Sentences with phrase «art school background»

What happened, at least for me, is that when I first started painting I would see Pollock, de Kooning, and the one thing they all had that I didn't have was an art school background.

«Partly I think it was because, unlike Krasner, she was not married to a famous artist; her husband, Maurice Berezov (1902 - 1989), was a talented photographer who documented the Abstract Expressionist circle and parlayed his art school background into a Madison Avenue advertising job.

Not exact matches

Using his arts background — he has a master's degree in sculpture from the School of the Art Institute of Chicago — Bello designed every inch of the stylish 450 - square - foot space.

Their art - school background ended up being an asset that helped set them apart from competitors (better user interface), along with a perfect wave of external factors including timing, price, and a shift in consumer preferences towards artisanal experiences.

Touting an extensive educational background, Ms. Lowe received a B.A. in visual and critical studies from the School of the Art Institute of Chicago and continued her education at New York University, where she earned a M.A. in food studies.

They told me about their artistic backgrounds — Perez - Gallardo studied studio art at Bard, and Black studied painting at the Rhode Island School of Design.

Martin's educational background includes a Bachelor's Degree from Amherst College, a Master's of Science in Teaching from the New School, and an Associate's Degree in Culinary Arts from the Culinary Institute of America.

Founded in 1957, the Old Town School of Folk Music provides a wide range of music, dance, theater, and visual arts classes for all ages, abilities, and backgrounds.

Full name: Julie Hwang Age: 33 Location: New York City, NY Current title / company: Founder and Owner of Big City Little Sweets Educational background: Bachelor of Arts from UCLA, J.D. from Brooklyn Law School Previous job: Litigation Associate

Full Name: Britt Bass Turner Age: 25 Educational background: University of Georgia, Lamar Dodd School of Art, B.F.A. Current title / company: Britt Bass Turner, Owner

If you're in need of some background information, Super Troopers was the creation of a comedy team who met at a prestigious liberal arts school in New York.

Includes: * Background articles and policies * Creativity in the classroom * The role of Art Therapy in SEN * Community Arts * Disabled Identity * FE and HE Art schools * Further Reading.

With a background in the sociology of the arts, Cavallo came to the Ed School as a non-traditional educator.

The newly minted secretary of education is pushing for schools to take advantage of the Every Student Succeeds Act (ESSA) to give every child the kind of broad background «that engages and intrigues kids, allowing them to discover interests in the arts and the sciences and world languages and so much else.»

Calling the institute a «favorite week» in her professional career, Victoria Normington Pound, a middle school English Language Arts teacher from Irvine, Calif., noted that Fischer and Todd Rose cultivated a respectful learning connection from the start by kicking off the institute with a discussion of the diverse backgrounds of the participants..

«The arts are a key component of the broad and balanced education we expect all pupils to receive and this government has invested millions in arts projects, including schemes to help talented musicians and dancers from all backgrounds attend world - class institutions like the Royal Ballet School.»

Students arrive at New Mexico School for the Arts (NMSA)-- a Title I, dual academic and arts high school — from varying academic backgrounds and skill lSchool for the Arts (NMSA)-- a Title I, dual academic and arts high school — from varying academic backgrounds and skill levArts (NMSA)-- a Title I, dual academic and arts high school — from varying academic backgrounds and skill levarts high school — from varying academic backgrounds and skill lschool — from varying academic backgrounds and skill levels.

After scores on the 2014 New York State English language arts assessment at P.S. 52 Sheepshead Bay School in Brooklyn were unsatisfactory, first - year principal Rafael Alvarez searched for a way to improve academic outcomes for his students, who come from diverse socioeconomic backgrounds and about a quarter of whom are English language learners.

Starting a new music program is quite an undertaking, especially for a school principal who does not have a music or arts education background.

Educational background includes a high school diploma from Columbus High School, Columbus, MS; a B.S. in Communication with a Minor in Psychology from Mississippi University for Women (MUW) in Columbus, MS; a Master of Information Systems (MIS) degree from University of Phoenix; a Master of Arts in Teaching (MAT) degree from MUW - Columbus, MS; and a 2014 graduate of Jacksonville State University (Jacksonville, AL) with an Educational Specialist (Ed.S) degree in Teacher Leadeschool diploma from Columbus High School, Columbus, MS; a B.S. in Communication with a Minor in Psychology from Mississippi University for Women (MUW) in Columbus, MS; a Master of Information Systems (MIS) degree from University of Phoenix; a Master of Arts in Teaching (MAT) degree from MUW - Columbus, MS; and a 2014 graduate of Jacksonville State University (Jacksonville, AL) with an Educational Specialist (Ed.S) degree in Teacher LeadeSchool, Columbus, MS; a B.S. in Communication with a Minor in Psychology from Mississippi University for Women (MUW) in Columbus, MS; a Master of Information Systems (MIS) degree from University of Phoenix; a Master of Arts in Teaching (MAT) degree from MUW - Columbus, MS; and a 2014 graduate of Jacksonville State University (Jacksonville, AL) with an Educational Specialist (Ed.S) degree in Teacher Leadership.

His educational background includes teaching math, English language arts and social studies in district schools and public charter schools.

Most arts councils, schools, and school systems will want to run a felony background check on you.

A spokesperson for the DfE said the schemes «help the most talented young actors, dancers and musicians attend specialist schools» and are worthy of investment «because a child's background should be no barrier to pursuing a career in the performing arts».

More school funding is needing to make sure that «the arts are accessible to every young person, whatever their background».

«A multimillion pound investment in music and arts education will help hundreds of thousands of young people from all backgrounds enjoy potentially life changing cultural activities, Schools Minister Nick Gibb announced today (18 November 2016).

Your educational background — some artists are self taught, some went to big time art schools, most are somewhere in between.

I think I am viewed first and foremost as an outspoken person of color, and then as a person who is something of an interloper in the world of art, since I did not go to art school, and I write criticism and have an academic background,» Fusco writes in ARTnews

Diebenkorn speaks of his family background and early life; his education and his service in the Marine Corps; his introduction to modernism; his early abstract work; the formation of the Bay Area figurative school and the relationship between art in New York and in the Bay Area; teaching; critical and public reaction to his work; important exhibitions of his work; vacillating between the figurative and the abstract in his painting; his working methods.

The Pattern and Decoration movement consisted of artists, many of whom had art education backgrounds, who had been involved with the abstract schools of art of the 1960s.

«The exhibition John Graham: Maverick Modernist at the Parrish Art Museum in Water Mill, Long Island, is a unique opportunity to explore the work of an artist who has hovered on the margins of the Modernist narrative for more than a half - century, when he isn't forgotten altogether... Maverick Modernist takes a deep dive into Graham's background as an artist, a career he began in earnest when, at the age of 35, he enrolled in the class of the Ashcan School painter John Sloan at the Art Students League in New York City.»

Providing arts - in - education services to New York City public schools, Marquis Studios works with students of all abilities and backgrounds to encourage exploration of visual arts, theater, music, architecture, dance, and other disciplines.

«Jane South has an impressive background in combining her leadership experience of Fine Arts programs in the US and Europe with her experience as a practicing artist whose work cuts across disciplines and reflects the intersectional nature of contemporary arts practice,» said Gerry Snyder, dean of the School of Arts programs in the US and Europe with her experience as a practicing artist whose work cuts across disciplines and reflects the intersectional nature of contemporary arts practice,» said Gerry Snyder, dean of the School of arts practice,» said Gerry Snyder, dean of the School of Art.

Rejecting several scholarships from art schools, he chose to study art history at Columbia University in New York, under the famous Meyer Shapiro who gave him a solid background in theory and humanities through latest trends and contemporary approaches.

Every dollar raised through Legends strengthens the student body by increasing the scholarship endowment - allowing the most qualified students an opportunity to attend one of the world's foremost schools of art, design, and architecture, regardless of their financial background.

In a letter to Thomas Yoseloff, she wrote (quoted in Yoseloff's Retrospective, 1975, p. 34) that «prior to 1940 my background had been entirely in commercial art» and that when she began painting seriously, she had to «put behind me everything I had so carefully learned in the schools» (p. 34).

Just two years later, in 2009, she decided to add another degree to her background — she has graduated from the School of the Art Institute of Chicago and she started working on Golden Age, an artist - run space in Chicago.

My training was at Cooper Union, which was a modern art school, and the background of the school was Cubism.

The Bauhaus: Art as Life public programme also brings to London a host of workshops, talks, films and performances as well as a major Creative Learning initiative for the Bauhaus exhibition, the Art School Lab, an intensive two - week summer school held at the Barbican and led by leading practitioners from all artistic backgrSchool Lab, an intensive two - week summer school held at the Barbican and led by leading practitioners from all artistic backgrschool held at the Barbican and led by leading practitioners from all artistic backgrounds.

Having recently graduated from the Royal Academy Schools, this body of work will continue to build upon his background in graffiti art to create large scale abstract works on polyester.

And by 1933, she and Albers were on their way to the United States (Albers was of Jewish descent and, as she said, «had the wrong kind of background in Hitler's ideas»), where they began teaching at the progressive art school Black Mountain College near Asheville, North Carolina.

Nengi Omuku is an emerging female artist from Nigeria with an academic background in Fine Art for both BA and MA from Slade School of Art in London.

With simple techniques and without the background of art school knowledge of composition etc. strong and touching works have been created.

In 1945, Stillman enrolled in the California School of Fine Arts as an older, married, student with a solid photographic background.

After leaving the New York School of Visual Arts, in 1996, with a BFA in illustration, KAWS worked for Disney, painting backgrounds for animated films.

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 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 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 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 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.

GC: Can you talk a little bit about your art background (where you went to school, etc.)?

His academic background includes studies at Simon Fraser University (BA, Contemporary Arts), Wesleyan University (MA, Music) and City University London UK (PhD, Music), and he teaches at Queen's University where he is Director of the Sonic Arts Studio in the Dan School of Drama and Music.

Their School Prints scheme aimed to supply original, high - quality contemporary art to schools where children, by virtue of their background, would be highly unlikely to visit galleries.

There was no art in her background and she left school at 16 with no qualifications.

My background — coming to New York in 1959 and studying painting at Cooper Union Art School, in and out of the museums and the Cedar Bar, knowing other painters, the Abstract Expressionists in particular — I had no choice but to be well versed.