Sentences with phrase «become more conceptual»

As your career progresses, daily work activities may become more conceptual.

I painted for many years, then for a decade my practice became more conceptual - creating collections of contemporary material culture.

Around 1969 his work became more conceptual, and during the 1970s he participated in major exhibitions in the United States, Switzerland, Italy, and West Germany.

Not exact matches

Until these external pressures became strong, our social location in the departmentalized university had more effect upon our way of working than did the conceptual models with which we worked!

When Whitehead describes the approach to intellectuality as a gain in the power of abstraction, so that «the irrelevant multiplicity is eliminated, and emphasis is laid on the elements of systematic order in the actual world» (PR 388), we take this to mean that mentality becomes habitually effective when its potentially anarchic initiatives are both nourished and preserved at lower, more reiterative levels of conceptual functioning.

The deeper we go, the more finite subjective forms are knit together by divine conceptual supplementation to become the subjective form of a wider portion of God's subjectivity, till at bottom it becomes coextensive with the whole.

In this regard Hausman found himself in good company: Mead, Whitehead, Russell (if that is good company), Santayana and Henry Nelson Wieman to name only a few, also saw Bergson as having sold out, to some degree, the conceptual, structural and / or rational element of thought for a more immediate and fluid grasp of pure becoming.4

This conceptual reorientation has given rise to therapies that are a veritable gold mine of resources for enriching the quality of relationships and helping institutions, organizations, and communities become more growth - nurturing for everyone.

Hillis: But I think, you know, tying it to back to the whole computer thing, the idea of having conceptual systems that really are well thought out, so they're simple and easy to understand, so you don't have all these configurational problems that happen when you start combining them all together; because then it all of a sudden becomes more like a weather pattern: very unpredictable.

It's here where you realize that the game and the characters don't go anywhere interesting and it becomes even more apparent that the movie is a conceptual disaster.

One of many strengths of Benson's «Eleanor Rigby» is precisely that kind of exploration, because it's built into the conceptual framework, and the structure allows the film (s) to become something much more than just another relationship movie.

They build their vocabulary, acquire conceptual knowledge, learn about letter - sound relationships and the relationship between oral and written language, and practice the skills necessary to become automatic and fluent readers who can tackle the more specialized and technical texts of secondary reading (Chall, 1983; Chall & Jacobs, 1996; Jacobs, 2000).

We anticipate that TPACK will become a widely referenced conceptual framework within teacher education, particularly as teacher education programs become more deeply interested in addressing teachers» effective use of technology (Honawar, 2008; Thompson, 2007; Thompson & Mishra, 2007).

One of the more intriguing mechanics held over from its conceptual form - Lily Bergamo — when players die, their customized character becomes an enemy in - game, threatening other online players around the world.

As I became more exposed to conceptual practice, I realized I don't necessarily need to be the creator of an image to be the employer of an image.

As 20th - century art became ever more experimental, the risks artists took got more spectacular: they have been shot and exposed to fire, and the conceptual artist Bas Jan Ader vanished in 1975 while trying to cross the Atlantic in a small sailing boat, as art.

His works have become more theoretical over the past decade, and although he shares certain attitudes with such conceptual artists as Lawrence Weiner, Dan Graham and Daniel Buren, he has developed a distinctive methodology and vocabulary.

Seeing that they are paired with pie charts displaying government censuses on the happiness of the Taiwanese people (a startlingly small slice of the pie represents «happy» people), the decision to include the more nebulous and conceptual words in the exhibition title, such as «Dissatisfaction,» «Agitation,» «Survival» and «Unequal,» becomes clear.

While some of the elaborately carved and decorated dolls, toys and childhood trinkets of the pre-modern world could easily be considered art, it wasn't until the 20th century that toys became more frequently used in a conceptual manner.

Painting, however, continues to have a large public and young artists setting out to be painters now need more than ever to see how artists of earlier generations successfully resisted the status quo and remained outside what evolved into an academic style, for this is what much of the conceptual, film and photographic work has become; merely another academy.

The Lisson Gallery and many of the early conceptual art galleries were international from the beginning, but quite quickly they too became dominated by more American and European artists.

As I thought more about the salon style of hanging and as I worked on the conceptual groundwork for my upcoming shows at Santa Monica Museum of Art and the Brooklyn Museum of Art, it became clear to me that I wanted to explore this historical theme with my show More Than Everythmore about the salon style of hanging and as I worked on the conceptual groundwork for my upcoming shows at Santa Monica Museum of Art and the Brooklyn Museum of Art, it became clear to me that I wanted to explore this historical theme with my show More Than EverythMore Than Everything.

I became much more conceptual - minded, but it was always connected to a pop vernacular.

Postcards From The Edge, Metro Pictures, New York, US New York / New Drawing 1946 - 2007, Museo de Arte Contemporáneo Esteban Vicente, Segovia, ES Monuments With A Horizon Line II, Buchmann Galerie, Berlin, DE Desenhos [Drawings]: A-Z, Museu da Cidade, Pavilhão Preto, Lisbon, PT The Porn Identity, Kunsthalle Wien, Vienna, AT A Bit of Matter And A Little Bit More, screening Performatik 09, Cultuurcentrum Strombeek and Performatik, Brussels, BE Regift, The Swiss Institute, New York, US Cut & Paste, Galleri Susanne Ottesen, Copenhagen, DK Down To Earth (Ceramics), Cultuurcentrum Strombeek, Grimbergen, BE Double 40 Jahre Kabinett für Aktuelle Kunst, Bremerhaven, MMK, Frankfurt, DE The First Stop on the Super Highway, Nam June Paik Art Center, Gyeonggi - do, KR Feedbackstage, Galerie Thomas Schulte, Berlin, DE Sharjah Biennial 9: Provisions For The Future (curated by Isabel Carlos), Sharjah Arts Museum, Sharjah, UAE Two in One Contemporary Art from Witte De With & De Appel, Christie's, Amsterdam, NL 40th Anniversary Benefit Exhibition, White Columns, New York, USA Écritures Silencieuses, curated by Herve Mikaeloff, L'Éspace Louis Vuitton, Paris, FR Carnival Within - An Exhibition Made in America, curated by Sabine Russ, Gregory Volk, Uferhallen, BE Espèces d'Espaces, Yvon Lambert, New York, US Take The Money And Run, Brouwergracht 196, Appel, Amsterdam, NL Double Participation, Museum für Moderne Kunst, Frankfurt / Main, DE Beginnings, Middles, And Ends (cur.Gianni Jetzer), Christine Koenig Galerie, Vienna, AT Dematerialised: Jack Wendler Gallery 1971 to 1974, curated by Teresa Gleadowe, Chelsea Space, London, UK Time As Matter, MACBA, Barcelona, ES 15 Years of Collecting Against the Grain, Kunstmuseum Wolfsburg, Wolfsburg, DE Artist Rooms Tate St Ives Summer Season, Tate St.Ives, UK Au Pied De La Lettre, Centre d'Art Contemporain, Chamarande, FR Art - Athina, Galerie Hubert Winter, Faliro Pavillion, Athens, GRSerralves 2009 The Collection: An Exhibition in Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrinth.

This tendency has been on the rise since the advent of Conceptual Art, when artists became more aware and critical of the complex context — ethical, social, economic — surrounding art.

According to the works on view here, British art became more and more derivative in every successive decade until it bottomed out in the conceptual art of the 1970s.

After the 1990s, conceptual photographic works became even more popular in the art market.

Namuth becomes the major photo chronicler of the New York School, and during the period 1950 - 1988 photographs more than 300 painters, sculptors, and conceptual artists, usually as they worked in their studios.

However, in today's postmodernist era - an era still dominated by conceptual artists - sorting the good artist / art from the bad artist / art has become far more difficult.

She began spending more time in Central America, particularly in Nicaragua, where she became increasingly fascinated with Latin American art history, and where the conceptual framework of her practice came into focus.

In today's museum world, where competition for exhibition space is escalating, emptying two large rooms, painting them black, and then posting a text instructing the viewer on how to perceive a black painting is an ambitious conceptual gesture — one that becomes even more commanding in view of the fact that the exhibition's curator, Stephanie Rosenthal, limited her checklist for the show to just four American male heavyweights who made black paintings between 1945 and 1965.

Allan McCollum's Visible Markers is from the acclaimed conceptual artist's ongoing series of object multiples designed to express gratitude, exemplifying McCollum's notion that the art object becomes significant not merely through its making but, more importantly, through the process of exchange.

Since her first solo exhibition in 2013 «Depth», her work has become more nuanced and the construction of her conceptual scenes increasingly careful.

A reasonable conceptual hypothesis for it is based on limiting factors — summer temperatures were a primary environmental parameter controlling cell wall thickening in conifer latewood at some sites but due to environmental changes, e.g. warming, other factors have become more important and obscured this relationship.

However, research results indicated a low validity of the infant - father strange situation assessment for predicting subsequent psychosocial development.15 Rather, father - child interactive quality during play or exploration, and sensitive challenges to the young child's competencies seem to be better predictors of child development.16, 24 Another challenge to attachment research is more a measurement than a conceptual issue: How do behavioural patterns of infant attachment become patterns of verbal discourse about attachment later?