Sentences with phrase «work seeing through walls»

Not exact matches

HI lee RN after the ages of 24 to 27 the bodys enzyme production reduces to from a teaspoon to eyedopper levels we start to rely on the bodies own ability to assimilate and absorb its own enzyme source where as we can run through walls at 17 to 27 try to do ot at 37 0r 47 things do nt go as planned recovery takes longer a we age generally with poor diet and junk food shrinkage of organs increase as we age because of the lack of enzymes that are active in the body fibrin scar tissue and debris as well as sludge in the blood require the following (number 1) is oxygen (number 2) is Enzymes (number 3) is electrolytes (Number 4) is negatively ionized (Red Blood Cells) this is what is required to remove the excessive fibrin from the body Dr perlmutter is correct with his grain and carb theory however without systemic enzyme assistance and the other 3 protocols organ shrinkage and early aging are a reality the enzymes (systemic) do the major work eating up and ridding the excessive fibrin that is in the body and easy to see with microscopy as is Red Blood cells that are positively ionised (Stuck together) find it had to deliver ATP (cell food) that feed the cells One of the major causes of arterial blockages is inflamation condensed LDL triglycerides (bad cholestorol) not mistaking fluffy or non condensed LDL which is good for the brain and harmless as is HDL cholestorol levels

The Wall Street Journal weighed in on the matter earlier this week, suggesting we'll see the addition of textbooks created specifically to work with Apple's publisher tablet, alongside a handful of partnerships with textbook publishers who are offering digital versions of their catalog for sale through Apple's iBookstore.

Accompanied by Bove's own monumental sculpture, Cretaceous (2014), an ancient, four - metre chunk of petrified wood bolted directly to an I - beam, the works are seen against white walls, with sunlight flooding in through the skylights of the gallery — a fitting homage to Scarpa in more than one way.

KSU officials agreed to reinstate the work, and it remained on view until May 17 as part of the inaugural exhibition «See Through Walls.»

There's some work, I think in Luxor, where the wall is 10 ′ thick and you see the outline of the people on one side and, as though seeing through the wall, you see the back of them.

The paintings of the two artists were arranged on the walls so that the viewer could see the work of one painter with that of the other close by, moving chronologically through time so that, in walking through the exhibition, the viewer could see how each artist developed over time, both on his own, as well as in relation to the other.

A new neon work «SEEING THROUGH WALLS» dominates the gallery space.

Installed as a large floating sculptural work, the full text for which reads THE SUPERPOWER OF SEEING THROUGH WALLS, at once speaks out to the surrounding public space and addresses the architecture in which it is encased.

See Through Walls, the museum's inaugural exhibition, set the standard as a gallery space eager for intelligent, comprehensive, risk - taking work.

Through sketched - out thoughts pinned to walls littered tabletops and floors, I can see ideas forming into a body of work.

Stop by the Gallery to see a selection of Jim's work featured on the Faculty Wall through October 2nd and stay tuned for future printmaking classes with this talented and resourceful instructor.

, you are lying on the floor of your place looking up, a small draft runs through the room, between the door and the window, and all things seem perfectly still, wind only disturbs concrete in imperceptible ways, or it may take millions of years to be noticed and, as the air runs through the space, all your plants move and all is animated and all is alive somehow, and here are the thoughts of all men in all ages and lands, they are not original with me, and that wind upon your plants is the common air that bathes the globe, and we have no ambitions of universalism, and I'm glad we don't, but the particles of air bring traces of pollen and are charged with electricity, desert sand, maybe sea water, and these particles were somewhere else before they were dragged here, and their route will not end by the door of this house, and if we tell each other stories, one can imagine that they might have been bathed by this same air, regrouped and recombined, recharged as a vehicle for sound, swirling as it moves, bringing the sound of a drum, like that Kabuki story where a fox recognizes the voice of its parents as a girl plays a drum made out of their skin, or any other event, and yet I always felt your work never tells stories, I tend to think that narrative implies a past tense, even if that past was just five seconds ago, one second ago was already the past, and human memory is irrelevant in geological time, plants and fish know not what tomorrow will bring, neither rocks nor metal do, but we all live here now, and we all need visions and we all need dreams, and as long as your metal sculptures vibrate they are always in the Present, and their past is a material truth alien to narrative, but well, maybe narrative does not imply a past tense at all and they are writing their own story while they gently move and breathe, and maybe nothing was really still before the wind came in, passing through the window as if through an irrational portal to make those plants dance, but everything was already moving and breathing in near complete silence, and if you're focused enough you can feel the pulse of a concrete wall and you can feel the tectonic movements of the earth, and you can hear the magma flowing under our feet and our bones crackling like a wild fire, and you can see the light of fireflies reflected in polished metal, and there is nothing magical about that, it is just the way things are, and sometimes we have to raise our voice because the music is too loud and let your clothes move to a powerful bass, sound waves and bright lights, powerful like the sun, blinding us if we stare for too long, but isn't it the biggest sign of love, like singing to a corn field, and all acts of kindness that are not pitiful nor utilitarian, that are truly horizontal as everything around us is impregnated with the deadliest violence, vertical and systemic, poisonous, and sometimes you just want to feel the sun burning your skin and look for life in all things declared dead, a kind of vitality that operates like corrosion, strong as the wind near the sea, transforming all things,

The work is meant to be seen in daylight as when the sun shines through the windows, it casts evocative shadows on the walls and floor, many stemming from the slender pillars (white columns) Irwin erected in the space surrounding the chambers to emphasize the original architecture of the gallery.

, Helmuth Projects, San Diego, CA See Through Walls, Zuckerman Museum of Art, Kennesaw, GA I Never Complained About the Past: New Work / New Year, PDX CONTEMPORARY ART, Portland, OR Crow's Shadow Institute of the Arts Ford Family Foundation Golden Spot Awardee Print Exhibition, PDX Contemporary Art, Portland, OR

Using mirrors and lighting, the works open up space creating a false dimension that enables imagery and viewpoints to slide through walls, see around corners and unfold spaces.

2011 Postcards from the Edge, CRG Gallery, New York, US Litos Grafere, Danish Art Center Silkeborg Bad, Silkeborg, DE; Museum of Stavanger, NO Freeriding, East / West Galleries, Woman's University, Denton, Texas, US Sculpture in So Many Words: Text Pieces 1960 - 75, Ziehersmith, New York, US Intrusions, Galerie Michèle Chomette, Paris, FR Compagni Di Viaggio - Traveling Companions, Mestna Galerija Ljubliana, SI L'Insoutenable Légéreté de L'Être, Yvon Lambert, VIP Art Fair, Online Art Fair, New York, US Box is a Box is a Box, Librairie Florence Loewy, Paris, FR Drawn / Taped / Burned Abstraction on Paper, Kotonah Museum of Art, Kotonah, New York, US As Long as it Lasts, Galerie Sonja Junkers, Munich, DE Works from the Pentti Kouri Collection, Tracy Williams Ltd, New York, US Picasso: Guitars 1912 - 1914, Museum of Modern Art (MoMA), New York, US Berlin International Film Festival, various theaters around Potsdamer Platz, Berlin, DE Observadores - Revelaҫões, Trânsitos e Distâncias, Museu Colecção Berardo, Lisbon, PT Market Art Fair, The Royal Swedish Academy of Fine Arts, Stockholm, SE Feuille à Feuille, Musée de Vence, FR TextVideo / Female: Art after 60's, PKM Gallery, Seoul, KR Topography / Topography, Brooke Alexander Editions, New York, US Bidoun Project, Mercer Street, New York, US Temporary Stedelijk 2 - Making Histories: Changing Views of the Collection, The Temporary Stedelijk at the Stedelijk Museum, Amsterdam, NL Push Pull, Rijksmuseum, Amsterdam, NL Bild / Objekt: Neuere Amerikanische Kunst aus der Sammlung, Kunstmuseum Winterthur, Winterthur, CH Tod's Art Plus Drama Party 2011, Whitechapel Gallery, London, UK Shelf Ramp Wedge Bridge, Fitzroy Gallery, New York, US CLAP, Hessel Museum of Art, Annandale - on - Hudson, New York, US 100 Briques Pour Madagascar Œuvres Contemporaines, Hotel Marcel Dassault, Paris, FR Bomb 30th Anniversary Gala and Silent Auction, Capitale, New York, US Benefit Auction from the Icelandic Wetlands, The Culture House, Reykjavik, IS Locations, Paula Cooper Gallery, New York, US As Long as it Lasts, Arratia, Beer Gallery, Berlin, DE After Hours: Murals on the Bowery, Festival of Ideas for a New City, New Museum and Art Production Fund, New York, US A Place to Which We Can Come, St. Cecilia Convent, Brooklyn, New York, US The End of Money, Witte de With, Rotterdam, NL Designing the Whitney of the Future, Hurst Gallery, Whitney Museum of American Art, New York, US Hong Kong International Art Fair, Hong Kong Convention and Exhibition Center, Hong Kong, CN Made in Italy, Gagosian Gallery, Rome, IT Jeff Wall The Crooked Path, Center for Fine Arts, Brussels, BE Through the Warp, Regina Rex, Ridgewood, New York, US Interloqui, National Glass Center, The University of Sunderland, Sunderland, UK Personal Structures, Palazzo Bembo, Venice, IT Arte in Movimento, La Galleria, Venice, IT Middle Age, Leo Castelli Gallery, New York, US Brooke Alexander Editions, Helga Maria Klosterfelde Edition, Berlin, DE Void if Removed: Concrete Erudition 4, Le Plateau - Fonds Régional d'art Contemporaind «Ile - de-France, Paris, FR As Far as the Eye Can See, The Field Sculpture Park, Omi International Art Center, Ghent, New York, US 20 Jahre Gegenwart, Museum für Moderne Kunst (MMK), Frankfurt am Main, DE Anarchism Without Adjectives: On the Work of Christopher D'Arcangelo, 1975 - 1979, Centre d'Art Contemporain de Brétigny, Brétigny, FR Play Time, Lieu D'art Contemporain, Sigean, FR Plot: Plan: Process Works on Paper from the 1960's to Now, Leslie Tonkonow, New York, US Distant Star / Estrella Distante, Regen Projects, Los Angeles, US 15 Minutes Homage to Andy Warhol, Pollock - Krasner House and Study Center, East Hampton, New York, US Seoul International New Media Festival, various cinemas in Seoul, KR Art = Text = Art: Works by Contemporary Artists, Joel and Lila Harnett Museum of Art, University of Richmond Museums, Henrico, US Melanchotopia, Witte de With, Rotterdam, NL Belvedere.

«See Through Walls» features works by 15 artists spread across two galleries, including several wall drawings and site - specific installations.

The German based artist also like many others still makes time to paint walls, and you are able to see through these walls his influences for this other works.

She is at work on the inaugural exhibition, «See Through Walls,» a spatial and architecturally themed show to commemorate the new building.

«See Through Walls» will include work by Adriane Colburn, Bethany Collins, Annette Cone - Skelton, Ben Goldman, David Haxton, Imi Hwangbo, Casey Lynch, Gordon Matta - Clark, Casey McGuire, Jenene Nagy, Michael Oliveri, Sam Parker and Ruth Stanford.

Alhambra's large scale and open lattice walls allows viewers the unique experience of walking into and through the sculpture; this work can be seen and experienced from both the outside looking in and the inside looking out.

This is a psycho - physiologically significant alternative to sterile walls and the movements humans tend to create through machinery; and as is becoming more clear (see works on Nature Deficit Disorder, for example * +) is crucial to human development and psychological health.