Sentences with phrase «speak of works on paper»

Not exact matches

There are reports of ads in Ukrainian papers and online seeking women who would work on hourly rate talking to men online, preferably English - speaking.

In the last 14 months alone, I've worked with the coalition of charter school supporters to bring charter schools to the state, testified before the Legislature on the quality of Alabama's charter school law, spoken with a room of more than 400 Alabama school board members about what it means to be an authorizer, and even sat down with the regional paper to talk about the pros and cons of authorizing charter schools.

When you work with us to have your essay written, you can choose which of our native English speaking professional writers you'd like to work on your paper.

- Aonuma and Miyamoto have played through BotW start to finish - the strangest thing Link can eat is «dubious food» which happens when you mess up cooking - «it's a secret» as to whether the Master Sword can break - Switch TV mode will have better resolution / sound than Wii U - Link can wear green, but it wasn't specified if this was his iconic green tunic - Link does no speak a full sentence - Link does not have a family - Breath of the Wild was the toughest Zelda game to create - companions outside of your horse include a wolf, but this was most likely referencing the wolf Link amiibo - the stamina meter can be upgraded - Link's last name is the same as Mario's according to Miyamoto, meaning it's Link Link - Link is not human - Breath of the Wild takes place after Ocarina of Time - Aonuma / Miyamoto are unsure what NX stood for, but they say it was probably for Nintendo X - you can eventually get a snowboard for a shield (this may be a joke)- you can not eat horses - the game does have big surprises - Miyamoto thinks that Pauline lives in New Donk City - Aonuma / Miyamoto say that Tingle is always happy and the devs love him - While there are multiple Links in games, it's always the same Mario in his adventures - the idea of Paper Zelda is discussed, and while the convo does seem playful, Aonuma says they're working on it.

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 greater.

Merz's works on paper, with their oscillating, intersecting lines and dynamic compositions, also share affinities with futurist precedents but convey a nuanced movement that speaks to the body's internal rhythms, the pulse of arteries and nervous systems rather than the speed of technological progression.

Moon has said of her work, «I am a painter, but everything I do is on paper — not on canvas... and historically speaking the East Asian tradition was not on canvas, either.

1994 Possible Things, Bardamu Gallery, New York, USA (Vik Muniz, Curator) Choice, Chance and Irony, Todd Gallery, London; John Hansard Gallery, University of Southampton, England Unbound: Possibilities in Painting, Hayward Gallery, London, England (Greg Hilty and Adrian Searle, Curators) Le Temps D'Un Dessin, Galerie De L'École Des Beaux - Arts, Lorient, France, (Phillippe Briet, Curator) Written / Spoken / Drawn in Lacanian Ink, Thread Waxing Space, New York, USA Bravin Post Lee, New York, USA Painting, Rhona Hoffman, Chicago, USA About Color, Charles Cowles, New York, USA 8 Rooms for Paiting, Galeri F15 Alby, Moss, Norway (Gertrud Sandquist, Curator) Summer Exhibition, Sperone Westwater, New York, USA The Assertive Image: Artists of the Eighties from the Eli Broad Family Foundation, U.C.L.A. at the Armand Hammer Museum of Art, Los Angeles, USA Abstract Works on Paper, Robert Miller, New York, USA On Paper, Schmidt Contemporary Art, Saint Louis, USA Abstraction: A Tradition of Collecting, Center for the Fine Arts, Miami, USA American Paining Now, Galleries Caterina Fossati, Eva Menzio, Giovanni Rimoldi, Turin, Italy Tutti Questi Mondi, Galleria Carini, Prato, Itaon Paper, Robert Miller, New York, USA On Paper, Schmidt Contemporary Art, Saint Louis, USA Abstraction: A Tradition of Collecting, Center for the Fine Arts, Miami, USA American Paining Now, Galleries Caterina Fossati, Eva Menzio, Giovanni Rimoldi, Turin, Italy Tutti Questi Mondi, Galleria Carini, Prato, ItaOn Paper, Schmidt Contemporary Art, Saint Louis, USA Abstraction: A Tradition of Collecting, Center for the Fine Arts, Miami, USA American Paining Now, Galleries Caterina Fossati, Eva Menzio, Giovanni Rimoldi, Turin, Italy Tutti Questi Mondi, Galleria Carini, Prato, Italy

«ALMA THOMAS: Moving Heaven & Earth — Paintings and Works on Paper, 1958 - 1978» @ Michael Rosenfled Gallery New York Deftly employing color as a language, the ordered patterns and vibrant abstracts of Alma Thomas (1891 - 1978) speak volumes.

Mark Bradford's large - scale pictures — it is hard to speak of «paintings» when so little paint is actually involved in the process — are devouring machines: they eat up all sorts of paper that the artist finds on the streets and glues to his works.

(Full disclosure, I spoke to him a couple of times for this article and I'm working on tuning description paper for the US climate modeling centers).

I can not speak for NSF, but I do work at NIH on extramural programs, so I have some knowledge about grant processes, and I have published some medical research papers so I have some knowledge of the peer - review publishing process.

Having read other material on the consequences and relationships of CCN's and lifetimes regarding papers that have been written, it seems that a lot of the papers coming from the Svensmark angle, so to speak, are not conclusive enough of definitive impact in the impact potentials for global warming, to jsutify the claims made by Svensmark, or the press about his, or similar, work.

Nonetheless, Breitbart writer Delingpole claimed that 400 scientific papers published this year demonstrated that climate change is a «myth,» basing his article on a post on the denialist blog No Tricks Zone.The fact - checking website Snopes roundly debunked Delingpole's article, giving it a «False» verdict after speaking with authors of some of the cited papers who said their work was grossly misinterpreted or misrepresented.

He has testified as an expert witness on the theology, ethics, science, and economics of climate change policy before the U.S. Senate Environment and Public Works Committee and the Energy and Environment Subcommittee of the U.S. House of Representatives Committee on Energy and Commerce; briefed the White House Council on Environmental Policy; delivered a paper at a conference at the Vatican sponsored by the Pontifical Council for Justice and Peace; and spoken at the 2008, 2009, and 2010 International Conferences on Climate Change and at colleges, churches, and other venues.