Sentences with phrase «art by a high school teacher»

Not exact matches

In an effort to determine our core competencies, we are asking whether it makes sense to have extracurricular activities, such as supplemental sports and art classes, taught by the school's teachers or contracted out to nonprofit groups who may offer these services at reduced prices and provide higher - quality services.

Seidel knew he had similarly reached other students, but by the time he departed eight years later after funding was cut, South Boston High School was left with one visual arts teacher for an urban school comprising about 900 stuSchool was left with one visual arts teacher for an urban school comprising about 900 stuschool comprising about 900 students.

This 27 page pack has been designed by a sculptor with 20 years of teaching experience for teachers who want to know more about sculpture and how to teach it as part of a broad Art and Design curriculum for Secondary / High School students.

Hawaii is currently experiencing teacher shortages in the areas of high - school mathematics, science, agriculture, and industrial arts, according to a report produced last year by the state department of education.

All Tes high school art and design resources have been created by teachers, for teachers and used in classrooms.

She is joined by two other State Teachers of the Year, Nikos Giannopoulos of Beacon Charter High School for the Arts in Rhode Island, and Abdul Wright of Best Academy a Harvest Network charter school in MinnSchool for the Arts in Rhode Island, and Abdul Wright of Best Academy a Harvest Network charter school in Minnschool in Minnesota.

Kali Palmer Eagle Ridge Academy Charter High School Teacher, Grades 9 - 12 «Ms. Palmer is our Drama / Theater teacher who goes above and beyond by providing opportunities for students to learn every aspect of the performinTeacher, Grades 9 - 12 «Ms. Palmer is our Drama / Theater teacher who goes above and beyond by providing opportunities for students to learn every aspect of the performinteacher who goes above and beyond by providing opportunities for students to learn every aspect of the performing arts.

Featured panelists: Stephanie Hirsh, Executive Director, Learning Forward Casey Olsen, High School Language Arts Teacher, National Writing Project Daniel Weisberg, CEO, TNTP Randi Weingarten, President, American Federation of Teachers Moderated By: John Merrow, President, Learning Matters; Education Correspondent for PBS NewsHour Panel: How can policy advance research - based best practices?

«By funding schools to partner with cultural organisations, the fund will enable teachers to gain access to high - quality CPD from artist - practitioners, and allow schools and arts organisations to work collaboratively in order to embed arts - based learning in the primary curriculum,» she said.

By Dylan Wiliam What Dance Teachers Know At Dreyfoos School of the Arts in West Palm Beach, a high school jazz dance class is in seSchool of the Arts in West Palm Beach, a high school jazz dance class is in seschool jazz dance class is in session.

The school district chose The Art and Science of Teaching by educational researcher Dr. Robert Marzano as its evaluation model, feeling that, as part of a fair and consistent evaluation process with specific feedback to improve skills, this provides the most feedback for teachers on effective instructional practices and outlining specific, high probability teaching strategies shown to lead to higher student achievement when implemented correctly.

In response to Colorado's new teacher evaluation system, a system plagued by ambiguity and fear, CEA funded our grant request to recruit NBCT and other master elementary, middle and high school teachers in Cherry Creek Schools, representing Social Studies, Language Arts, Math, Science, World Languages and ELL, to participate in a professional development activity centered on best practices and the new system.

HOT Schools teachers work collaboratively to structure interdisciplinary curricula that promote deep learning of subject matter, higher order thinking, creativity and teamwork by strategically linking learning in the arts to learning across the curriculum.

HOT School teachers work collaboratively to structure interdisciplinary curricula that promote deep learning of subject matter, higher order thinking, creativity and teamwork by strategically linking learning in the arts to learning across the curriculum.

Doug, according to Cardenas as expressed by the author,» the increase in the percentage of high school juniors identified as ready or on pace to be ready for college - level courses in English language arts could be due to a CSU initiative that has trained high school English teachers to prepare more students for college - level work.»

High - stakes tests are given only in math and English language arts, so reformers have decided that all teachers (and, sometimes, principals) in a school should be evaluated by reading and math scores.

The solutions would start with economically diverse housing options in all towns in CT, quality pre-natal care, quality pediatric care, high school courses on parenting, in - home parenting classes for teens, a robust curriculum rich in the arts, social sciences, science, math, and character education, lots of playtime in a safe literature rich environment for pre-schoolers, summer school and before and after school care provided by TFA or some other organization of young recent college graduates, small class size, teacher leaders instead of building administrators, and collaboration time built into the school day.

High teacher turnover, slow and unreliable Internet connections, and the loss of art and music programming are all serious issues, but the most significant barrier faced by many rural districts is the rapidly growing cost of transporting students to and from school.

In a junior high school setting (Sarroub et al, 1997a, 1997b), they found that the activities, which focused on building a consequential English language arts portfolio based upon new state standards, and the school - university collaboration itself influenced teacher learning and the evolution of roles played by the teachers in the effort.

Painting Through the Ages Wed Feb 4, 6:30 - 9:30 pm (a light dinner will be served) Facilitated by Molly Herman, Art Teacher, City and Country School Lauren Luloff, Joan Mitchell Foundation Artist - Teacher Jaffia Royes, Joan Mitchell Foundation Artist - Teacher In what ways is teaching painting to kindergarteners different from teaching it to high school stuSchool Lauren Luloff, Joan Mitchell Foundation Artist - Teacher Jaffia Royes, Joan Mitchell Foundation Artist - Teacher In what ways is teaching painting to kindergarteners different from teaching it to high school stuschool students?

Facilitated by: José Ortiz, Joan Mitchell Foundation Student Opportunities Support Program Manager Jeremy Nadel, Art and Media Studies Teacher at Sunset Park High School This workshop will is designed to help Artist - Teachers advise and support their students in documenting their artworks for portfolio purposes.

Organized in collaboration with Northern Berkshire high school art teachers and young artists, the Teen Invitational is an opportunity to showcase artwork created by students from seven regional high schools.

'' Join us for the unveiling of the landmark artwork, «Symphony in DC Major,» commissioned by City Market at O and created by renowned sculptor and third - generation Washingtonian, Zachary Oxman, The massive three - part sculpture, occupying an entire city block, pays tribute to Shaw's storied history, portraying prolific composer, jazz musician, and DC native Edward «Duke» Ellington; neighborhood namesake and abolitionist Union Army Colonel Robert Gould Shaw; and renowned American Expressionist painter and Shaw Junior High School art teacher, Alma Thomas.

Although a high school teacher had introduced him to the concept of abstraction, he found himself rebelling against the prevailing idea of «art for art's sake» put forth by Clement Greenberg and other proponents of Abstract Expressionism, focusing instead on spiritual, therapeutic, religious, and political motivations for his own practice.1

Students from Lou Dantzler High School were accompanied by their art teacher and were already well - versed in art techniques and terminology.

Designed by practicing artists, the Open Studio classroom activities aim to connect high school teachers and students with key ideas and issues in contemporary art.

As a middle school and high school art teacher, I've met hundreds of parents at open houses, and I am often struck by how many of them fondly remember their own art classes, even decades after graduating from high school.

Oppenheim speaks of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love of the arts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmarts, his father's feelings toward Russia, standing out in the community, his relationship with his older sister, attending Richmond High School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmHigh School, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of develoSchool, demographics of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmhigh school, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of develoschool, fitting in with the minority class in Richmond, prejudice and cultural dynamics of the 1950s, a lack of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmhigh school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of develoschool, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona of a good student, playing by the rules of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmhigh school, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of develoschool, attending California College of Arts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of developmArts and Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of develoschool, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of develoschool, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of develoschool, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of develoschool, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental of one's own work, critical dissent, impact of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations of objects, reading and writing, form and content, and phases of development.

Lamis then moved to New York where he enrolled at Teachers College at Columbia University and taught art at a high school in Locust Valley, Long Island, which was attended by the children of sculptor Richard Lippold.

The first art Ms. Schutz remembers seeing was by her mother, a junior high school art teacher whose Abstract Expressionist paintings of Lake Michigan hung on the walls of their home.

Encouraged by one of her teachers, Cheryl entered Houston's High School for the Performing and Visual Arts.

The works of: Joan L. Davidson (President of NYCATA / UFT and painter), Anu Androneth Sieunarine (curator of exhibitions and painter), Margarita Ballester (retired ESL teacher and Photographer), Lisa Kaplan (Middle school Art Teacher and fine artist — drawing), Jackie Cruz (Elementary school art Teacher and photographer), Erin - Marie Elman (Middle School Art teacher and painter), Joseph Zabar (retired art teacher and photographer), Laurence Sachs (ESL teacher and photographer), Albert Justiniano (High School art teacher, curator and painter) and Clare Stokolosa (retired art teacher and painter) were on display at the museum and were also a component of: «The Enigma of Portraits» gallery talk and studio workshop presented by Anu, Lisa and Erin -teacher and Photographer), Lisa Kaplan (Middle school Art Teacher and fine artist — drawing), Jackie Cruz (Elementary school art Teacher and photographer), Erin - Marie Elman (Middle School Art teacher and painter), Joseph Zabar (retired art teacher and photographer), Laurence Sachs (ESL teacher and photographer), Albert Justiniano (High School art teacher, curator and painter) and Clare Stokolosa (retired art teacher and painter) were on display at the museum and were also a component of: «The Enigma of Portraits» gallery talk and studio workshop presented by Anu, Lisa and Erin - school Art Teacher and fine artist — drawing), Jackie Cruz (Elementary school art Teacher and photographer), Erin - Marie Elman (Middle School Art teacher and painter), Joseph Zabar (retired art teacher and photographer), Laurence Sachs (ESL teacher and photographer), Albert Justiniano (High School art teacher, curator and painter) and Clare Stokolosa (retired art teacher and painter) were on display at the museum and were also a component of: «The Enigma of Portraits» gallery talk and studio workshop presented by Anu, Lisa and Erin - MarArt Teacher and fine artist — drawing), Jackie Cruz (Elementary school art Teacher and photographer), Erin - Marie Elman (Middle School Art teacher and painter), Joseph Zabar (retired art teacher and photographer), Laurence Sachs (ESL teacher and photographer), Albert Justiniano (High School art teacher, curator and painter) and Clare Stokolosa (retired art teacher and painter) were on display at the museum and were also a component of: «The Enigma of Portraits» gallery talk and studio workshop presented by Anu, Lisa and Erin -Teacher and fine artist — drawing), Jackie Cruz (Elementary school art Teacher and photographer), Erin - Marie Elman (Middle School Art teacher and painter), Joseph Zabar (retired art teacher and photographer), Laurence Sachs (ESL teacher and photographer), Albert Justiniano (High School art teacher, curator and painter) and Clare Stokolosa (retired art teacher and painter) were on display at the museum and were also a component of: «The Enigma of Portraits» gallery talk and studio workshop presented by Anu, Lisa and Erin - school art Teacher and photographer), Erin - Marie Elman (Middle School Art teacher and painter), Joseph Zabar (retired art teacher and photographer), Laurence Sachs (ESL teacher and photographer), Albert Justiniano (High School art teacher, curator and painter) and Clare Stokolosa (retired art teacher and painter) were on display at the museum and were also a component of: «The Enigma of Portraits» gallery talk and studio workshop presented by Anu, Lisa and Erin - Marart Teacher and photographer), Erin - Marie Elman (Middle School Art teacher and painter), Joseph Zabar (retired art teacher and photographer), Laurence Sachs (ESL teacher and photographer), Albert Justiniano (High School art teacher, curator and painter) and Clare Stokolosa (retired art teacher and painter) were on display at the museum and were also a component of: «The Enigma of Portraits» gallery talk and studio workshop presented by Anu, Lisa and Erin -Teacher and photographer), Erin - Marie Elman (Middle School Art teacher and painter), Joseph Zabar (retired art teacher and photographer), Laurence Sachs (ESL teacher and photographer), Albert Justiniano (High School art teacher, curator and painter) and Clare Stokolosa (retired art teacher and painter) were on display at the museum and were also a component of: «The Enigma of Portraits» gallery talk and studio workshop presented by Anu, Lisa and Erin - School Art teacher and painter), Joseph Zabar (retired art teacher and photographer), Laurence Sachs (ESL teacher and photographer), Albert Justiniano (High School art teacher, curator and painter) and Clare Stokolosa (retired art teacher and painter) were on display at the museum and were also a component of: «The Enigma of Portraits» gallery talk and studio workshop presented by Anu, Lisa and Erin - MarArt teacher and painter), Joseph Zabar (retired art teacher and photographer), Laurence Sachs (ESL teacher and photographer), Albert Justiniano (High School art teacher, curator and painter) and Clare Stokolosa (retired art teacher and painter) were on display at the museum and were also a component of: «The Enigma of Portraits» gallery talk and studio workshop presented by Anu, Lisa and Erin -teacher and painter), Joseph Zabar (retired art teacher and photographer), Laurence Sachs (ESL teacher and photographer), Albert Justiniano (High School art teacher, curator and painter) and Clare Stokolosa (retired art teacher and painter) were on display at the museum and were also a component of: «The Enigma of Portraits» gallery talk and studio workshop presented by Anu, Lisa and Erin - Marart teacher and photographer), Laurence Sachs (ESL teacher and photographer), Albert Justiniano (High School art teacher, curator and painter) and Clare Stokolosa (retired art teacher and painter) were on display at the museum and were also a component of: «The Enigma of Portraits» gallery talk and studio workshop presented by Anu, Lisa and Erin -teacher and photographer), Laurence Sachs (ESL teacher and photographer), Albert Justiniano (High School art teacher, curator and painter) and Clare Stokolosa (retired art teacher and painter) were on display at the museum and were also a component of: «The Enigma of Portraits» gallery talk and studio workshop presented by Anu, Lisa and Erin -teacher and photographer), Albert Justiniano (High School art teacher, curator and painter) and Clare Stokolosa (retired art teacher and painter) were on display at the museum and were also a component of: «The Enigma of Portraits» gallery talk and studio workshop presented by Anu, Lisa and Erin - School art teacher, curator and painter) and Clare Stokolosa (retired art teacher and painter) were on display at the museum and were also a component of: «The Enigma of Portraits» gallery talk and studio workshop presented by Anu, Lisa and Erin - Marart teacher, curator and painter) and Clare Stokolosa (retired art teacher and painter) were on display at the museum and were also a component of: «The Enigma of Portraits» gallery talk and studio workshop presented by Anu, Lisa and Erin -teacher, curator and painter) and Clare Stokolosa (retired art teacher and painter) were on display at the museum and were also a component of: «The Enigma of Portraits» gallery talk and studio workshop presented by Anu, Lisa and Erin - Marart teacher and painter) were on display at the museum and were also a component of: «The Enigma of Portraits» gallery talk and studio workshop presented by Anu, Lisa and Erin -teacher and painter) were on display at the museum and were also a component of: «The Enigma of Portraits» gallery talk and studio workshop presented by Anu, Lisa and Erin - Marie.

Encouraged by a high school teacher in Los Angeles, he attended that city's School of Art and Design for three school teacher in Los Angeles, he attended that city's School of Art and Design for three School of Art and Design for three years.

(In the ARCO Exhibits Building, 206 Prospect St.) «A Promising Future,» more than 130 works by Whatcom County high school students and art teachers.

Her interest in art was nurtured by an art teacher in high school.