Sentences with phrase «wall paper which»

Not exact matches

One of the earliest lessons that Turner taught Williams came via a piece of paper on the wall of the janitor's room, which said, «There is no limit to what a man can do or where he can go if he does not mind who gets the credit.»

I'd pull that rubber band off, whispering hopefully to the paper, «come on, come on...» Sometimes it would be just a page or two, with nothing but fatal errors, which meant you had to trace the error, resubmit the stack, and then attend to the bruises you got from banging your head against the wall.

Then I stopped, not because of the bias but because I was seduced by the superior quality of the Wall Street Journal, which in those days had the most sophisticated and sparkling prose of any daily paper.

Among the books, all of which either wear their contemporary paper jackets or are recent paper - backs, on the shelves that climb the walls, are displayed plastic reproductions of such things as a Tibetan prayer wheel, African masks, a cross or two, a grinning gargoyle, several Indian - temple loving couples, and (standing in a corner) a crosier.

Assembled one evening in the church basement after eating, the members adjusted their chairs toward a wall on which was tacked a long strip of butcher paper with a horizontal line drawn a third of the way down from the top.

Upon walking into the restaurant, customers will see a wall made of hand painted wood, chalkboard, and butcher paper panels, which highlight the seasonal, rotating menu items that can be ordered at the open - style kitchen.

It was winter so we decided to give him a «snowball», which was a white piece of paper cut into a circle, and we would write his good deed on the snowball and then tape them up on the wall so he built a wall of snowballs.

For instance, if the child draws on the wall (which is not a harmful activity), tell him that drawing should be done on paper not walls.

In a 2008 paper in Science, Parkin and colleagues demonstrated the beginnings of a racetrack memory based not on skyrmions, but on magnetic features called domain walls, which separate regions with different directions of magnetization in a material.

«This is a new effect that could prove to be useful in the future,» said Dr. André Bisig, lead author of the paper «Correlation between spin structure oscillations and domain wall velocities,» which has recently been published in Nature Communications.

A chemical substance which can be added to wallpaper paste so that when a particular current or stimulus is applied to it, the paste will lose its adhesiveness and the paper will just fall off the wall, making redecoration quicker, easier and cleaner.

One of the two papers, on which Dekel is first author, presents an algorithm that looks for repeated forms within an image, such as the kernels of an ear of corn or bricks in a wall.

As part of our collaboration with Trinity College Dublin - Physics and the group of Professor Jonathan Coleman, we published a fundamental paper in Advanced Materials in which we definitively proved that the Gibbs Free Energy of Solution was Negative for single wall nanotubes (SWNTs) in NMP solvent, contrary to conventional chemical history and wisdom (here's the abstract).

Our living room walls are a very light gray which I love after awful ugly mfg. home vinyl wall paper or whatever it is.

Not to forget the history of combining these two during the 1960s, which quite frankly speaking had its awkward resemblance to wall paper or something.

Stunning bathroom features a gray - green grasscloth papered walls over a gray bathroom vanity with center console cabinet accented with polished nickel hardware alongside white quartz counters which frame his and her sinks with polished nickel medicine cabinets above.

I even wrote a position paper on Badoo for a top 10 dating site, which was smart enough to see the writing on the wall in terms of social discovery and the opportunities and challenges it brings to traditional dating sites.

But «The Wall,» which features Aaron Taylor - Johnson as a U.S. Army soldier pinned down by a preternaturally accurate Iraqi sniper behind a crumbling wall and pro-wrestler-turned-actor John Cena as his injured superior officer, doesn't sound — at least on paper — like there's much room for innovation, let alone a moWall,» which features Aaron Taylor - Johnson as a U.S. Army soldier pinned down by a preternaturally accurate Iraqi sniper behind a crumbling wall and pro-wrestler-turned-actor John Cena as his injured superior officer, doesn't sound — at least on paper — like there's much room for innovation, let alone a mowall and pro-wrestler-turned-actor John Cena as his injured superior officer, doesn't sound — at least on paper — like there's much room for innovation, let alone a movie.

Graffiti Boards are a cooperative engagement strategy in which students write or visually represent ideas about a topic on a shared space in the classroom (e.g., a section of a wall covered with large chart paper or a whole whiteboard).

There was a lounging section (black leather sofa, two black leather chairs, glass coffee table) to his right, an executive desk (oval, cherry, black leather reclining chair for the executive, two green leather armchairs for visitors) in the center, and a wall unit (cherry, glass doors, white folders in neat rows) to his left, in front of which Clark Edwards, in a dark suit, was standing and feeding sheets of paper into a pullout shredder.

But when Ackman surveyed the company's filings, he realized that MBIA had, to a degree utterly unrecognized by Wall Street, shifted into the business of insuring a vast array of much more dangerous paper: collateralized - debt obligations, or CDOs, which were constructed by the big banks to combine the bonds of multiple companies.

When I read this post by Ivan Hoff, I decided to look at the new high and new lows lists, which I never do now, but used to do regularly back in the days when I read a paper Wall Street Journal eve...

When I read this post by Ivan Hoff, I decided to look at the new high and new lows lists, which I never do now, but used to do regularly back in the days when I read a paper Wall Street Journal every day.

I just HATE to have to deal with backside paper, for sometime I don't even reach it because is against the wall, which also could make the paper dirty before you use it, and when the roll is in the way I may also only getting pices of the paper instead of nice foldable pices!

She has become known for her acrylics on paper which are either wheatpasted or painted directly on walls around the city, as well as her acrylics on wood which are beautifully haunting and feminine.

A pinhole camera is a primitive, often homemade photographic apparatus composed of a darkened chamber, in which light sensitive film or photographic paper is inserted and then exposed via a tiny «pinhole» puncture in the wall of the compartment.

A performance by Uruguayan artist Lalu Delbracio presented by a r c h i p e l a g o, will focus on a wall to wall paper installation which alters and evolves through the duration of the festival.

The show brings together works — like David Hammons's Bliz - aard Ball Sale (1983), in which he sold snowballs from a blanket on a New York street on a winter day, and Joseph Beuys's suggestion that the height of the Berlin Wall be increased by five centimeters, which scandalized West Germany — solely by way of Rubinstein's written descriptions of them, taken from his book of the same title (Paper Monument, 2014).

Over a dozen artists are represented with small works mostly on paper crowded salon - style on one wall, which is insulting.

The surface on which the paint is applied is called the support, and may be paper, stretched canvas, Masonite, wood panel, a concrete wall, or any other surface that will hold paint.

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 greawall, 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 greaWall, 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 greawall, 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 greawall, 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 greawall 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.

The words are usually displayed on a gallery wall with additional sheets of paper available, which viewers are encouraged to take away with them.

But while his lexicon is recognizable, it is enigmatic and incomprehensible as it repeats and creates a visual cacophony — a kind of buzzing of color and pattern — that camouflages and obfuscates the panels, photographs, walls, clothing and found paper on which he paints and draws.

This interpretive «baggage» is literalized in the object that undergirds an elegantly canted framed abstraction on paper — by far the show's most austere inclusion — on the exhibition's second floor, which conceals behind it a wedged - in black suitcase, visible if you sidle up to the wall upon which the piece is mounted.

Displayed at different gallery branches, Man Fung Yi's brass replicas of personal garments and William Tsang's rather straightforward installation, in which anonymous photographers in a mixed - media relief are spying on a nude woman, depicted in charcoal on paper on an opposite wall, contemplate voyeurism and the boundary between self and other.

This exhibition marks an important departure from Khan's photographic based works and comprises a suite of large black paintings, a monumental site specific wall drawing and a series of works on paper, all of which consider the metaphysics of creativity.

The walls of the gallery are transformed into vast paper collages in which folded pho - tographs of often overlooked urban infrastructure and dead zones — like multi-storey car parks, abandoned open - plan offices, motorway slip roads, tunnels and emergency exits — are mounted directly onto the walls.

At the entrance, the large elaborately textured and tinted, latently Symbolist paintings on paper by Kerstin Brätsch — which suggest masses of rustling silks or feathers — flank a wall of works from which they could not be more different: Joe Bradley's emblems simply outlined in grease pencil on raw canvas, redolent of children's drawings.

Harnischfeger's wall - mounted works, in which she paints, builds up and carves out layers of paper and plaster to a deliberate but rough - hewn effect, or shapes hunks of clay and plaster into freeform objects, resemble fantastical topographical maps, odd geological formations, or fragmented, expressive portraits.

Ricocheting her unmistakable touch against canvas, paper and, significantly, the wall itself (I found the outsize oval «eyes» of Blinkies, 2013, which have been slapped onto the wall in the rear of the space next to the bathroom door, particularly effective), Pensato, like de Kooning, has taken on everything from popular culture to taste to the nature of expression itself.

I have been exploring these issues in several series simultaneously: small drawings on mylar; wall pieces with wax and handmade paper and thread on glass sheets; sheer handmade paper pieces embedded with threads and tissue; and installations which use these elements in an accumulated form.

Using the cube as the basis for his complex modules and systems, LeWitt created two - and three - dimensional works, which range from wall drawings and works on paper to towering structures, pyramids and geometric forms.

In advance of the opening, we asked curator Susan Harris for her personal insights on the show, which includes three large - scale drawing projects — four freewheeling, cast paper pieces by Lynda Benglis, a 15 - foot drawing by Inka Essenhigh, and a temporary wall drawing by Pat Steir.

They are oil paintings on paper and look like false objects because they are all made with an axonometric perspective, so they seem to come out from the wall, which is covered in a classic type of wallpaper.

Galeria Leme from Sao Paulo has a beautiful arte povera piece, a rather stunning one actually, that defines this unique culture wherein artist Alexandre Brandao fills some ordinary lunch bags with damp graphite which creeps up the walls of the paper bags creating a beautiful mountainous landscape.

She is creating a series of colourful, small - scale paper collages, which will be digitally enlarged to two metres tall and transferred to laser - cut aluminium, assembled and fixed to the arching platform walls 30 metres below street level.

More than 50 new works on paper will also be exhibited along side and embedded in a large wall painting to create an immersive experience which will leave the viewer pondering the same questions of meaning, value and love.

The artist was smart to strip the white paper off the walls, uncovering a history which she used to her advantage in creating a squatter's poetics.

During this period his on - going Blanket Series of woven paintings - morphed into a series of installations: Christopher Columbus Did Not Discover America which incorporated light elements, rocks and arrows, and the Tar Paper Series, richly - textured organic forms that Davis «choreographed» onto large walls.

Juxtaposed with these sweeping sculptural forms, wall - based works constructed from moving blankets and recomposed with a patchwork of materials including paint, dye, paper and magazine cuttings, extend his investigation into the relationship between painting and the frame, which is inherent in these works.