vague markings visible from Earth show that Pluto has extreme contrasts of light and dark, indicating highly varied terrain.

Also, stairwells in buildings more than 75 feet high must now have glow - in - the - dark markings that show the exit path even when lighting is out or dim.

This map of Pluto, made from images taken by the LORRI instrument aboard New Horizons, shows a wide array of bright and dark markings of varying sizes and shapes.

This cross section of a transistor shows the gate across the top that controls whether current flows in a silicon channel, the darker source and drain areas on either end of the current pathway, and an area marked in green area where Mears» MST technology is added.

This peerless tribute act will be playing a celebration show to mark the 40th anniversary of the release of the seminal Pink Floyd album, The Dark Si...

Dun horses have very variable primitive markings, these photographs show some different variants of dark facial masks, dorsal stripes, shoulder crosses and zebra - like leg stripes.

I used 3 layers and the dark mark still showed but at the same time it is much lighter than my skin.

I had already done a piece and it is very muddy & streaked (shows brush marks) I hope using the clear wax over dark will help.

No need for Mark Wahlberg and Dwayne Johnson to show their faces and big muscles with this great teaser poster for the meathead driven dark comedy from Michael Bay.

Jessica Chastain says new disclosures about her «Zero Dark Thirty» character show that the movie got it right; Kathryn Bigelow and Mark Boal say it's «preposterous» to call their film pro-torture

Zero Dark Thirty was one of 2012's best - reviewed films, its near - unanimous raves showing even more enthusiasm than the high marks given Hurt Locker.

Carrie Mathison, the transgressive CIA agent with bipolar disorder played to critical acclaim by Danes in Homeland, made her blazing arrival in 2011, and marked the first time that a major show had featured such an unapologetically dark heroine.

The touch interface is smooth and the sound quality from the speakers is good, but what could have been better is the quality of the rear view camera which doesn't feel up to the mark and the display ends up showing a hazy picture, especially in the dark.

Mark, trying his best to distance himself from the cruel and pathetic 21st century, hadn't listened to the news reports, not even when the dark green jeeps and helicopters showed up in town, men dressed in identical uniforms, just like in school, always standing with stony faces, setting up shelters and warning signals and food storage boxes.

The map below shows our International Offices marked in dark blue, and our Co-Agent offices in light blue.

Boxers who are completely white or mostly white with darker markings, considered a check boxer, are not acceptable for breeding or showing.

Color Splash sees Mario receiving a visit from Princess Peach and a Toad on a dark and stormy night, they show him a letter they received which was a Toad drained of its color and a post mark that draws them to Prism Island.

Buck, Luisa, «The Satellite Fair Comes of Age,» The Art Newspaper, Dec. 2005 Workman, Michael, «Border Patrol,» New City Chicago, 2005 Fontana, Lilia, «About Collections and Collectors,» Arte al Dia, 2004 Babcock, Mark, «Delinquent Boys,» Glasstire, Oct. 2004 Moreno, Gean, «If You Believe Hard Enough,» Art US, Oct. 2004 Martin, Marisol, «Art Chicago,» Art Nexus, Oct. 2004 Sommereys, Omar, «Electric Kool - Aid Overload,» The Street, April 2004 Suarez de Jesus, Carlos, «Art Capsules,» The New Times, March 2004 Turner, Elisa, «Way Outside the Galleries,» The Miami Herald, Feb. 2004 Sirgado, Miguel, «Edge Zones,» El Nuevo Herald, Feb. 2004 Feinstein, Roni, «Expanding Horizons,» Art in America, Dec. 2003 Sirgado, M., «Muestras Paralelas de Downtown a Wynwood,» El Nuevo Herald, Dec. 2003 Hernandez, Amber, «Dark Days,» The Miami Hurricane, Dec. 2003 Triff, Alfredo, «Mortality Rules,» The New Times, Dec. 2003 Bayer, Brian, «South Florida Today,» PBS, Sept. 2003 Ocaňa, Damarys, «Cheeky Showing,» The Street, Aug. 2003 Turner, Elisa, «Galleries Put Focus On Home Grown Art,» The Miami Herald, Aug. 2003 Turner, E., «City Focus: Miami - A Dramatic Reinvention,» ARTnews, Feb. 2003 Ales, Reynaldo, «Arte y Aparte,» Travel and Leisure, Jan. 2003 Cotzee, Mark, Where Art is Happening, 2002 Ocaňa, Damarys, «Art Guide 2002,» The Street, Oct. 2002 Sultry, Lynn, «Newly Juried Artists,» Art on the Road, Summer 2000 Turner, Elisa, «As Reality Art, Tent Survives Camp Of Live - in Artist,» The Miami Herald, Sept. 2001

by Alan Feuer Boston Globe, Nov. 16, Intimacy of attention paid in close up by Sebastian Smee Brooklyn Daily Eagle, Nov. 16, «Visions of an American Dreamland:» New book and Brooklyn Museum exhibition highlight Coney Island by Peter Stamelman The New York Times, Nov. 15, Amusement for Everyone by Ken Johnson Boston Globe, Nov. 11, Andy Warhol and Robert Mapplethorpe Rocked the Boat by Mark Feeney Crave, Nov. 11, Exhibit Warhol & Mapplethorpe: Guise & Dolls by Miss Rosen Antiques and the Arts Weekly, Nov. 10, Q&A: Linda Roth WSFB / Better Connecticut, Nov. 9, Get Some Art History at this Local Stop by Kara Sundlun Take Magazine, November 2015, This MATRIX is Real by Janet Reynolds American Fine Art Magazine, November 2015, Radical Chick and Taylor Made by Jay Cantor Art New England, November 2015, Preview: Warhol & Mapplethorpe: Guise & Dolls by Susan Rand Brown The Hartford Courant, Oct. 16, Gender - Bending «Warhol & Mapplethorpe» Exhibit At Wadsworth by Susan Dunne The Wall Street Journal, Oct. 13, At the Wadsworth Atheneum, an Old Building Gets New Life by Lee Rosenbaum Hartford Courant, Oct. 2, Artist Pokes Fun At «Great Chain Of Being» With New Wadsworth Exhibit by Susan Dunne The Economist, Oct. 1, Temple of Delight by Miles Unger Hartford Courant, Oct. 1, Renewed Atheneum a Cultural Tourism Spark Op - Ed by William Hosley Art in America, October 2015, Coney Island Forever by Jonathan Weinberg The Boston Globe, Sept. 19, European marvels await in Hartford at refurbished Atheneum by Sebastian Smee The Hartford Courant, Sept. 19, Wadsworth Atheneum Reopens To Line Of Visitors Saturday by Kristin Stoller The Hartford Courant, Sept. 19, Editorial: Wadsworth Atheneum Makeover is a Triumph Hyperallergic, Sept. 18, A Worthy Renovation for the Wadsworth Atheneum's European Art Galleries by Benjamin Sutton The New York Times, Sept. 17, Review: Wadsworth Atheneum, a Masterpiece of Renovation by Roberta Smith WNPR, Sept. 17, Hartford's Wadsworth Atheneum Unveils Newly Renovated Galleries by Diane Orson The Art Newspaper, Sept. 16, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The Hartford Courant, Sept. 13, Wadsworth Atheneum Unveils Final Phase of Years - Long Renovation by Susan Dunne Fox CT, Sept. 11, The art of a reopening at the Wadsworth by Jim Altman Apollo Magazine, Sept. 5, J.P. Morgan: The Man Who Bought the World by Rachel Cohen The Art Newspaper, September 2015, Wadsworth relives Gilded Age glory days in grand reopening by Julia Halperin The New York Times, Aug. 31, The Wadsworth Atheneum in Hartford Puts Final Touches on a Comeback by Ted Loos The Independent, Aug. 28, Warhol and Mapplethorpe capture each other by Charlotte Cripps The Hartford Courant, Aug. 18, Three «Aspects of Portraiture» at Wadsworth by Susan Dunne The Hartford Courant, July 16, Vibrant Paintings of Modernist Peter Blume at Wadsworth by Susan Dunne The Boston Globe, June 30, Hank Willis Thomas's slick image masks a closed door by Sebastian Smee The Boston Globe, June 25, Bradford enters MATRIX at Wadsworth Atheneum by Sebastian Smee Hartford Courant, June 25, Artist Creates Site - Specific «Pull Painting» at Atheneum by Susan Dunne Observer, June 16, A Peek Inside Hartford's Wadsworth Atheneum as It Preps for a Grand Reopening by Alanna Martinez The Wall Street Journal, June 5, Madrid's Thyssen Offers the Dark Religiosity of Zurbarán by J.S. Marcus Art New England, May / June 2015, Reviving the Grande Dame by Susan Rand Brown Humanities, May / June 2015, The Coney Island Exhibition That Captures Its Highs and Lows by Tom Christopher The Magazine Antiques, May / June 2015, Visions of Coney Island by Robin Jaffee Frank The New York Times, April 19, An American Dreamland, From the Beginning by Sylviane Gold Artes Magazine, April 16, At Hartford's Atheneum: «Coney Island: Visions of an American Dreamland, 1861 - 2008» by Richard Friswell Hartford Courant, April 9, Sideshow Mind Game at Atheneum by Susan Dunne Hyperallergic, March 4, Two Exhibitions Examine the Art of the American Side Show by Laura C. Mallonee Republican American, March 1, Coney Island R us by Tracey O'Shaughnessy Hyperallergic, Feb. 24, Mapplethorpe's Other Man by Larissa Archer WNPR, Feb. 24, Where We Live: The Lore and Lure of Coney Island by Betsy Kaplan and John Dankosky The Boston Globe, Feb. 24, Frame by Frame: Behind «Agbota,» an artist's irony and imagination by Sebastian Smee Real Simple, March 2015, A Life in Full Antiques and the Arts Weekly, Feb. 20, Step Right Up!

Byrne was recently included in «The Dark Monarch», Tate St.Ives (touring to Eastbourne) as well as in group shows at Mark Foxx, Los Angeles (2007) and International 3, Manchester (touring to Hatton Gallery, Newcastle upon Tyne).

Over the past 12 years he has curated and organised over 50 exhibitions and projects, including solo shows by Simon Starling, Alex Katz, Lily van der Stokker, Henri Gaudier Brzeska, Linder, Albert Oehlen, Carol Bove, Dexter Dalwood, Mark Titchner, Heimo Zobernig, Hans - Peter Feldmann, Barbara Hepworth, Adam Chodzko, Deimantas Narkevicius, Eileen Quinlan, Peter Lanyon and Lucy McKenzie, as well as a number of group exhibitions including: «The Hollows of Glamour»,» This storm is what we call progress», «Pale Carnage», «The Indiscipline of Painting», «The Dark Monarch: Magic and Modernity in British Art» and most recently «Aquatopia: The Imaginary of the Ocean Deep».

Over at Marks's other gallery, Ronnie Horn has a mixed show, its high point two dark blue - glass boxes.

With a show of Mark Rothko's dark paintings now on view at the Pace gallery in New York, we turn back to the December 1957 issue of ARTnews, in which the artist wrote a letter to the editor, complaining that Elaine... Read More

Petzel took a revelatory look at the late, great Austrian painter Maria Lassnig's years in New York, from 1968 to 1980, Matthew Marks offered a treatise on the ultra-controlled, wildly underrated Peter Cain, Galerie Lelong presented a display of Ana Mendieta's vital films, Metro Pictures showed deep cuts by Bas Jan Ader, Craig F. Starr delivered a master class on Sylvia Plimack Mangold's early paintings of floors and rulers, Hauser & Wirth hosted not one but two incredible Philip Guston shows (the second, of Nixon drawings, is still on view, offering psychic balm in these dark times), Questroyal organized a jam - packed assemblage of paintings by the indefinable American mystic Ralph Albert Blakelock, and Jeffrey Deitch brought the traveling retrospective of the Pictures Generation original Walter Robinson to Robinson's hometown.

Beyond the social circumstances in the sense of Mark Twain's quotation «Everyone is a moon, and has a dark side which he never shows to anybody,» the dark side of the moon also points to existential dark sides.

2012 «Light Darkness and Shadow: Art and the Meaning of Life», Huffpost Culture, 11 December «Review: Tim Noble & Sue Webster Nihilistic Optimistic, Blain Southern», Kentish Towner, 6 November Mark Sinclair, «Nihilism, optimism and bedtime tales», Creative Review, 1 November Martin Coomer, «Tim Noble and Sue Webster: Nihilistic Optimistic», TimeOut: London, 29 October «Where to buy... Tim Noble and Sue Webster», The Week, 27 October Amy Dawson, «Art Review», The Metro, 24 October Rachel Campbell - Johnston, «Exhibitions: Critic» s Choice», The Times, 20 October Lia Chavez, «A Glimpse at Splitting, Multiplying Universes: Frieze London 2012 Highlights», Huffpost Arts & Culture, 17 October «Arts Agenda: The cultural highlights you have to see», I Newspaper, 16 October «Tim Noble and Sue Webster exhibition: We and Our Shadows», Evening Standard, 16 October Rob Alderson, «Amazing Silhouette Sculptures by Tim Noble and Sue Webster on show in London», It» s Nice That, 16 October Waldemar Januszczak, «Magic Lurks in the Shadows», The Sunday Times, 14 October Emma O'Kelly, «Nihilistic Optimistic by Tim Noble and Sue Webster, Blain Southern Gallery», Wallpaper, 10 October Colin Gleadell, «The best anti-Frieze in London», The Daily Telegraph, 9 October Jon Savage, «Frieze Week: Tim Noble & Sue Webster», Dazed Digital, 8 October Kate Kellaway, «Interview with Tim Noble & Sue Webster», The Observer, 7 October Rachel Campbell - Johnston, «Critics Choice», The Times, 6 October Lynn Barber, «The Dark Arts», The Sunday Times, 30 September Charlotte Cripps, «Bringing art to the Charts», The Independent, 29 September «Modern Life is Rubbish», The Art Newspaper, October John B. Henderson, «Chess», The Scotsman, 18 September Tim Walker, «Observations: Chess is the name of the game in a new London show», The Independent, 4 September Liz Stinson, «Artists Turn Junk Into Amazing Silhouettes», Wired, 6 July «Tim and Sue», Hunger, Summer «Tim Noble, Sue Webster and David Adjaye in Coversation with Louisa Buck», Garage Mag Online, 25 May

Over the last 12 years Martin has curated numerous exhibitions and projects, including solo shows by Simon Starling, Albert Oehlen, Lily van der Stokker, Alex Katz, Hans - Peter Feldmann, Heimo Zobernig, Dexter Dalwood, Carol Bove, Bojan Sarcevic, Deimantas Narkevicius, Peter Fraser, Katy Moran, Mark Titchner, Brian Griffiths and Lucy McKenzie, as well as group exhibitions that include The Dark Monarch: Magic and Modernity in British Art, Tate St Ives, 2009; Pale Carnage, Arnolfini, 2007; and The Hollows of Glamour, Herbert Read Gallery, 2003.

2011 Nine Faces, Anton Kern Gallery, New York, NY Three to Five Faces, Shane Campbell, Chicago, IL Human Nature: Contemporary Art from the Collection, Los Angeles County Museum of Art, Los Angeles, CA Malevich and the American Legacy, Gagosian Gallery, New York, NY California Dreamin: Myths and Legends of Los Angeles, Galerie Almine Rech, Paris, France 2010 Kaikai Kiki Gallery, Tokyo, Japan Portland Art Museum, Portland, OR Seven Faces, Blum & Poe, Los Angeles, CA The Artist's Museum: Los Angeles Artists 1980 — 2010, Museum of Contemporary Art, Los Angeles, CA Group Show 2010, Galerie Emmanuel Perrotin, Paris, France Benches and Binoculars, Walker Art Center, Minneapolis, MN At Home / Not at Home: Works from the Collection of Martin and Rebecca Eisenberg, Hessel Museum of Art, Bard College, Annandale - on - Hudson, NY (curated by Matthew Higgs) Mark Grotjahn, Jonathan Lasker, Sol LeWitt, Allan McCollum, James Siena, James Welling, Bravin Lee Programs, New York, NY Skin Fruit: Selections from the Dakis Joannou Collection, New Museum, New York, NY (curated by Jeff Koons) Invitational Exhibition of Visual Arts, American Academy of Arts and Letters, New York, NY 2009 Gagosian Gallery, London, UK 2008 Dancing Black Butterflies, Gagosian Gallery, New York, NY 2007 Kunstmuseum Thun, Thun, Switzerland Blue Paintings Light to Dark One through Ten, Anton Kern Gallery, New York, NY 2006 Whitney Museum of American Art, New York, NY 2005 Blum & Poe, Los Angeles, CA Stephen Friedman Gallery, London, UK Mark Grotjahn: Drawings, Hammer Museum, Los Angeles, CA 2003 Anton Kern Gallery, New York, NY 2002 Mark Grotjahn: el gran burrito, Boom, Chicago, IL Blum & Poe, Santa Monica, CA 2000 Blum & Poe, Santa Monica, CA 1998 Blum & Poe, Santa Monica, CA Flowers in the Office, Brent Petersen Gallery, Los Angeles, CA

The show is made up of massive larges - scale paintings that embody the artists» style and vision, ranging from the bright and colorful works of Tim Biskup with his light - hearted, whimsical characters, to the work of Mark Dean Veca who paints a dark and eerie version of Mickey Mouse, distorted by wrinkles and folds.

Traditional shaker - style cupboard and drawer handles are robust and keeping them in a dark wood colour, rather than painting them in a matching pastel shade, means that grubby finger - marks won't show up.

I love dark cabinets (and hopefully marks and fingerprints wouldn't show up on them so much) but as my kitchen is quite small I'm worried too many dark cupboards will make it gloomy and sad.

Darker metals also make their mark — powder - coated steel shows off lush green velvet to perfection.

I had already done a piece and it is very muddy & streaked (shows brush marks) I hope using the clear wax over dark will help.

Mid-tones are the most practical; dark colours highlight bits and light ones show marks.