Sentences with phrase «teaching artists felt»

Teaching artists felt that their participation in LTA led them to change their teaching practice by trying new things with students, especially finding strategies to reach below average students.

Not exact matches

Brittny Congleton, Program Manager & Teaching Artist at Bubbles Academy is a sassy Southern gal from Midway, Kentucky, thrilled to be a part of Bubbles Academy — a place where she feels joyful, goofy and full of life!

I now feel confident that I can train our teaching artists in how to write curriculum that complies with state standards and how to do so myself when offering programs to schools.»

I'm a self taught artist, and have sold paintings and continue to, but i feel like I would be more confident in my work and be able to charge more for my art if I had some formal training behind me.

Guston briefly provides biographical information and spends the remainder of his time speaking of his experiences working on the Mural Project (PWAP) in Los Angeles; his move to New York working under Reginald Marsh as a non-relief artist; his multiple mural projects in New York (Penn Station Subway, Queensbridge Housing Project, WPA Mural for the World's Fair, etc.); his success in WPA Fine Arts competitions; his move to Woodstock, New York; his time spent teaching at the University of Iowa; his many influences (Renaissance, Modern and Abstract Painters); his personal / professional feelings about the WPA as well as his political feelings about it.

McKay and Louchhead, who were later to receive national recognition as members of the REGINA FIVE group of painters, saw the potential of the Emma Lake site and its facilities to offer summer workshops for practising artists as a means of breaking from the artistic isolation they felt in Regina, where both taught at the School of Art.

As a self - taught artist, I have approached my art with abandoned intuition and as my painting continues to evolve, it is still in pursuit of the same goal... to capture that feeling of mystery and awe that compels me to paint.

They felt the young self - taught artist's work was rich and intense, and that this radiated out from the booth.

In this interview Rauschenberg speaks of his role as a bridge from the Abstract Expressionists to the Pop artists; the relationship of affluence and art; his admiration for de Kooning, Jack Tworkov, and Franz Kline; the support he received from musicians Morton Feldman, John Cage, and Earl Brown; his goal to create work which serves as unbiased documentation of his observations; the irrational juxtaposition that makes up a city, and the importance of that element in his work; the facsimile quality of painting and consequent limitations; the influence of Albers» teaching and his resulting inability to do work focusing on pain, struggle, or torture; the «lifetime» of painting and the problems of time relative symbolism; his feelings on the possibility of truly simulating chance in his work; his use of intervals, and its possible relation to the influence of Cage; his attempt to show as much drama on the edges of a piece as in the dead center; his belief in the importance of being stylistically flexible throughout a career; his involvement with the Stadtlijk Museum; his loss of interest in sculpture; his belief in the mixing of technology and aesthetics; his interest in moving to the country and the prospect of working with water, wind, sun, rain, and flowers; Ad Reinhardt's remarks on his Egan Show; his discontinuation of silk screens; his illustrations for Life Magazine; his role as a non-political artist; his struggles with abstraction; his recent theater work «Map Room Two;» his white paintings; and his disapproval of value hierarchy in art.

Leidy Churchman: «The Meal of the Lion» Murray Guy 453 W. 17th St., through June 6 On a handful of occasions over 20 years of teaching, I've walked into a student's studio and had to catch my breath at the kind of raw, sheer talent I felt, at the same time thinking that since there's almost nothing I could say to this artist to improve his or her game, I fell almost instantly into listening as carefully as I could, learning things I never knew I needed to know until I was told them.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paartists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paArtists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paartists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

But at times, you feel that the exhibition is simply bouncing from one myth (that of the self - taught artist working in isolation) to another (of the South as a magical, fertile dreamscape).

After three months of educating ourselves on what is being made by recent graduates, current students, self taught artists and the more seasoned artists we felt confident to pick 8 South African artists to take with us on a year of international exhibitions.

Despite my myriad commitments — which included teaching a graduate seminar this fall; curating a show of a Santa Fe artist Allan Graham at Gallery Diet in Miami last month; preparing to celebrate the Miami Rail's one year anniversary, assisting our friends in the Twin Cities with launching the Third Rail this upcoming November; and actualizing all the usual Brooklyn Rail responsibilities — I accepted their invitation, largely because I feel it is an important opportunity for all of us to pay homage to artists whose works were damaged by Sandy.

Join artist Maria Hupfield as she teaches visitors how to design and hand - stitch personalized medallions using industrial felt worn on the body.

Albers's teaching at the Bauhaus, at Black Mountain College, and at Yale University, which included the training of the body to draw with feeling (inspired in many ways by Itten's teaching of the Preliminary Course), would have the most profoundly formative effect on generations of artists and architects.

All the artists are easy - going & make you feel as though you can achieve what they are teaching you.

as i am self taught artist i always felt like i needed to learn more.