Sentences with phrase «working in a closing room»

There are also regulations pertaining to disabled employees, whereby an employee who is disabled by having a severely compromised immune system can be entitled to reasonable accommodation, for example allowed to work in a closed room away from others (if the job is not a receptionist job).

Often in summer months he would park himself in the reception area opposite the glass walled closing rooms with vertical blinds that we had to close if working in a closing room.

Not exact matches

«The closing of these plants will do more to save lives than I could ever hope to achieve as a physician working in an emergency room.»

So if we want to work with him, we have to go in a separate room and make sure the door is closed.

I closed all the doors to the rooms that she could hide in (this worked for me cuz she doesn't know how to open the doors yet).

Best of all, it's designed for close spaces and a tighter fit in rooms that don't have a lot of extra floor space to work with.

The employer shall make reasonable efforts to provide the employee with the use of a room or other location, other than a toilet stall, in close proximity to the employee's work area, for the employee to express milk in private.

If you're at work, find a place you can escape (close your office door, use a conference room, even sit in your car) and set the alarm on your cell phone.

With a tall roof and open design there's plenty of room, and a working door that swings open and closed enables your child to get in and out by herself without trouble.

The Conservatives seem closer to potential partners the Lib Dems on several issues like the Assembly Rooms, increased neighbourhood working, and the style in which the council should be run.

«The air conditioner is working in this small room with the door closed, so we are speculating that there is a very high density of virus particles in the air.»

I always enjoy mixing patterns for a note of sophistication and complexity.The cheetah pillow is always part of this room but I love the way it works with the classic plaid blanket.A close up reveals the differing details on the silver piece embellishments.My makeshift «wreath» waiting to be hung.One of my very favorite pieces in my entire collection is the French trumeau mirror below.

I actually put up a curtain panel to close off this nook we have in our apartment and not only does it work really well, the detailed pattern brings life and texture to the adjacent room when its closed.

EA and Danger Close have stressed how closely they've worked with service members to ensure accuracy in the way that Rangers and Tier 1 personnel operate, and the manner in which in - game characters take down doors and move right and left while clearing rooms may be perfectly accurate.

She is at odds, as teenagers are, with her mother, a hard - working nurse, who's always reminding her how poor the family is and nagging at her to tidy her room, but they're still close and Marion is desperate for her daughter to stay in California.

Also, when you lock in your rate, create room to work with in case a closing delay occurs.

If you're leaving two or more dogs home alone with kibble dispensing toys, which require room to make the toy work, then I recommend keeping each dog in a separate room with closed doors.

I am working on becoming more comfortable in my kennel... my biggest fear is closed spaces, so the more room I have to move around the better!

I have a 5 year old female Chihuahua (Lola) and we just recently introduced an 8 week old male shih Tzu, (Dobby), for the most part Lola tries to ignore him, but Dobby is very playful and everytime he sees her he wants to play either by laying down and barking at her trying to get her attention or by getting close to her, Lola gets annoyed and growls and she has bitten him twice (not hard, no blood involved) we do have some limits for him as he is not allowed in any room other than the living room, during the day when we are at work, we put a crate up to create some separation.

The second situation was a Shiba Inu mix with separation anxiety, trapping itself in rooms, closing the door, and then scratching the door up if the owner leaves the house for work.

While we see the boarding pets ever day in the hospital, Dr. Hess keeps an eye on them at night, after hours, on her computer screen at home, via closed circuit infrared cameras that even work when the lights in the room are off.

If necessary, work in a small room with minimal distractions and the door closed.

I arrived well after Green Iguana was closed but he explained the GI package to me before putting it in my hands, carried my bag to my room and even showed me how to work the A / C!

Pros: Suite - style rooms with small kitchens made it great for the kids, free breakfast (which worked perfectly to grab yogurt, cereal or toast for the kids before going out for real breakfast), possibility to get adjoining rooms (we had two rooms, which was perfect for us — we slept in one and James and Elodie slept in the other), close to lots of food and coffee.

Criticism: no key for sliding door in room, curtains in bathroom can be replaced to look / work better, curtains in front of the sliding door doesn't close properly and it wasn't very clean there - in the corner - dust and cobwebs.

«I stayed at the Eergreen office and worked in the conference room on the Belize condo closing.

Entering the room the normal way via the door and going in to this stall, closing the curtain, and opening it again will not work.

It's a weird weird feeling to have worked on a project so close to my heart, so intensely in a little room, showed it to my close friends and family, gotten feedback from my coworkers, and then suddenly... yikes!

It could have been that two rooms were closed for renovation and the works in the first two rooms were large - format heavily saturated hues and each painting very similar to the next, so it wasn't much variety.

To celebrate the latest edition of her book, she suggested that England & Co host an exhibition with works by some of the artists who were habitués of the Colony Room from the late 1940s until the club closed in 2008.

This Guston, «Dark Room,» may be the closest to a pure black work in the show, with just this whitish blue light bulb illuminating the scene.

The AC Project Room closed in 2001 and Paul Bloodgood focused on his own work and teaching, and in 2002 received a MFA from the Maine College of Art.

The Colony Room finally closed its doors in 2008 and these are the last of the company's art works to be sold at auction.

Up on the second floor, Wang Gongxin's installation work, The Dialogue (1995), focuses viewers» attention on ripples of causality: Two light bulbs slowly see - saw into and out of a pool of ink, gently touching the surface so that the resulting waves in this dimly lit room are only visible at close range.

James Richards's wall - size film - and - audio work Radio at Night, 2015, shows faces and figures whose identities remain unknown: a pair of staring eyes in a close - up clip from a vintage science film about a nervous condition that makes the eyes rapidly twitch; a trio of surgically masked doctors beneath the glare of operating - room lamps; a group of happy revelers emerging from a masked ball.

Closer to home, Bartley's work is included in a group show at The Drawing Room.

Hoping to unify life and art by incorporating non-art into his work, this pioneer of installation art came closest to his ideal with his Merzbau, a room - size walk - in sculpture constructed of found materials.

Accompanying Chris Ofili: Weaving Magic, the artist's ambitious presentation of the tapestry within a specially conceived environment in the Sunley Room at the National Gallery, this publication tells the story of the work's evolution and documents the close collaboration between Ofili and master weavers who have interpreted his designs with astonishing nuance.

For this month's exhibition Public View and Photo Stroll, Frame and Reference visited Project Art Works «group show The Room and Everything in it at Dilston Grove, CGP London (14 Nov — 1 Dec 2013) just before it closed.

At the Stedelijk Museum, Wim Beeren had a series of enfilade galleries in which to present the artists» work, whereas the Kunsthalle Bern had large interlocking rooms — which meant that works by a number of different artists were shown in close proximity.

During the installation and sale, a watercolor studio in the project room will provide visitors with close - up access to McCarty at work...

Instead, there is ample room for visitors to view up close, from a distance, and completely around the major works in the exhibition.

Postcards From The Edge, Metro Pictures, New York, US New York / New Drawing 1946 - 2007, Museo de Arte Contemporáneo Esteban Vicente, Segovia, ES Monuments With A Horizon Line II, Buchmann Galerie, Berlin, DE Desenhos [Drawings]: A-Z, Museu da Cidade, Pavilhão Preto, Lisbon, PT The Porn Identity, Kunsthalle Wien, Vienna, AT A Bit of Matter And A Little Bit More, screening Performatik 09, Cultuurcentrum Strombeek and Performatik, Brussels, BE Regift, The Swiss Institute, New York, US Cut & Paste, Galleri Susanne Ottesen, Copenhagen, DK Down To Earth (Ceramics), Cultuurcentrum Strombeek, Grimbergen, BE Double 40 Jahre Kabinett für Aktuelle Kunst, Bremerhaven, MMK, Frankfurt, DE The First Stop on the Super Highway, Nam June Paik Art Center, Gyeonggi - do, KR Feedbackstage, Galerie Thomas Schulte, Berlin, DE Sharjah Biennial 9: Provisions For The Future (curated by Isabel Carlos), Sharjah Arts Museum, Sharjah, UAE Two in One Contemporary Art from Witte De With & De Appel, Christie's, Amsterdam, NL 40th Anniversary Benefit Exhibition, White Columns, New York, USA Écritures Silencieuses, curated by Herve Mikaeloff, L'Éspace Louis Vuitton, Paris, FR Carnival Within - An Exhibition Made in America, curated by Sabine Russ, Gregory Volk, Uferhallen, BE Espèces d'Espaces, Yvon Lambert, New York, US Take The Money And Run, Brouwergracht 196, Appel, Amsterdam, NL Double Participation, Museum für Moderne Kunst, Frankfurt / Main, DE Beginnings, Middles, And Ends (cur.Gianni Jetzer), Christine Koenig Galerie, Vienna, AT Dematerialised: Jack Wendler Gallery 1971 to 1974, curated by Teresa Gleadowe, Chelsea Space, London, UK Time As Matter, MACBA, Barcelona, ES 15 Years of Collecting Against the Grain, Kunstmuseum Wolfsburg, Wolfsburg, DE Artist Rooms Tate St Ives Summer Season, Tate St.Ives, UK Au Pied De La Lettre, Centre d'Art Contemporain, Chamarande, FR Art - Athina, Galerie Hubert Winter, Faliro Pavillion, Athens, GRSerralves 2009 The Collection: An Exhibition in Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrintin One Contemporary Art from Witte De With & De Appel, Christie's, Amsterdam, NL 40th Anniversary Benefit Exhibition, White Columns, New York, USA Écritures Silencieuses, curated by Herve Mikaeloff, L'Éspace Louis Vuitton, Paris, FR Carnival Within - An Exhibition Made in America, curated by Sabine Russ, Gregory Volk, Uferhallen, BE Espèces d'Espaces, Yvon Lambert, New York, US Take The Money And Run, Brouwergracht 196, Appel, Amsterdam, NL Double Participation, Museum für Moderne Kunst, Frankfurt / Main, DE Beginnings, Middles, And Ends (cur.Gianni Jetzer), Christine Koenig Galerie, Vienna, AT Dematerialised: Jack Wendler Gallery 1971 to 1974, curated by Teresa Gleadowe, Chelsea Space, London, UK Time As Matter, MACBA, Barcelona, ES 15 Years of Collecting Against the Grain, Kunstmuseum Wolfsburg, Wolfsburg, DE Artist Rooms Tate St Ives Summer Season, Tate St.Ives, UK Au Pied De La Lettre, Centre d'Art Contemporain, Chamarande, FR Art - Athina, Galerie Hubert Winter, Faliro Pavillion, Athens, GRSerralves 2009 The Collection: An Exhibition in Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrintin America, curated by Sabine Russ, Gregory Volk, Uferhallen, BE Espèces d'Espaces, Yvon Lambert, New York, US Take The Money And Run, Brouwergracht 196, Appel, Amsterdam, NL Double Participation, Museum für Moderne Kunst, Frankfurt / Main, DE Beginnings, Middles, And Ends (cur.Gianni Jetzer), Christine Koenig Galerie, Vienna, AT Dematerialised: Jack Wendler Gallery 1971 to 1974, curated by Teresa Gleadowe, Chelsea Space, London, UK Time As Matter, MACBA, Barcelona, ES 15 Years of Collecting Against the Grain, Kunstmuseum Wolfsburg, Wolfsburg, DE Artist Rooms Tate St Ives Summer Season, Tate St.Ives, UK Au Pied De La Lettre, Centre d'Art Contemporain, Chamarande, FR Art - Athina, Galerie Hubert Winter, Faliro Pavillion, Athens, GRSerralves 2009 The Collection: An Exhibition in Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrintin Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrintin the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrintin the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrintin the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory LabyrintIn & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrintin Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrinth.

In this conversation between artists and close friends Raed Yassin and Hrair Sarkissian, Sarkissian discusses his recent exhibition at the Mosaic Rooms in London, and recent evolutions in his work; to the artists» heritage, and the problem of the «name»; to identity and language, and its relationship to contemporary arIn this conversation between artists and close friends Raed Yassin and Hrair Sarkissian, Sarkissian discusses his recent exhibition at the Mosaic Rooms in London, and recent evolutions in his work; to the artists» heritage, and the problem of the «name»; to identity and language, and its relationship to contemporary arin London, and recent evolutions in his work; to the artists» heritage, and the problem of the «name»; to identity and language, and its relationship to contemporary arin his work; to the artists» heritage, and the problem of the «name»; to identity and language, and its relationship to contemporary art.

Curated by Saretto Cincinelli and open from 26th October 2012 to 13th January 2013, the exhibition is presented in close collaboration with the artist, who has selected works like Rocking Chair (2003), and The American Room (2009 — 2010).

The closest Saatchi gets to helping the works have a conversation is in the room in which Damien Hirst's Away From the Flock - the sheep in the tank - stands before a large Luc Tuymans painting depicting the bars of a birdcage.

Two huge photographs mounted on red tape hang side by side in the room creating an effortful focus forcing the viewer close to the works and manipulating the inspection of them.

In the noble tradition of ear twirling while we wait, Eli wonders what will leak out of the closed room where the Technical Summaries and Summary for Policymakers are being drafted and reconciled with the Working Group Reports for the Fourth Assessment Report.

«We called the Weather Bureau and found out what historically was the hottest day of the summer... So we scheduled the hearing that day, and bingo, it was the hottest day of record in Washington, or close to it... we went in the night before and opened all the windows... so that the air conditioning wasn't working inside the room.»

Throw in a cold basement (the deep ocean), an active kitchen and laundry room, some walk - in refridgerators, a few spare baths that generate clouds of steam, a maid that sometimes clears the messy laundry piles and dust from the heat vents, and we get closer to a working model.