Sentences with phrase «work with smaller objects»

Not exact matches

The sources said Pruitt's decision to put Greenwalt in charge of his international travel, which came just months into his tenure at EPA, fit a pattern of Pruitt assigning the most sensitive responsibilities to his small cadre of aides who had previously worked with him in Oklahoma before he became EPA administrator — aides who sources said were more likely to acquiesce to his demands, even as other EPA staffers objected to Pruitt's spending and travel decisions.

With the extra work on getting rid of the remaining germs, the chances of your child getting sick from those objects would be smaller than ever.

This, essentially, was the argument I had faced through three decades of work with Alex. He was not supposed to be able to name objects and categories, understand «bigger» and «smaller,» «same» and «different,» because his was a bird brain.

Some dogs from working lines may not be suitable for homes with small children due to the dog's intense desire to control moving objects.

California (Sacremento to be exact), native, Liz Larner presents a new body of work at Regen Projects in Los Angeles, but what is happily off - kilter about this bold, sculptural presentation, is that coupled with it viewers find a side gallery in which an earlier selection of notably smaller, object - based works acts as an unusual and telling counterpoint.

Alternating sculpture — the medium in which he develops a broader spectrum, ranging from small three - dimensional creations to large - sized installations and hybrid objects — with photography, drawing, and mural painting, Irazu's work addresses the problems that occur in the relationships established between our bodies, objects, images, and spaces.

It takes a while to enter into the obsessive concentration that suffuses these works, with their shifting textures, newsprint scraps and other small objects, all embalmed in cast metal.

Exhibitions during the anniversary celebration include Opener 29: Arturo Herrera, (June 6 — August 30, 2015), featuring new works from the Berlin - based artist's recent body of abstract paintings for which he selected small books from flea markets, manipulating and altering the found objects; Machine Project — The Platinum Collection (Live by Special Request), (September 19, 2015 — January 3, 2016), which will feature a series of interventions, performances, and happenings created for the Tang by Skidmore alumnus Mark Allen in collaboration with his Los Angeles - based collective Machine Project; and Alma Thomas: A Retrospective (February 6 — June 5, 2016), which will explore the work of this influential but sometimes - overlooked artist in the first museum survey of her work since 2001.

Named for a genre of North American folk art in which everyday utilitarian objects such as vases are coated with a claylike substance and then embedded with small objects including shells, beads and buttons, Kelley's Memory Ware series consists both of wall - hung works (known as Memory Ware Flats) and freestanding pieces.

Working with found objects to create little works of art by children, Little Artistas will be combining many small artworks into one giant work of art on the fence line of the San Francisco Chronicle parking lot using found and recycled objects.

In these small works there are bricks, bottles, and shoes flying around a barren landscape; engulfing waters in which figures are immersed; interiors with overstuffed chairs, dangling light bulbs, mirrors, and framed pictures; objects and books stacked up in piles; rolled - up compacted clusters of «stuff» extruding fingers and gun barrels; suns and balls on the horizon.

The works in The Valentine - Adelson Collection range from small discrete objects to room - scale installations and include many of the key works by this new generation of artists who are rapidly emerging with national and international recognition.

The show features works by Justin Aidan, Steven Parrino, and Blair Thurman, but what really caught my eye was a small sort of painting in the office — a rectangular object that had been smacked in the face, so to speak, by four gray pie tins filled with pigment, not whipped cream.

The second part concentrates on a small number of protagonists who essentially represent a specifically German aspect of Minimalism as an international trend in the 1960s with large - scale works, serial picture objects, and action - oriented work concepts.

The narratives that these new works create ask for quiet reflection on what might be considered the small pleasures of life, as they are made in proximity to our daily rituals in the moments where object - hood is more than just function or form, but rather an intimate relationship and exchange with ourselves.

He mixes more than one hundred works of art, movies, and music with a smaller amount of daily objects (the majority of artworks and figures in these artworks can be reassembled into a complete life too for they initially come from life) and places them into five situations.

Hundley's choice of found, often ephemeral objects embeds each work with sentimentality and personal meaning, but these small - scale details are at times suggestive of more universal imagery and ideas: mythology, forces of nature, and aerial views of vast and fantastic landscapes.

Other works include the cast silver wall sculpture Net II (1999) by Lynda Benglis that resembles a mass of tangled intestines; a new pen and ink drawing by Don Colley; Kiki Smith's Ginzer, an etching made from a post-mortem tracing of the artist's beloved cat; Mel Chin's seemingly innocuous sculpture The Elementary Object (1993) which is in fact a «pipe» bomb encased in steel (with padlock and key); and Joyce Treiman's small - scale watercolor depicting a decomposing skull adorned in Roman headgear.

Often working with every day and found materials such as fabric, glass, wood, metal and ceramics, the artist typically makes small to medium scale organic constructions that combine an almost «Beuysian» shamanistic or ritualistic use of materials with the formalism of early modernist sculptural objects.

The exhibition also present a wall with different works in various materials, such as: textiles, drawing, watercolor, relief and smaller jewelry - like objects in silver, which are all connected to «Slottet».

The Garden Gallery features small - scale objects and works on paper, with the lawns around the Underground Gallery framing a wonderful range of large - scale sculptures.

The work is poignant, a medical chair with stirrups and the traces of a female presence (jewellery on the side operating table), referencing the loss of life as small fish scurry by disrupting the objects inside.

Around it were arranged several discreet objects: a tool box, a drywall chair with Polaroids of Jason working on the garage in his L.A. studio, a cardboard «rabbit hutch,» and a small model of the garage itself.

After spending more than two years immersed in the willfully destructive subculture of the American demolition derby, which she documented in her previous work «Thrill Show» and «Anyone Can Enter,» photographer Susan Mikula was eager to «tell a smaller tale, one infused with the magic of just a few objects.»

2017 Builders, Circuit 12, Dallas, TX Fantastic Facade, LVL3, Chicago, IL Deconstructed, Terrault Contemporary, Baltimore, MD 2016 Helter Skelter, Launch F18, New York, NY Water Work, Soho House curated by Patrick Muhundro and Andrea Bergart, New York, NY Transaction, Knockdown Center curated by Elijah Wheat Showroom, Queens, NY Knife Hits, Spring / Break Art Show, New York, NY Faulted Valley Fog, Transmitter, Brooklyn, NY Painting Reassembled, SUNY Westchester Community College curated by Erika Mahr, Westchester, NY 2015 Surface Matters, Knockdown Center curated by Holly Shen and Sam Katz, Queens, NY Handmade Abstract, BRIC, Brooklyn, NY Object» hood, Lesley Heller Workspace curated by Inna Babaeva and Gelah Penn, New York, NY 2014 Ultra Deep Field, Rockford University Art Gallery, Rockford, IL Site Lab, Old Morton Hotel, Grand Rapids, MI BRIC Biennial, BRIC Arts in partnership with LIU University, Brooklyn, NY Insider Joke, Hockney Gallery, Royal College of Art, London, UK 2013 Rushgrove House, Rushgrove House in conjunction with the Royal College of Art, London, UK Limber: Spatial Painting Practices, Herbert Read Gallery, Canterbury UK and the Grandes Galleries de L'Erba, Rouen, France Material, Storefront Bushwick, curated by Liz Dimmitt, Brooklyn, NY Middle Zone, Projekt 722, curated by Corydon Cowansage, Brooklyn, NY No Longer Preseidents But Prophets, Delicious Spectacle, Washington DC Inside Voices, Parallel Art Space, Brooklyn, NY Contemporary Drawing Today, Fort Worth Drawing Center, Fort Worth, TX Paint Things, DeCordova Museum and Sculpture Park, Lincoln, MA 2012 Bleach Blue, FJORD Gallery, Philadelphia, PA Primary, Nudashank, Baltimore, MD Masculinisms, Garden Party / ARTS, Brooklyn, NY Rockford Midwestern Biennial, Rockford Art Museum, Rockford, IL Fakin It, Meyer Gallery, University of Cincinnati, OH 2011 Living Arrangements, PLUG Projects, Kansas City, MO Off the Wall, Visceglia Gallery at Caldwell College, Caldwell, NJ Small Crowd, Mixed Greens, New York, NY Out of Practice, Art Blog Art Blog curated by Nudashank, New York, NY RISD Graduate Thesis Exhibition, Rhode Island Convention Center, Providence, RI New Insights, Art Chicago with NEXT cuarted by Suzanne Ghetz, Renaissance Society, Chicago, IL 2010 Interriuer / Exterieur, Dubois Galerie, Pont - Aven School of Contemporary Art, France Boston Young Contemporaries, 808 Gallery, Boston University Totemic, The Gelman Gallery, RISD Museum, Providence, RI

Reviewing the latter exhibition in Artforum's October 2003 issue, art historian Michael Lobel noted that «the large scale of much of Rosenquist's work was initially intended to offer the viewer some critical perspective on commercial imagery by calling attention to its numbing blankness,» and that «the hallmarks of Rosenquist's mature style — the slick rendering, the vibrant Pop colors, the sustained attention to the surfaces of commodity objects ---- are brought together to imbue [his smaller] works with an uncanny psychological resonance.»

Some sculptures in which small simulated street signs are joined by metal brackets along with found objects to create Cubistically jumbled wall works are not as visually snappy as the «Pie Charts,» but they could lead to more expansive formal and conceptual discoveries.

A recent exhibition of her text - based work at Participant in Chelsea, scheduled to coincide with the publication of her novel «Double Standard,» revealed a no less challenging aspect of her art, and one that is further explored at Schroeder Romero in a small display of the artists's notebooks and sculptural objects.

My most recent encounter with his works was during his two simultaneous exhibits: Works: 1968 — 1977 (Petzel, March 2 — April 29) consisting of the artist's early unstretched, pieced - together canvases and paper works made of unconventional materials in serial forms; and Lost Objects (curated by Piper Marshall at Mary Boone Gallery, March 4 — April 29), which features his installation of a smaller reconfiguration of 240 of the 750 cast concrete bone replicas from the fossil collection of the Carnegie Museum of Natural History (1991) along with a cooperative video work May I Helpworks was during his two simultaneous exhibits: Works: 1968 — 1977 (Petzel, March 2 — April 29) consisting of the artist's early unstretched, pieced - together canvases and paper works made of unconventional materials in serial forms; and Lost Objects (curated by Piper Marshall at Mary Boone Gallery, March 4 — April 29), which features his installation of a smaller reconfiguration of 240 of the 750 cast concrete bone replicas from the fossil collection of the Carnegie Museum of Natural History (1991) along with a cooperative video work May I HelpWorks: 1968 — 1977 (Petzel, March 2 — April 29) consisting of the artist's early unstretched, pieced - together canvases and paper works made of unconventional materials in serial forms; and Lost Objects (curated by Piper Marshall at Mary Boone Gallery, March 4 — April 29), which features his installation of a smaller reconfiguration of 240 of the 750 cast concrete bone replicas from the fossil collection of the Carnegie Museum of Natural History (1991) along with a cooperative video work May I Helpworks made of unconventional materials in serial forms; and Lost Objects (curated by Piper Marshall at Mary Boone Gallery, March 4 — April 29), which features his installation of a smaller reconfiguration of 240 of the 750 cast concrete bone replicas from the fossil collection of the Carnegie Museum of Natural History (1991) along with a cooperative video work May I Help You?

However, the Portrait mode works well even with small objects, which is a struggle for most phones.

Required Qualifications * Must be at least 16 years of age * Licensure requirements vary by state * Attention and Focus o The ability to concentrate on a task over a period of time without being distracted * Customer Service Orientation o Actively look for ways to help people, and do so in a friendly manner o Notice and understand customers» reactions, and respond appropriately * Communication Skills o Use and understand verbal and written communication to interact with customers and colleagues o Actively listening by giving full attention to what others are saying, taking time to understand the points being made, asking questions as appropriate, and not interrupting at inappropriate times * Mathematical Reasoning o The ability to use math to solve a problem, such as calculating day's supply of a prescription * Problem Resolution o Is able to judge when something is wrong or is likely to go wrong; recognizing there is a problem o Choosing the best course of action when faced with a complex situation with several available options PHYSICAL DEMANDS: * Remaining upright on the feet, particularly for sustained periods of time * Moving about on foot to accomplish tasks, particularly for moving from one work area to another * Picking, pinching, typing or otherwise working primarily with fingers rather than whole hand or arm * Extending hand (s) and arm (s) in any direction * Bending body downward and forward by bending spine at the waist * Stooping to a considerable degree and requiring full use of the lower extremities and back muscles * Expressing or exchanging ideas by means of spoken word; those activities where detailed or important spoken instructions must be conveyed accurately * Perceiving the nature of sounds at normal speaking levels with or without correction, and having the ability to receive detailed information through oral communication * Visual Acuity: o The worker is required to have close visual acuity to perform activities such as: transcribing, viewing a computer terminal, reading, visual inspection involving small parts * Occasional lifting of up to 30 lbs; exerting up to 30 lbs of force occasionally and / or up to 10 lbs of force frequently, and / or a negligible amount of force constantly to move objects Preferred Qualifications * Previous experience in a pharmacy, retail, medical, or customer service setting * Previous experience as a Pharmacy Technician * PTCB National Certification Education * High School diploma or equivalent (preferred) Business Overview CVS Health, through our unmatched breadth of service offerings, is transforming the delivery of health care services in the U.S..

SUMMARY OF QUALIFICATIONS Physical Abilities: Able to work in small confined spaces, use ladder or cantilevered platform in environment that require lifting and carrying objects, rotating head and neck, twisting and bending at waist, walking, standing, flexion / extension, contact with liquid lubricant, solvents, exposure to noise, fumes and noxious odors, and the use of personal safety gear.

A small console with art above it can double as an extra work surface or a display space for favorite objects.