Word: gleamingly
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Dates: during 1990-1999
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...most part, it's the truth. The lights are bright, the countertops gleam, and the "grille" serves food that is actually fresh--cooked right before your very eyes. Best of all, the new kitchen layouts eliminate messy pile-ups. There are no more Annenberg-esque elbowfests to get to the drink machines, and extra countertop space ensures that you can put down your tray as you move through each station without blocking the person behind you. The result is a steady flow of students from the entrance to the exit no matter how many people are present...
Susan Seacrest peers down into the huge gloom of well No. 2, which penetrates 90 ft. into the Platte Aquifer. As her eyes catch the gleam of water destined to salve the thirst of people in Lincoln, Neb., 20 miles away, she begins to jump up and down in the heat of a summer afternoon. "This is so cool!" she exults. "I get so excited when I'm around groundwater...
...still lives, Untitled (Beans) and Untitled (Sausage and Potatoes), Wols takes his subjects out of our world, while retaining their physical presence (the shine of an overboiled potato, the turgid undulations of a bean's matte surface) and signifiers of the setting (the rounded edge of a table, the gleam of a pan's lid). More alive than the subjects of his portraits, the beans commune and swarm, the potatoes and sausage hold a brief rapport. He destroys the world we know these objects from and conjures another in its place. The foodstuffs occupy a distinct and independent reality: familiar...
...lives, Untitled (Beans) and Untitled (Sausage and Potatoes), Wols takes his subjects out of our world, while retaining their physical presence (the shine of an over boiled potato, the turgid undulations of a bean's matte surface) and signifiers of the setting (the rounded edge of a table, the gleam of a pan's lid). More alive than the subjects of his portraits, the beans commune and swarm, the potatoes and sausage hold a brief rapport. He destroys the world we know these objects from and conjures another in its place. The foodstuffs occupy a distinct and independent reality: familiar...
...still lives, Untitled (Beans) and Untitled (Sausage and Potatoes), Wols takes his subjects out of our world, while retaining their physical presence (the shine of an overboiled potato, the turgid undulations of a bean's matte surface) and signifiers of the setting (the rounded edge of a table, the gleam of a pan's lid). More alive than the subjects of his portraits, the beans commune and swarm, the potatoes and sausage hold a brief rapport. He destroys the world we know these objects from and conjures another in its place. The foodstuffs occupy a distinct and independent reality: familiar...