Sentences with phrase «art history classes at»

Not exact matches

And my theology classes at Notre Dame have brought together everything that I have been drawn to in art, history, literature, current events, social justice, etc..

I'd taken at least five art history classes in college, but then I enrolled in one where I learned about the great women artists of the world.

The student starts the day at 6:15 a.m.; takes classes such as AP calculus, honors Spanish, biology and art history from 7:50 a.m. to 3 p.m. (breaking for a student council meeting at lunch); heads to a service club meeting after school; and then goes to a two - hour swim practice before heading home at 6:45 p.m. for a shower, dinner and three to four hours of homework.

He is teaching the fall quarter class with Taco Terpstra, assistant professor of classics and history at the Weinberg College of Arts and Sciences.

After two classes taught by Dr. Judith Bookbinder, I marched myself over to Devlin Hall at Boston College and met with Claude Cernuschi, head of the art history department, and said I was in.

In fashioning a tale that is at its core about the transcendental nature of art and craft, director Martin Scorsese has woven his own special class of delicate magic with Hugo, a fable that merges the adventures of a lonely orphan and the history of cinema with wondrous results.

They can be used for art classes, Geography looking at landscapes, glaciation and History of the people of Canada.

We are using it in our Junior Literature class this semester as a supplement to what is being done in the high school classes and preparing our younger students to attend a production of «A Midsummer Night's Dream» at Southside Enrichment for Language Arts and History, Homer Glen, Illinois.

She's part of a group of six teachers that brought an interdisciplinary approach to teaching Facing History's «Race and Membership» unit last year at Blackstone Academy Charter School in Pawtucket, Rhode Island.As part of the Innovative Schools Network, Blackstone Academy created a unit that takes all aspects of discussing race and integrated it into a cohesive series of lessons that combines history; English Language Arts (ELA); and biology cHistory's «Race and Membership» unit last year at Blackstone Academy Charter School in Pawtucket, Rhode Island.As part of the Innovative Schools Network, Blackstone Academy created a unit that takes all aspects of discussing race and integrated it into a cohesive series of lessons that combines history; English Language Arts (ELA); and biology chistory; English Language Arts (ELA); and biology classes.

In addition to her exhibition and curatorial history, Victoria has taught photography and design classes for the past 15 years at colleges including California College of the Arts, City College of San Francisco, Art Center College of Design and California State University, Fullerton.

Referred to as the «New School's Head of Class» by V Magazine, her exhibitions are regularly featured in the Top Ten art show to see, including Terence Koh's performance «Art History» in The New York Times and New York Magazine, the best show of the summer by The Huffington Post for «Contemporary Magic» at the Virginia MoCA, as well as placement in the top art / fashion crossover shows of the year by Italian Vogue for ART CAPSUL at the Palais de Tokyo, Parart show to see, including Terence Koh's performance «Art History» in The New York Times and New York Magazine, the best show of the summer by The Huffington Post for «Contemporary Magic» at the Virginia MoCA, as well as placement in the top art / fashion crossover shows of the year by Italian Vogue for ART CAPSUL at the Palais de Tokyo, Parart show to see, including Terence Koh's performance «Art History» in The New York Times and New York Magazine, the best show of the summer by The Huffington Post for «Contemporary Magic» at the Virginia MoCA, as well as placement in the top art / fashion crossover shows of the year by Italian Vogue for ART CAPSUL at the Palais de Tokyo, ParArt History» in The New York Times and New York Magazine, the best show of the summer by The Huffington Post for «Contemporary Magic» at the Virginia MoCA, as well as placement in the top art / fashion crossover shows of the year by Italian Vogue for ART CAPSUL at the Palais de Tokyo, ParArt History» in The New York Times and New York Magazine, the best show of the summer by The Huffington Post for «Contemporary Magic» at the Virginia MoCA, as well as placement in the top art / fashion crossover shows of the year by Italian Vogue for ART CAPSUL at the Palais de Tokyo, Parart / fashion crossover shows of the year by Italian Vogue for ART CAPSUL at the Palais de Tokyo, Parart / fashion crossover shows of the year by Italian Vogue for ART CAPSUL at the Palais de Tokyo, ParART CAPSUL at the Palais de Tokyo, ParART CAPSUL at the Palais de Tokyo, Paris.

When we were senior art history majors at Williams, the class was taken to a local collector's house.

For him, the search began with a college art history class, which in turn ushered in a newfound obsession with looking at and reading about art.

At this point, art history class would compare slides on two screens, so turn to others this spring with a similar impulse.

Having seen an earlier Sherman survey in 1991 — several years before making art or taking my first art - history class — I was struck by how much of her earlier work I instantly recognized when I saw this retrospective at its San Francisco Museum of Modern Art stop last yeart or taking my first art - history class — I was struck by how much of her earlier work I instantly recognized when I saw this retrospective at its San Francisco Museum of Modern Art stop last yeart - history class — I was struck by how much of her earlier work I instantly recognized when I saw this retrospective at its San Francisco Museum of Modern Art stop last yeArt stop last year.

In the 1950s, he studied philosophy and art history and took classes at the Art Students League in New Yoart history and took classes at the Art Students League in New YoArt Students League in New York.

Image: Prof. Tracy Cooper, Art History, lectured on Andrea Palladio's work in Venice for Kopta's class at San Giorgio Maggiore and the Chiesa del Redentore Read More

This exhibition was curated by eight undergraduate and graduate students enrolled in the Curatorial Practicum class at the University of Denver School of Art & Art History during Winter Quarter 2014.

With her father's encouragement, she took classes at the School of Journalism while nurturing a growing interest in art history.

Garabedian studied history at USC, and encouraged by his friend Ed Moses, he took art classes with Howard Warshaw, which led him to UCLA.

She graduated with first class honours from the University of Oxford in 2006, gaining master's degrees in both International Relations at the London School of Economics in 2007 and Art History at the Courtauld Institute of Art in 2009.

She took classes at the School of Journalism while nurturing a growing interest in art and art history.

He studied literature and art history at Yale University and later took fine art classes at The School of the Art Institute of Chicaart history at Yale University and later took fine art classes at The School of the Art Institute of Chicaart classes at The School of the Art Institute of ChicaArt Institute of Chicago.

I also think that the art history courses that I took at Providence, in particular contemporary art history classes led by Deborah Johnson, really helped me to expand my vocabulary and look at art and its context in a new way.

She was awarded a 1st class degree with honors for her BA in English Literature and History of Art at Birmingham University.

One of the most unique aspects of studying art history at an art school was that I was required to develop my own artistic practice through hours of drawing classes, performance art classes, photography studios, and so on, which allowed me a much more intimate understanding of the artistic process — but it was also important to be surrounded by other ambitious creators.

• A wealth of other programs at the League: intensive workshops; 12 - week, goal focused «sequential» classes; exhibition and public art opportunities; and free art history lectures, artist talks, and critiques.

2009 Beall, Dickson, SLAM for the holidays, West End World, 23 December Dawson, Jessica, Yinka Shonibare, skewing history with his images, The Washington Post, 20 November Judkis, Maura, Yinka Shonibare MBE: «As Artists, We are Liars», Washington City Paper, 13 November Geldard, Rebecca, Time Out, 6 November Lewis, Sarah, Yinka Shonibare: Brooklyn Museum, New York, Artforum, October Cole, Teju, Shonibare's fantasies of empowerment, 234 next.com, 10 July Hoffman, Barbara, Headless Bods, New York Post, 10 July Genocchio, Benjamin, The Rich Were Different (and Perhaps Still Are), The New York Times, 10 July Kazakine, Katya, Adam Smith, Ocelots Channel History in Artist's Textile World, Bloomberg.com, 8 July Lacayo, Richard, Decaptivating, TIME Magazine, 6 July Rosenberg, Karen, Fashions of a Postcolonial Provocateur, The New York Times, 3 July McLaughlin, Mike, Show blows away art world, The Brooklyn Paper, 2 July Olowu, Duro, Style.com/Vogue, July McCartney, Alison, Class, Culture and Identity in Party Time, NJ.com, 26 June Tambay, Defining Blackness Series, Shadow and Act, 21 June Sontag, Deborah, Challenging cultural stereotypes, International Herald Tribune, 19 June Sontag, Deborah, Headless Bodies from Bottomless Imagination, The New York Times, 17 June Bergman, Amerie, Yinka Shonibare MBE @ Museum of Contemporary Art, White Hot, June Later, Paul, Postcolonial Hybrid fuses art and politics, Flavor Pill, Summer How schoolchildren shaped the new Trafalgar Square plinth, The Times, 22 May Knight, Yinka Shonibare at Santa Barbara Museum of Art, Christopher, The LA Times 6 April Hunter, Alice, Encountering Excess, Art of England, Issue 56, April Jeno, Heather, Hip, British - Born Artist's Show Ushers in a New Era at SBMA, The Santa Barbara Independent, 31 March Pote, Mariana, Africhistory with his images, The Washington Post, 20 November Judkis, Maura, Yinka Shonibare MBE: «As Artists, We are Liars», Washington City Paper, 13 November Geldard, Rebecca, Time Out, 6 November Lewis, Sarah, Yinka Shonibare: Brooklyn Museum, New York, Artforum, October Cole, Teju, Shonibare's fantasies of empowerment, 234 next.com, 10 July Hoffman, Barbara, Headless Bods, New York Post, 10 July Genocchio, Benjamin, The Rich Were Different (and Perhaps Still Are), The New York Times, 10 July Kazakine, Katya, Adam Smith, Ocelots Channel History in Artist's Textile World, Bloomberg.com, 8 July Lacayo, Richard, Decaptivating, TIME Magazine, 6 July Rosenberg, Karen, Fashions of a Postcolonial Provocateur, The New York Times, 3 July McLaughlin, Mike, Show blows away art world, The Brooklyn Paper, 2 July Olowu, Duro, Style.com/Vogue, July McCartney, Alison, Class, Culture and Identity in Party Time, NJ.com, 26 June Tambay, Defining Blackness Series, Shadow and Act, 21 June Sontag, Deborah, Challenging cultural stereotypes, International Herald Tribune, 19 June Sontag, Deborah, Headless Bodies from Bottomless Imagination, The New York Times, 17 June Bergman, Amerie, Yinka Shonibare MBE @ Museum of Contemporary Art, White Hot, June Later, Paul, Postcolonial Hybrid fuses art and politics, Flavor Pill, Summer How schoolchildren shaped the new Trafalgar Square plinth, The Times, 22 May Knight, Yinka Shonibare at Santa Barbara Museum of Art, Christopher, The LA Times 6 April Hunter, Alice, Encountering Excess, Art of England, Issue 56, April Jeno, Heather, Hip, British - Born Artist's Show Ushers in a New Era at SBMA, The Santa Barbara Independent, 31 March Pote, Mariana, AfricHistory in Artist's Textile World, Bloomberg.com, 8 July Lacayo, Richard, Decaptivating, TIME Magazine, 6 July Rosenberg, Karen, Fashions of a Postcolonial Provocateur, The New York Times, 3 July McLaughlin, Mike, Show blows away art world, The Brooklyn Paper, 2 July Olowu, Duro, Style.com/Vogue, July McCartney, Alison, Class, Culture and Identity in Party Time, NJ.com, 26 June Tambay, Defining Blackness Series, Shadow and Act, 21 June Sontag, Deborah, Challenging cultural stereotypes, International Herald Tribune, 19 June Sontag, Deborah, Headless Bodies from Bottomless Imagination, The New York Times, 17 June Bergman, Amerie, Yinka Shonibare MBE @ Museum of Contemporary Art, White Hot, June Later, Paul, Postcolonial Hybrid fuses art and politics, Flavor Pill, Summer How schoolchildren shaped the new Trafalgar Square plinth, The Times, 22 May Knight, Yinka Shonibare at Santa Barbara Museum of Art, Christopher, The LA Times 6 April Hunter, Alice, Encountering Excess, Art of England, Issue 56, April Jeno, Heather, Hip, British - Born Artist's Show Ushers in a New Era at SBMA, The Santa Barbara Independent, 31 March Pote, Mariana, African Aart world, The Brooklyn Paper, 2 July Olowu, Duro, Style.com/Vogue, July McCartney, Alison, Class, Culture and Identity in Party Time, NJ.com, 26 June Tambay, Defining Blackness Series, Shadow and Act, 21 June Sontag, Deborah, Challenging cultural stereotypes, International Herald Tribune, 19 June Sontag, Deborah, Headless Bodies from Bottomless Imagination, The New York Times, 17 June Bergman, Amerie, Yinka Shonibare MBE @ Museum of Contemporary Art, White Hot, June Later, Paul, Postcolonial Hybrid fuses art and politics, Flavor Pill, Summer How schoolchildren shaped the new Trafalgar Square plinth, The Times, 22 May Knight, Yinka Shonibare at Santa Barbara Museum of Art, Christopher, The LA Times 6 April Hunter, Alice, Encountering Excess, Art of England, Issue 56, April Jeno, Heather, Hip, British - Born Artist's Show Ushers in a New Era at SBMA, The Santa Barbara Independent, 31 March Pote, Mariana, African AArt, White Hot, June Later, Paul, Postcolonial Hybrid fuses art and politics, Flavor Pill, Summer How schoolchildren shaped the new Trafalgar Square plinth, The Times, 22 May Knight, Yinka Shonibare at Santa Barbara Museum of Art, Christopher, The LA Times 6 April Hunter, Alice, Encountering Excess, Art of England, Issue 56, April Jeno, Heather, Hip, British - Born Artist's Show Ushers in a New Era at SBMA, The Santa Barbara Independent, 31 March Pote, Mariana, African Aart and politics, Flavor Pill, Summer How schoolchildren shaped the new Trafalgar Square plinth, The Times, 22 May Knight, Yinka Shonibare at Santa Barbara Museum of Art, Christopher, The LA Times 6 April Hunter, Alice, Encountering Excess, Art of England, Issue 56, April Jeno, Heather, Hip, British - Born Artist's Show Ushers in a New Era at SBMA, The Santa Barbara Independent, 31 March Pote, Mariana, African AArt, Christopher, The LA Times 6 April Hunter, Alice, Encountering Excess, Art of England, Issue 56, April Jeno, Heather, Hip, British - Born Artist's Show Ushers in a New Era at SBMA, The Santa Barbara Independent, 31 March Pote, Mariana, African AArt of England, Issue 56, April Jeno, Heather, Hip, British - Born Artist's Show Ushers in a New Era at SBMA, The Santa Barbara Independent, 31 March Pote, Mariana, African ArtArt?

For the exhibition Provincetown Prints: Then and Now, Art Teacher Ginny Ogden and students from her Printmaking II class attended a workshop at PAAM, which focused on the history of the white - line wood block — also known as the Provincetown Print, which was developed in Provincetown more than 100 years ago.

Art - history lessons during student years at Edinburgh College of Art, in particular Byzantine classes under David Talbot Rice, also influenced his concern for structure.

Nordland speaks about his birthplace and childhood home; parent's occupations; interests as a child; beginning interest in art history; first visits to the Los Angeles County Museum; relationship with Lincoln Kirstein; move to Yale; his book on Gaston Lachaise; attending the University of Southern California; meeting Man Ray; German sculpture; being drafted; first meeting with Richard Diebenkorn and working with Diebenkorn on a book; getting out of the Army; first paintings purchased; writing for «Frontier» magazine; the invitation to work at the Chouinard Art Institute; Institute teachers such as Richard Ruben, Robert Irwin, Don Graham; the founding of the California Institute of Arts (CalArts); classes and professors at CalArts; move to San Francisco in 1966; shows curated by Nordland on Gaston Lachaise, Fred Sommer, Peter Voulkos, Richard Diebenkorn, Burri, Caro, «African Art in Motion,» Fritz Gardner, Jack Jefferson, Ed Moses, Controversial Public Art; meeting and marrying Paula Prokopoff; and other job offerings from Florida, Georgia, and Californart history; first visits to the Los Angeles County Museum; relationship with Lincoln Kirstein; move to Yale; his book on Gaston Lachaise; attending the University of Southern California; meeting Man Ray; German sculpture; being drafted; first meeting with Richard Diebenkorn and working with Diebenkorn on a book; getting out of the Army; first paintings purchased; writing for «Frontier» magazine; the invitation to work at the Chouinard Art Institute; Institute teachers such as Richard Ruben, Robert Irwin, Don Graham; the founding of the California Institute of Arts (CalArts); classes and professors at CalArts; move to San Francisco in 1966; shows curated by Nordland on Gaston Lachaise, Fred Sommer, Peter Voulkos, Richard Diebenkorn, Burri, Caro, «African Art in Motion,» Fritz Gardner, Jack Jefferson, Ed Moses, Controversial Public Art; meeting and marrying Paula Prokopoff; and other job offerings from Florida, Georgia, and CalifornArt Institute; Institute teachers such as Richard Ruben, Robert Irwin, Don Graham; the founding of the California Institute of Arts (CalArts); classes and professors at CalArts; move to San Francisco in 1966; shows curated by Nordland on Gaston Lachaise, Fred Sommer, Peter Voulkos, Richard Diebenkorn, Burri, Caro, «African Art in Motion,» Fritz Gardner, Jack Jefferson, Ed Moses, Controversial Public Art; meeting and marrying Paula Prokopoff; and other job offerings from Florida, Georgia, and CalifornArt in Motion,» Fritz Gardner, Jack Jefferson, Ed Moses, Controversial Public Art; meeting and marrying Paula Prokopoff; and other job offerings from Florida, Georgia, and CalifornArt; meeting and marrying Paula Prokopoff; and other job offerings from Florida, Georgia, and California.

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 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 development.

Dr Cullinan was educated at the Courtauld Institute of Art, London, where he was awarded First Class Honours for his B.A. in History of Art, a distinction for his M.A. and where he also gained his PhD.

After studying literature and art history at Yale University and later taking classes at the Art Institute of Chicago, Oldenburg moved to New York and eventually became part of a group of artists challenging Abstract Expressionism by returning to «realism,» working with found objects and figurative imagart history at Yale University and later taking classes at the Art Institute of Chicago, Oldenburg moved to New York and eventually became part of a group of artists challenging Abstract Expressionism by returning to «realism,» working with found objects and figurative imagArt Institute of Chicago, Oldenburg moved to New York and eventually became part of a group of artists challenging Abstract Expressionism by returning to «realism,» working with found objects and figurative images.

Starting out with a background in fine art practice at University of the Arts London (UAL), Rosa studied under Griselda Pollock at the University of Leeds, gaining a BA with First Class Honours in Social and Critical Histories of Aart practice at University of the Arts London (UAL), Rosa studied under Griselda Pollock at the University of Leeds, gaining a BA with First Class Honours in Social and Critical Histories of ArtArt.

There, he supported himself with odd jobs and construction work while he devoured everything the brilliant Manhattan art world of the mid-sixties had to offer: lectures on art, books, exhibitions, the chance to meet the likes of Mark Rothko and Robert Motherwell — as well as formal art; history classes at New York University, where he earned a bachelor's degree.

In pursuit of this dream she read History of Art at Reading University and graduated with a First Class Honors degree.

In 1947 Hafif enrolled at Pomona College as a creative writing major while taking painting and art history classes.

(1) He won a scholarship while still in high school to Saturday art classes at the American Museum of Natural History in New York City.

He studied Photography at the Arts University Bournemouth, receiving First Class Honours before studying Art History at Goldsmiths College, University of London.

He continued taking art courses at Princeton University while studying for a degree in history, combining these classes with visits to New York art galleries, where he absorbed the aesthetics of leading modern artists such as Jackson Pollock (1912 - 56) and Franz Kline (1910 - 62), as well as Jasper Johns (b. 1930), whose geometric imagery of targets, flags and so on, was especially inspirational.

Kent herself took classes at Otis College of Art and Design, in Los Angeles, and earned a master's degree in art history from the University of Southern California in 19Art and Design, in Los Angeles, and earned a master's degree in art history from the University of Southern California in 19art history from the University of Southern California in 1951.

He taught the first art history class I ever took (at UMass Amherst), and it was one of the first classes he taught after graduating from Princeton.

Not about the kind of stuff that my students who are taking art history at the University, you know, they come back and they tell me how these classes are being taught and it all sounds so anti visual.

When I collected the pair from school I was assured by the eldest that while she'd snoozed in history and fallen down a flight of stairs or two she was having a second wind, so I dropped her at art class.