Sentences with phrase «art teacher moving»

Not exact matches

From there he moved on to the Experimental Theatre Wing at New York University's Tisch School of the Arts, where he studied under some of New York's most prolific teachers.

I married and moved to Tallahassee, FL, where I completed the Language Arts Teacher Certification program and obtained a Bachelor's degree in English Literature.

She coached gymnastics at both the University of Nevada, Reno, and the University of California at Berkeley and taught in a school system near Seattle, Washington, before marrying a high school industrial arts teacher and moving to Alaska.

This was one of the questions that prompted me, in 1997, to move my English language arts methods classes into a computer classroom, specifically as a response to the NCATE technology task force's mandate for teacher educators to make themselves role models of lifelong learning by integrating technology into practice.

The author, a high school language arts teacher, describes her move to a high - needs urban school after 13 years teaching in predominantly middle - class suburban schools.

Of the many changes that occurred with the shift to teaching Common Core State Standards perhaps the most noticeable to students, parents, and teachers alike was the move away from using textbooks in English Language Arts and Mathematics.

After, teaching in a middle school inclusionary special education model, Colleen pursued National Board Certification in English Language Arts and moved into a new stage of her career as a middle school and high school English teacher where she has served as a classroom teacher, department chairperson and professional developer.

[79] Also influential in supporting the move toward integrated instruction was the work of Donald Holdaway, who, in concert with many teacher colleagues, had been implementing an integrated language arts approach in Australia for a few decades.

THE FILM SPACE is a not - for - profit organisation that recognises the key role teachers and educators play in introducing children and young people to a wide variety of moving images both as an art form in itself and also as a way of exploring other curriculum areas.

However, in 1965 his family moved to Farnborough, and his new art teacher was inspirational.

For several years, Neckles - Ortiz served her Brooklyn community as a high school teacher in the NYC Department of Education before moving into roles as a Department Chair and contributor to the Arts Achieve: Investing in Innovation (i3) Grant Program.

At fifteen, Terry moved to Hampshire and was inspired by a brilliant art teacher.

In 1924, his family moved to his father's home town of Enniskillen in Northern Ireland where Scott soon began art classes with a local teacher, Kathleen Bridle.

After prepping at what was then called the School of Industrial Art (now the High School of Art and Design), he moved on in 1962 to Pratt Institute, where his teachers included Richard Lindner, Philip Pearlstein and Alex Katz, all major figurative painters.

Completely inspired, Amanda has since moved to Portland, Maine where she is a teacher candidate in Master of Arts in Teaching program.

He moved back to Lexington in 1949 and studied art at Washington and Lee University, where his talent impressed teachers.

She studied mechanical drafting, got a job to support herself and her son while her husband was overseas, took another art course, and moved in with the teacher.

In 1949, Biggers accepted a position as an instructor at Alabama State Teachers College in Montgomery, but moved to Houston, Texas, in August to establish and serve as department head of the Art Department at Texas State University for Negroes (later Texas Southern University), where he spent over thirty years of his career.

The painting scene in San Francisco in the»40s centered around a small, tight - knit group of teachers and serious students at the California School of Fine Arts (renamed the San Francisco Art Institute in 1961), who were influenced by Clyfford Still (1904 - 1980), a major first - generation abstract expressionist painter, who taught at CSFA from 1946 until the early»50s when he moved to New York.

Moving to Brooklyn in 1997, the RISD - and Pratt - trained artist began his career as a tattoo - parlor owner and artist and teacher of mosaics and drawing at Oyster Arts, an art organization program in domestic - violence shelters.

Join the ranks of talented B.F.A. graduates who move on to some of the country's top graduate and professional schools, and to exciting and fulfilling careers such as - user experience architect, web developer, web designer, animator, art director, creative director, graphic designer, shoe designer, teacher, gallery director, decorator, to name a few.

So people know each other by moving in those circles, whether it's as a student or a teacher or as a fan of art.»

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.

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.

Born in 1888 in Bottrop, Germany, Josef Albers trained as a teacher, later moving into art education before studying art at the Kunstgewerbeschule, Essen, where he worked in stained glass and print - making.

They included: the Irish - born George Frederick Folingsby (1828 — 91), who arrived in Australia in 1879 and became Master of the School of Painting at the NGS in 1882; the Swiss artist Abram Louis Buvelot (1814 — 88) who arrived in 1865 and taught at the Carlton School of Design in Melbourne; the English - born art teacher Julian Ashton (1851 — 1942) who settled in Sydney where he ran one of the best art schools in New South Wales; the English - born plein - air specialist A.J.Daplyn (1844 — 1926) who arrived in Australia in 1882 and shared his experience of Fontainebleau and the Barbizon School of landscape painting, before later writing a book entitled Landscape Painting from Nature in Australia (1902); the Italian - born painter Girolamo Pieri Ballati Nerli (1860 — 1926), influenced by the Macchiaioli group, who first lived in Melbourne before moving to Sydney in 1886; the Portuguese - born plein - air artist and Symbolist painter Arthur Jose De Souza Loureiro (1853 — 1932).

She had a strong early interest in art, but opted for the financial security of teaching, and in the 1940's moved to New York to study art education at Teachers College, Columbia University.

He worked as a fine art framer, installer and teacher in NYC before moving to SF in 2009.

Paintings from the 1950s include such works as Stephen Pace's Untitled (51 - 90), a dynamic abstract painting in which forms move into and through the picture plane in the mode of the art of Pace's teacher Hans Hofmann, Melville Price's Untitled (ca. 1959), a gestural painting in the abstract expressionist idiom in which figurative elements have a suggestive presence, and George Segal's Three Nudes (1959), in which a psychological tension is conveyed in the expressively treated figures that are integrated into spaces defined by veils or blankets of color.

He attended the California School of Fine Arts (now called the San Francisco Art Institute), where Still was a dominant force as a teacher, and moved to New York in 1951.

Larry Groff: You studied to be a teacher in Ireland before you went to art school and moved to the United States.

I started as a middle school language arts teacher and then moved into school leadership as an assistant principal.

I started as a middle school language arts teacher and then moved into school leadership as an assistant principal.