Sentences with phrase «art historical understanding»

With a good range of images to illustrate different forms of perspective, the presentation is useful for generating discussion and improving art historical understanding.

Not exact matches

The AAC monograph, for instance, identifies nine «methods and processes, modes of access to understanding and judgment» (ICC 15) that it thinks are essential to know: logical analysis, verbal literacy, numerical understanding, historical awareness, scientific method, informed and responsible moral choice, art appreciation and experience, international and multicultural experiences, and study of one field in depth.

They introduce artists and artworks thematically and provoke a deeper formal and historical understanding of art.

demonstrate an understanding of how to manipulate art media to illustrate the creative writing appropriately and in a historical art style.

Grades 6 - 8 Lesson: A Character Life Box This language arts lesson offers a hands - on opportunity for students to understand characterization in literature and to connect historical and contemporary culture

- «The Philadelphia Inquirer» «Harsher, bleaker, and more mystical than» Seventh Son», this novel superbly demonstrates Card's solid historical research, keen understanding of religious experience, and, most of all, his mastery of the art of storytelling.»

The Philadelphia Inquirer Harsher, bleaker, and more mystical than Seventh Son, this novel superbly demonstrates Card's solid historical research, keen understanding of religious experience, and, most of all, his mastery of the art of storytelling.

-- The Philadelphia Inquirer «Harsher, bleaker, and more mystical than Seventh Son, this novel superbly demonstrates Card's solid historical research, keen understanding of religious experience, and, most of all, his mastery of the art of storytelling.»

«Harsher, bleaker, and more mystical than Seventh Son, this novel superbly demonstrates Card's solid historical research, keen understanding of religious experience, and, most of all, his mastery of the art of storytelling.»

Twisty Little Passages, for instance, defines the formal properties of interactive fiction within a historical context, which allows for an understanding of the evolution of interactive fiction as an art form.

DAVID ADJAYE, «Making Place: The Architecture of David Adjaye» @ The Art Institute of Chicago Chicago «Making Place» is the first comprehensive museum survey of global architect David Adjaye «s portfolio of more than 50 built projects, which includes the forthcoming National Museum of African American History and Culture on the National Mall in Washington, D.C.. His approach to design is unique: «Rather than advancing a signature architectural style, Adjaye's structures address local concerns and conditions through both a historical understanding of context and a global understanding of modernism.»

It's hard to imagine a professional art curator, with scholastic or historical intentions, ever being able to acquire the in - depth and intimate understanding of specific materials, visual sources or local scenes needed to produce shows like these, which is why artist - curated shows serve a vital purpose to even the most casual art viewer.

The biographical hook may bring visitors through the door, but will it help them connect the art - historical dots that lead to deep understanding?

Her understanding of art - historical narratives, tied to recognizable shapes and patterns, comes in and out of focus — canonical motifs distorted by more contemporary painterly gestures.

The images themselves, brought into conversation with one another, are a valuable and resonant resource, allowing not only a deeper understanding of art from the 1960s, but of the ongoing historical reality of race in the United States.

Presented in conjunction with CraftNOW — a citywide exhibition examining the fluid boundaries that exist around art, design and craft — this show considers how contemporary revivals of sewing, weaving and embroidery reflect the continuing feminist interest in historical technique and play a crucial role in helping these artists understand the past while addressing identity in the present and future.

Beth Finch, Lunder Curator of American Art at the Colby College Museum of Art, speaks about what Marsden Hartley's Maine can tell us about how we understand historical legacy and scholarship can shape the contemporary art worArt at the Colby College Museum of Art, speaks about what Marsden Hartley's Maine can tell us about how we understand historical legacy and scholarship can shape the contemporary art worArt, speaks about what Marsden Hartley's Maine can tell us about how we understand historical legacy and scholarship can shape the contemporary art worart world.

Art historical precedents including Robert Rauschenberg's monochrome White Paintings from 1951 and Robert Ryman's Minimalist experiments with white paint beginning in the 1960s, provide interesting counterpoints to understanding the range and function of white as a painterly medium.

The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College presents Sixfold Symmetry: Pattern in Art and Science, an exhibition of contemporary and historical art, artifacts, and material culture exploring the human desire to use and create pattern to understand the world around Art Gallery at Skidmore College presents Sixfold Symmetry: Pattern in Art and Science, an exhibition of contemporary and historical art, artifacts, and material culture exploring the human desire to use and create pattern to understand the world around Art and Science, an exhibition of contemporary and historical art, artifacts, and material culture exploring the human desire to use and create pattern to understand the world around art, artifacts, and material culture exploring the human desire to use and create pattern to understand the world around us.

We seek an artist with a broad knowledge of historical and contemporary art practices, as well as a thorough understanding of technical, critical, and theoretical issues of the media.

One of the most accomplished curators anywhere, Hans Ulrich Obrist has devoted his life to the pursuit of a categorical understanding of the artistic tendencies of his time, both in his role as what he calls an «exhibition - maker» and as a kind of human archive of art - historical knowledge.

Eric Fischl's art is grounded in his keen understanding of the historical language and the craft of painting.

A main feature of the MAM program is to explore the interplay between historical and contemporary art to enrich our understanding of the larger historical context in which art is created, presenting work that is both challenging and accessible.

Steinberg also questioned — most notably in his 1967 essay, «Objectivity and the Shrinking Self» — the art - historical pursuit of objectivity, portraying it as both an unattainable ideal and a limited means of understanding an artwork or concept anyway.

Investigating historical efforts at understanding physical phenomena associated with electricity, air movement and water properties have been at the core of his visual arts practice.

The collaboration will ensure a cohesive presentation of the artist's legacy to a global audience by mounting innovative exhibitions, promoting scholarly research, and producing publications that will advance a deepened understanding of the artist's contribution to the art historical canon.

Referencing both historical and contemporary uses of illusion, Knox challenges an understanding of special effects that relies on a linear conception of technological evolution, and incorporates devices that range from trompe l'oeil, proto - cinema and dioramas, to op art, video, cinema and computer games.

From the troves of Czech history of art to the overflowing shelves of his family home, the life and exploration of historical objects repeatedly surface throughout his practice, and the way in which these histories are accessed, understood, and abstracted are an enduring field of interest.

He pointed out that exhibitions are not collected nor have they been documented with the consistency and depth that historical research requires, leaving in obscurity the work and imagination of curators who absorbed the lore of their elders and informally passed on their accumulated expertise to the succeeding generation: Only by comprehending those genealogies can we understand how some objects rather than others entered into conventional art history.

This minor includes courses designed to familiarize students with graphic design principles, skills, and professional practices, as well as an Art History course intended to provide a historical and theoretical understanding of the field.

«Ultimately, the goal is to expand the understanding of the arts of Africa through landmark acquisitions and innovative exhibition strategies that link together historical, modern and contemporary African arts, and placing them in local, transnational, and global contexts.

In characteristic Museum of Modern Art style, they attempt to make the work understood within a particular genre, an art historical classification systArt style, they attempt to make the work understood within a particular genre, an art historical classification systart historical classification system.

It aims to challenge historical assumptions and biases about Indigenous art and enrich our understanding of American art.

This presentation of historical work — a first at the CAG — is intended to challenge the viewer's understanding of what a contemporary art space should show, building a bridge between image making techniques and endeavors of different eras.

Although my work doesn't look on the surface much like his, I think he taught me about using iconic signifiers and figures that I could project myself into for emotion and as an avatar in paint (like Scott McCloud describes in his amazing book, Understanding Comics, that we do as comic readers), and create figurative narrative allegories that hopefully resonate deeper than most political cartoons and relate to Goya and other art historical uses of politics and allegory as much as the imagery could relate to underground comics and contemporary worlds.

The exhibition reestablishes Marisol as a major figure in postwar American art, fosters a broader understanding of her work, and positions it within a larger historical context.

This was an Abstract Expressionism that was being fed in a different way than we were asked to understand by most art historians and in which the artist was imagined as always outside of time in order to make the historical past uniquely contemporary in their own work.

The J. Paul Getty Museum seeks to inspire curiosity about, and enjoyment and understanding of, the visual arts by collecting, conserving, exhibiting and interpreting works of art of outstanding quality and historical importance.

Each year Art Basel hosts its Conversations and Salon series of discussions and talks on a range of subjects, including the collection and exhibition of art, understanding art from a geographical and historical perspective, and timely topics concerning the contemporary art sceArt Basel hosts its Conversations and Salon series of discussions and talks on a range of subjects, including the collection and exhibition of art, understanding art from a geographical and historical perspective, and timely topics concerning the contemporary art sceart, understanding art from a geographical and historical perspective, and timely topics concerning the contemporary art sceart from a geographical and historical perspective, and timely topics concerning the contemporary art sceart scene.

Education: The Fine Arts Museums» School Programs enable students to make connections and develop an understanding of art in both creative and historical contexts.

It contributed a great deal to our historical understanding of the art of that time, how exhibitions themselves can influence artists and their works, and also how exhibitions can define art history.

The MCA is an innovative and compelling center of contemporary art where the public can experience the work and ideas of living artists, and understand the historical, social, and cultural context of the art of our time.

To understand how «modern art» began, a little historical background is useful.

The conversation has shifted, in the interim, to focus on resurgent modes of abstract painting, and with it comes greater understanding of Morris's paintings, which confidently toe the art - historical and the everyday, the «old school / new school,» of abstraction.

Kehinde Wiley revamps the tradition of classical portraiture, retroactively injecting black subjects into the art historical tradition, while Mickalene Thomas addresses understandings of womanhood, identity and desire with her bedazzled interior portraits.

The exhibition will thus be an important aid in our art historical and critical understanding of the influence of light as related to physical environment and object.

Creating a bridge between Marcel Duchamp's ready - mades and the Pop Art of Andy Warhol, Armleder's work shuffles the cards and brings both historical precedents to a new level of understanding.

With a core of historical material donated by C.R. Smith and Mari and James A. Michener, now supplemented by purchases, commissions, and generous gifts by donors such as Jeanne and Michael Klein and the Blanton family, the collection is rich in masterworks that show modern and contemporary art production at its most ambitious; experimental works that provide clues to artistic transitions; strong representative works that capture the essence of an artist's style; and uncommon works that enrich our understanding of the history as well as the current state of American art.

More than 40 works by Cruz - Diez ponctuate the exhibition, including historical pieces from the fifties and sixties, as well as more recent works and they permite us to understand the richness and complexity of the propositions of this collective adventure that is Concrete Art.

How does it help to understand or enjoy art to brutally strip it of historical context?