Sentences with phrase «work surface mean»

A built - in barbecue with cabinets, a wine fridge and work surface mean you never have to feel separate from guests.

Not exact matches

«The benefit of lying on the bed versus the floor is that the bed is a squishier surface so it's less stable which means your abdominal muscles are going to work a little harder to keep you balanced during the movement,» says Smith.

Just as fresh atmospheric conditions mean that the ice surface must first be tested afresh to see if it can be judged as safe, so our knowledge and working conclusions must be continually re-tested in the light of fresh data to see if we may still trust ourselves to them.

If you have a wok, use it — its high sides mean additional surface area to brown up the tofu; if you don't have one, your largest skillet will work just fine.

But that's fine b / c its more surface area for cinnamon and sugar, and it means I need more practice with deep - frying:) I used peanut oil instead of canola, worked fine.

Interestingly, the team found that cosmic rays were at work deeper down below the surface — meaning at least some of the moon's water comes from outside the solar system.

Also, because optical fibres work in both directions, touching the surface reflects light back to the hidden display — meaning it acts as a touchscreen too.

Work ergonomics was evaluated by means of IRT and surface electromyography combined with a subjective assessment conducted by a neck disability index.

Then, the day before landing, engineers discovered that reverse thrusters, meant to keep Philae pinned to the surface after touchdown, were unlikely to work.

Tapping geothermal energy means facing the harsh realities of thermodynamics: Typically, geothermal electricity is generated when hot water or steam underground is piped to the surface to drive a turbine, usually through heating an intermediate working fluid that actually turns the turbine's blades.

A working group known as PALSEA2 (Paleo constraints on sea level rise) used past records of local change in sea level and converted them to a global mean sea level by predicting how the surface of the Earth deforms due to changes in ice - ocean loading of the crust, along with changes in gravitational attraction on the ocean surface.

For example, scientists can use these properties to synthesize membranes that have a high surface area, meaning they can do a lot of work, and with tiny, nanometer - sized, patterns.

UWLWIR is proportional to T ^ 4, (2) with emissivity constant, so the increase in UWLWIR, assuming that the global mean surface temperature is equal 288K, works out to delta U = (288.5 / 288) ^ 4 × 398 — 398 = 2.8 W / m ^ 2.

EVERETT, Wash. — For 13 months, Engineering Club students at Washington State University Everett have spent countless hours designing, building, testing and rebuilding a Mars rover meant to be able to work alongside human explorers on the surface of the Red Planet.

We do a lot of work on practitioners of yoga as a means of helping them deepen their practice, deal with yoga injuries, or long time injuries that have surfaced because of a heightened mind / body awareness from the practice.

«Strengthen, never disturb, so this means no stripping, sulfates, or harsh soaps, no vigorous treatments, nothing too alkaline, no over-drying ingredients like alcohol, no mechanical or surface aggression, and be aware not to use super-hot water,» advises Sue Nabi, founder of natural skin care line Orveda where the mantra is: works with your skin, not against it.

Yoga and Pilates practitioners find these balls a safe, reliable means to increase the effectiveness of their core strengthening routines because they are working on an unstable surface.

She's sickened by his womanizing ways, which naturally means that she just needs to look past them (and the out - of - work musician with boundary issues on the surface) to see a guy just looking for the perfect woman with whom to settle down.

Cubism and its multiple viewpoints show how Art has now returned to a wall and Braque and Picasso's work show how they have now fractured space and how the importance of creating an illusion of space on a 2D surface was not a priority but instead it was the overall meaning and idea that is important.

Pretty much all of the engineers who worked on the Odyssey have children and own Odysseys, meaning every single surface from the cupholders to the seatbelt fabric is carefully selected to hold up to the spills and thrills of parenthood.

As an added bonus, the way in which the technology works also makes e-paper displays reflective, which means that the light from the environment is reflected from the surface of the display towards the user's eyes, just as with traditional paper, with the display emitting no light itself.

Although your horse, at four years of age, sounds a little young to already be developing ringbone, being an off - track - Thoroughbred means he has worked hard and possibly over some concussive surfaces, two things that set horses up for this condition.

Hunter writes: «In the show, twelve recent, mostly large - scale, conventionally stretched works share fast - looking brush strokes; few visible layers of oil or acrylic; a graphic, flat appearance that emphasizes surface; and the impression — confirmed in the curatorial statement — that these paintings did not take long to make... The works in the exhibition raise the question, for me, of what it is that we value about painting right now — where we locate meaning and value in paintings made quickly.»

At times a kind of nostalgia bubbles to the surface, and while the works are not intended to be primarily autobiographical documents, each holds the indelible marks of the maker and the things that hold meaning for her.

In Truitt's work, color is not merely a decorative surface, but rather a bodily locus of meaning:» In some mysterious way, I felt myself to be color.»

The quiet restraint of these works is like a gentle exhale of breath between bursts of painterly energy and reveals how the phrase «Surface Work» can be mean very different things to different people.

1987 1987 Biennial Exhibition, Whitney Museum of American Art, New York (catalogue) Perverted by Language, Hillwood Art Gallery, Long Island University, Greenvale, NY (curated by Robert Nickas, catalogue) Reconstruct / Deconstruct, John Gibson Gallery, New York (curated by Robert Nickas, catalogue) Extreme Order: Cemin, Gober, Halley, Lemieux, Steinbach, Lia Rumma Gallery, Naples (curated by Collins & Milazzo, brochure) Primary Structures, Rhona Hoffman Gallery, Chicago (curated by Robert Nickas) Avant - Garde in the Eighties, Los Angeles County Museum of Art, Los Angeles (catalogue) Paint — Film, Bess Cutler Gallery, New York Post-Abstract Abstraction, The Aldrich Museum of Contemporary Art, Ridgefield, CT (curated by Eugene Schwartz, catalogue) NY Art Now: The Saatchi Collection, Saatchi Gallery, London (catalogue) Generations of Geometry, Whitney Museum of American Art at The Equitable Center, New York Similia / Dissimilia, Columbia University Art Gallery, New York; travelled to Sonnabend Gallery and Leo Castelli Gallery, New York; Städtische Kunsthalle, Düsseldorf, Germany (curated by Rainer Crone, catalogue) The Castle, documenta 8, Kassel, Germany (curated by Group Material) Reinhard Onnasch Galerie, Berlin (catalogue) Anti-Baudrillard, White Columns, New York (curated by Group Material) Recent Tendencies in Black and White, Sidney Janis Gallery, New York (curated by Jerry Saltz, catalogue) Terrae Motus, Grand Palais, Paris (catalogue) The Beauty of Circumstance, Josh Baer Gallery, New York (catalogue) New York Now, The Israel Museum, Jerusalem, Israel (catalogue) 1986 Admired Work, John Weber Gallery, New York Spiritual America, CEPA Galleries, Buffalo, NY (catalogue); travelled to Stavanger Faste Galleri, Stavanger, Norway (curated by Collins & Milazzo) New New York, Cleveland Center for Contemporary Art, OH Signs of Painting, Metro Pictures, New York, and Donald Young Gallery, Chicago Painting and Sculpture Today 1986, Indianapolis Museum of Art, Indianapolis, IN (catalogue) Paravision II, Margo Leavin Gallery, Los Angeles (curated by Collins & Milazzo) Political Geometries: on the Meaning of Alienation, Hunter College Art Gallery, New York (catalogue) Post Pop, Michael Kohn Gallery, Los Angeles Tableaux Abstraits, Villa Arson, Centre National d'Art Contemporain, Nice, France (catalogue) Europa / Amerika, Ludwig Köln Museum, Cologne, Germany (catalogue) End Game: Reference and Simulation in Recent Painting and Sculpture, Institute of Contemporary Art, Boston, MA (curated by David Joselit and Elisabeth Sussman, catalogue) Ashley Bickerton, Peter Halley, Jeff Koons, Meyer Vaisman, Sonnabend Gallery, New York The Hidden Surface, Middendorf Gallery, Washington, DC Geometry Now, Craig Cornelius Gallery, New York Surfboards, Michael Kohn Gallery, Los Angeles Art and Its Double: A New York Perspective (El arte y su doble), Centre Cultural de la Funcacio Caixa de Pensions, Madrid; travelled to Fundación Caja de Pensions, Barcelona (catalogue) Rooted Rhetoric, Castel Dell «Ovo, Naples (catalogue)

It's a striking work, not least because the translations are so inadequate at expressing the mystery and enchantment of the wordless symbols and drawings, which point to buried meaning - systems under the surface of our subconscious minds.

In the end, we have work that extends the inherent irony in painting: that surface meaning differs from deeper meaning.

Whereas HATCH Projects was the genesis for the works presented in this exhibition, Release Show derives its meanings and connections from the open - ended suggestions and unexpected, subtle comparisons that surface between the artists» styles and motifs.

Each artist's practice negotiates the nature of physical surface and conceptual process, connecting the surface appearance of the work with its meaning.

On the other hand, photographs which emphasize materiality, as much of Heinecken's work did, force the viewer to address not only the narrative subject but the means and matter comprising the photograph, its matte or glossy surface, its sharp or fuzzy or grainless texture, its relative size and shape, how it is put on the wall, if it's even on the wall.

She focused on their potential symbolic meanings by creating works that are formally rigorous and imposing in scale and materiality, and her human - scaled works are often handmade; the traces of her processes - welding marks, folds, stains, and scratches - are frequently left visible on the surface.

Working in a mixture of commercial house paint and alkyd medium to create a multi-layered surface, the artist combines bold color and grand scale, employing a geometry that obfuscates meaning even as it seems to describe the workings of a complex system.

Those who revile Koons often do so on the basis of his later works, like Balloon Dog (or, more recently, Balloon Venus of Willendorf), the production and sale values of which have soared while their meaning has seemingly become ever more surface - deep.

The work of 15 internationally renown contemporary African photographers juxtaposed with missionary photography presents a starting point to trace the prevailing stereotypes that percolate beneath the surface; thereby tackling the notion that — framing a culture from without the meaning of that culture becomes distorted.

Their artworks, which on the surface resemble works made of fiber, reflect the meaning in our current society based on computers.

By invoking the extreme mediation of experience and meaning, Brown's work provocatively calls into question the power of image, as well as the appeal of surface over the substance of cultural forms.

By intervening at various stages of the process, as well as with the finished sculptures, he rendered his highly worked surfaces sensitive to subtle illumination — effects that will be given new meaning by the mutable natural light in the Pulitzer's galleries.

The work echoes early conceptual artworks, such as Bruce Nauman's 1984 sketch work White Anger, Red Danger, Yellow Peril, Black Death, in which the artist seeks to bring to the surface the unconscious associations between a given colour and a meaning.

Works are organised based on the harmony and tension of opposing chromatic planes, combining symmetry and asymmetry as a means to give structure to the surface.

Behind their seductive, and painstakingly created, glittering, beaded surfaces, works such as Kitchen, Back Yard, and Trailer probed the hidden corners of American cultural values, using labor - intensive crafts as a metaphor for and a means to transcend the mundane and the squalid.

Since 2013 Glenn Brown has pursued drawing as an autonomous means of artistic expression, in graphic works whose surfaces are covered with an ensemble of marks and sinuous lines that interweave and reply to each other.

Artists Rebecca Ackroyd, Matt Ager, Jemma Egan, Ziggy Grudzinskas, Edgar — Walker, who also run the space and are curating the show, will be presenting works reflecting on depth and surface, dullness and shine, meaning and superficiality and the conditions that float around production and making.

Much like putting together the pieces of a puzzle, the works of art on view are visually coded with layers of meaning beneath the surface, enabling people to imagine and challenge their expectations.

The color is as blunt as the marking, and equally as revelatory since working into the entire surface wet at once, over the dry layer means she gives herself one chance to get the image she's after.

You can also work very thinly with transparent glazes or very thickly with a mountain of paint but the actual surface quality of the acrylic remains flexible, this means your painting won't crack over time.Thin coats of acrylic paint can be used to give a watercolour look to a picture.

Other works that vividly explore that tension — essentially, between endeavor and incapacity — include Carl Palazzolo's Tears of Things # 1 (2012), which conveys the frustrations of seeking order; Stephen Mueller's hard - edged, ambiguously kinetic Kalki (2010); Denyse Thomasos» Life (2009), which reflects the paradoxical chaos of contemporary sophistication; and Michael Goldberg's Earthstopper (2001), intimating that surface noise obscures deeper meaning.

«In Udomsak's earliest works, meaning slips and skitters across their smooth monochromatic surfaces or sinks between the pin pricks of light in a blanket of black.

I for one would like to see a follow up of the current work by Dr. Benestad that more clearly defines the means of «cause and effect» and how this is resulting in high surface temperatures.