Sentences with phrase «year moving wall»

After seeing the effect of our efforts, the governing board decided to retreat to a policy of delayed open access to the articles (currently with a three - year moving wall), hoping to strike a balance between the cost - recovery needs of the journal and the long - term goal of reaching the widest possible audience for history scholarship.

For example, if the current year is 2008 and a journal has a 5 year moving wall, articles from the year 2002 are available.

We are pleased to announce that the American Association for the Advancement of Science (AAAS) and JSTOR have reached an agreement at the end of 2007 under which Science will continue to provide its content to JSTOR with a 5 - year moving wall and new participating organizations will receive Science legacy content as part of the Health & General Sciences collection.

For example, if the current year is 2008 and a journal has a 5 year moving wall, articles from the year 2002 are available.

Not exact matches

This year, the Wall Street bigwigs stuck to many lesser - known companies, but their picks — both bullish and bearish, with several investors recommending shorting stocks, or betting that their prices will fall — moved market prices in several cases.

After a particularly frustrating year, Dylan decided to abandon music and move to upstate New York; days after hitting the wall, he penned «Like a Rolling Stone.»

The Wall Street Journal reported that in the year ending July 1, census data shows the area had a net loss of almost 24,000 residents who moved into other parts of California or the US.

For a bill that took over 10 years to move beyond the walls of the Parliament, the preparation on - ground was one that couldn't boast of as it took a lot of time.

However, Wall Street also sees Immelt's move as a chance for redemption, after his departure from GE in the latter half of 2017 capped a rocky 16 - year run at the helm that saw the stock lose about 38 percent of its value.

In her 25 - plus years of covering Wall Street, Herera has provided viewers with a seasoned perspective on the major stories and issues moving the markets and groundbreaking interviews with leaders in politics and corporate America.

On the other side, there were enough positive indicators to keep a September tightening in play, even as Wall Street looks more seriously at the possibility of a Fed move in October or at the central bank's last meeting of the year, in December.

Though some big forecasting firms on Wall Street for months have been predicting a more aggressive Fed, traders thus far had been anticipating three moves this year — the increase already approved in March, plus two more, likely in June and September.

Some Wall Street economists had expected Wednesday's forecast to show the Fed increasing the number of rate hikes that would be needed in 2018 to four from three, while others felt a move higher in the dots would not come until later this year.

AT&T moved heavily and aggressively into the wireless communications business years ago, seeing the writing on the wall regarding the shift away from landlines.

Japan «hit the wall» after experiencing a similar stock market move from 1972 when the Nikkei 225 was trading about 2000 until the end of 1989 when it reached over 39,000 (18 % compounded / year).

In 1994 he missed the cut at the U.S. Open, and last year, despite having moved to America in large part to better prepare for the big events, he hit a wall.

Years of low - scoring games caused the Padres brass to make adjustments to the ballpark dimensions and, before the start of the 2012 season, the left - center field wall was moved in 12 feed and the right - center field wall was moved in 11 feet.

We are in real need to move in a new direction, but we'll opt to hit our heads against the same wall we've been trying to break for 10 years.

which is certainly not a slight on the young french national player; like him or not, Sanchez has provided some real world - class performances for club and country in recent years... if you do this move, you need to really clean house or face some serious consequences for the foreseeable future... half measures are rarely rewarded, that's how we got here... tear down the wall... we need to get rid of Giroud, not because he isn't a talented player, his skill - set simply doesn't make sense if we hope to maximize the offensive potential of a quick passing, one - touch scheme... we need to evolve, like Barcelona, who realized you needed to have clinical finishers or face a mind - numbing future of horizontal passes and largely ineffective crosses... Barca went and got Suarez, even though they had Messi and Neymar on the roster (just imagine the possibilities — another in the litany of Wenger «what ifs»)... we need to be as clinical in the boardroom as on the pitch... accept nothing less or move on... personally I would move on from Welbeck, Giroud and Walcott, even Ox if he isn't all in... I think the most intriguing player might be Perez, which runs counter to the thoughts in my head when he arrived late last summer... we need a deep lying DM with quick feet and long ball potential, midfielders who can counter quickly even when they are spread out and 4 or 5 players who know how to attack the lanes (kind of a cross between Barca, Dortmund and Monaco)... this is seriously an achievable goal, one that logically should have been achieved quite a few years ago... did no one in the Arsenal organization see the financial restructuring of the football universe... think of the players we could have had but we weren't willing to cough up the dough only for those individuals to have their value double or triple within a 12 to 24 month period... even if just from an investment perspective these «no deals» represent a failure of monumental proportions... only if you cared, of course

And the second - year driver made his displeasure known Sunday as he cut Hamlin no slack as they raced for position, including moving Hamlin up the track and into the frontstretch wall.

Wall's injury could have an effect on how he moved off the ball, but there has been film from previous years where he is doing similar things.

Three weeks ago, my six year - old daughter declared that she wanted to sleep in her room (the one with the purple walls and her clothes in it) and so we moved her bed into her room.

Note: In calculating the moving wall, the current year is not counted.

«I think people, once they hear the idea of a billion dollars a year in tax cuts only for millionaires, billionaires and Wall Street, that's not something that New Yorkers are going to want their lawmakers to move forward with,» Kink said.

Photo: blulaces / Flickr Vanessa Zettler moved to New York from Brazil about a year ago, and says she was among the first to find out that Occupy Wall... Read More

Cuomo used it to devastating effect during his four years as attorney general, stringing along major lobbyists, Wall Street executives and Eliot Spitzer until he deemed them sufficiently castigated to move along.

The former Eastern Bloc countries have been moving slowly onto the international stage since the fall of the Berlin Wall some 20 years ago.

The wall decals are such a fun addition to her room and my father in law actually measured and put them up for us when we moved in 2.5 years ago.

This year, I moved it to the bed wall.

When we moved into our home a couple of years ago, I was thrilled to finally have a space for a gallery wall, and my instinct was to use a lot of bright, vibrant art.

I actually DIY'd the Prada Marfa sign last year, but would love to have many more prints in our place as we just moved and our walls are bare!

Until the end of this year I'm moving to my place and I see so much stuff that I could use:) I love blue tiles on the walls and wooden dining table:) Best, Kasia Walkow

Moving walls are generally represented in years.

06.30.2015 - School - to - Work Student Receives All - Star Award 06.08.2015 - Career Center Students Earn Perfect Attendance Awards 06.04.2015 - Career Center Automotive Technology Students Succeed in Competitions 05.27.2015 - Students Beautify Burchfield Park in Holt 05.26.2015 - Career Center Offering Summer Camp Opportunities in Construction, Manufacturing 05.22.2015 - Career Center Programming Students Place in Top 10 at National Leadership Conference 05.18.2015 - Three CACC Students Awarded Michigan 2015 Breaking Traditions Awards 05.12.2015 - CACC Offering New Programs, Hosting Information Night Event 04.20.2015 - CACC Students Demonstrate Skills in Year - End Showcase 04.15.2015 - CACC National Technical Honor Society to Host Professional Clothing Drive 04.08.2015 - CACC Inducts First Wall - of - Fame Recipients and Awards Scholarships 04.08.2015 - CACC Health Occupations Students Earn Trip to State Leadership Conference 03.31.2015 - Ingham Intermediate School District Announces Board of Education Openings 03.18.2015 - CACC Students Stir Up Excitement at Michigan ProStart Competition 03.05.2015 - Ingham ISD Announces New Superintendent, Dr. Scott Koenigsknecht 03.02.2015 - CACC Programming Students Move on to State Competition 02.25.2015 - CACC Offering New Programs, Hosting Information Night Event 02.23.2015 - Ingham Intermediate School District Selects Finalists for Superintendent Position 02.16.2015 - Parent Advisory Committee to Hold Transition Fair 02.09.2015 - Candidates to Interview for Superintendent Role 01.15.2015 - Kogut Retires - Ingham ISD Superintendent Search Underway 09.19.2014 - Culinary Arts Program Ranked Amongst Top 50 in the Nation

So as you move to set the tone in your classroom with your unique decorations (and your other back to school ideas) this year, make sure that you consider what impact what's on the wall can really have.

At the end of the week, move the words to a word wall containing all target words for the unit or year.

But Reusche said she also could see the writing on the wall, with an administration moving to a more standardized model in the next year one that could include parts of Danielson's method.

Five years ago, we tore down every wall we could and moved the art team to the northern wall of windows, which meant they all needed space heaters under their desks.

The Wall Street Journal has reported that Chevrolet is ending production on the Sonic in the United States, possibly after the 2019 model year, citing declining sales, a competitive subcompact vehicle segment, and a move towards focusing on its more profitable brands.

After her junior year of high school Walls moved away from home to live in New York City with her older sister, Lori.

In 2005, when he was thirty - one years old, Aaron Siegel decided to leave his job on Wall Street and move back to his hometown.

Reading one of his early books, Minding Mr. Market: Ten Years on Wall Street With Grant's Interest Rate Observer, I gained perspective on the increasingly complex financial world that we were moving into.

Originally released last year for home computers, Tower of Guns has made the move to consoles, bringing a distinct spin on the first - person shooter to new audiences through a simple set - up on which several eccentric, fourth wall - breaking narratives are built.

Self - taught, and a relatively late émigré from what was then still the German Democratic Republic in 1980 — contemporaries such as Georg Baselitz and Gerhard Richter had moved west as early as 1957 and 1961, respectively (in Richter's case just before the Berlin Wall went up that year)-- Penck emerged at a tangent to the Western neo-avant-gardes even as he remained untouched by the traditional representational criteria taught by the East German academies.

2014 dis order — Pattern and Structure in the Collection, Museum Folkwang, Essen, Germany Post Pop: East Meets West, Saatchi Gallery, London Making Links: 25 Years, SCAI The Bathhouse, Tokyo Wall Works II, Hamburger Bahnhof Museum für Gegenwart, Berlin From Rauschenberg to Jeff Koons: The Ileana Sonnabend Collection, Ca'Pesaro International Gallery of Modern Art, Venice Checkmate: Depero / Halley, Galleria In Arco, Turin Urban Theater: New York Art in the 1980's, The Modern Art Museum of Fort Worth, Fort Worth, TX The Mysterious Device was Moving Forward, Longhouse Projects, New York Man in the Mirror, Vanhaerents Art Collection, Brussels 30 Years, Foundation Cartier pour l'art contemporain, Paris (collaboration with Alessandro Mendini) Speaking Through Paint: Hans Hoffmann's Legacy Today, Lori Bookstein Fine Art, New York 93: 20th Anniversary Exhibition, Centro Galego de Arte Contemporánea (CGAC), Santiago de Compostela, Spain

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.

Rauschenberg and Morris's connection through Judson Dance Theater and Surplus Dance Theater reached back to 1962, and the years 1966 to 1968 were decisive in Morris's evolution as both a writer and artist as he moved from his minimalist work to his permutations, felt, and thread waste pieces.33 LeWitt's first wall drawings were executed at the Paula Cooper Gallery, New York, in October 1968.

In New York City, aside from filling stations with mosaic art, the MTA's Arts & Design program commissions artists each year to design posters that hang next to advertisements in cars; the Poetry in Motion series also displays verses on their moving walls.

Ten years ago Katharina Grosse painted directly onto the walls, ceilings and floors of Magasin III, transforming the exhibition space into a painting that visitors could enter and within which they could move.

Following ten years of work primarily in painting, Posenenske moved from two dimensions into three with wall based works of industrially sprayed and colored aluminum that she titled «Sculptural Pictures.»