Sentences with phrase «by earlier representations»

Sir George Newman granted judicial review of the changes to the HSMP criteria, holding that the question of whether or not the secretary of state was bound by earlier representations required a «contextual rather than a textual analysis» of the original terms of the programme.

Not exact matches

To this end, and in line with earlier calls for employee representation made by Prime Minister Theresa May in 2016, the revised code suggests that companies should either assign a non-executive director to represent employees, create an employee advisory council, or nominate a director from the workforce.

A review of Anne Behnke Kinney's book, «Representations of Childhood and Youth in Early China» reveals that parenting practices in ancient China were heavily influenced by the ruling dynasty as well.

Archaeologists who have uncovered two massive carved stucco panels in the Mirador Basin of Guatemala's northern rain forest say they are the earliest known representation of the Mayan creation myth, predating other such artifacts by a millennium.

In earlier work, Poggio's group had trained neural networks to produce invariant representations by, essentially, memorizing a representative set of orientations for just a handful of faces, which Poggio calls «templates.»

In early 2015, Jaden released an album titled This Is The Album, comprised of three tracks designed to promote his new - age collective MSFTSRepublic, which includes Beats 1's MSFTS Frequency radio show, hosted by Jaden Smith, an online «zine» of abstract cultural and political representations and a clothing line.

In Lee's Bamboozled, he's invoked (alongside many other silent and early - sound - era performers) as a grotesque specter of racist Hollywood representation — the ghost of minstrelsy past — but writers like Mel Watkins and Champ Clark have complicated the issue by suggesting that there was an element of subversion in Perry's subservience — that the shiftless, feckless caricature he inhabited in so many movies was not a capitulation to the viewership (or the filmmakers) but a bold form of ethnic masquerade.

Although reportedly set in 1977, we hear «September» and «Boogie Wonderland» by Earth Wind and Fire, which they did not produce as a song until late 1978 and early 1979, respectively (one might argue that we see a representation of them performing at a decadent mansion party, so they may not have released these songs yet, even though they sound exactly like their released singles).

9 • solve one - step problems involving multiplication and division, by calculating the answer using concrete objects, pictorial representations and arrays with the support of the teacher • recognise, find and name a half as 1 of 2 equal parts of an object, shape or quantity • recognise, find and name a quarter as 1 of 4 equal parts of an object, shape or quantity • Compare, describe and solve practical problems for: lengths and heights [for example, long / short, longer / shorter, tall / short, double / half]; mass or weight [for example, heavy / light, heavier than, lighter than]; capacity / volume [for example, full / empty, more than, less than, half, half full, quarter]; time [for example, quicker, slower, earlier, later]; • measure and begin to record the following: lengths and height; mass / weight; capacity and volume; time (hours, minutes, seconds) • recognise and know the value of different denominations of coins and notes • sequence events in chronological order using language (for example, before and after, next, first, today, yesterday, tomorrow, morning, afternoon and evening) • describe position direction and movement including whole half quarter and three quarter turns PLUS MANY MORE OBJECTIVES!

The other day I received an email from a potential client asking me if I would have an answer for him about representation by early July because he was counting on having his book traditionally published by December of this year.

Representations of black people have evolved greatly over the course of art history, from very early depictions by others before blacks gained agency to contemporary self reflections and interpretations.

Among contemporary American photographers, Opie is exceptionally attuned to the histories of representation, and Portraits and Landscapes vigorously embodies the artist's conversation with classical European portraiture as well as the American Pictorialist idiom within landscape photography championed by Alfred Stieglitz in the early 1900s.

Though his paintings were decidedly abstract, with seemingly little foundation in representation or figuration, Hartung spent much of his early career copying works by Rembrandt, Goya and Van Gogh.

Focusing on Lassnig's self - portraiture, the exhibition presents works by the artist — most of them never previously exhibited in the U.S. — from all creative periods of her career, spanning her early involvement with graphic abstraction in Paris and Art Informel, to her later shift to figural representation.

Roberta Smith, a famous art critic, placed Guyton with some younger painters that were countering the structures of late Modernism by revisiting the early Modernist cusp between abstraction and representation, entering the area previously populated with Malevich «s robotlike peasants, Jawlensky's masks, Mondrian's flower paintings.

Night Vision is organized chronologically beginning with landscape artists» visions of moonlight, moving to early Modernists» experimental representations of electrified evenings, and concluding with interpretations of the night by American realists and abstract artists.

The artist will discuss her work that is informed by late 19th and early 20th century modes of representation in documentary practice.

Jones» work is informed by historical source material and early modes of representation in documentary practice.

It includes work spanning the artist's entire career, from her early single - channel videos of the 1980s, which explore the representation of the female body in popular culture, to her recent expansive video installations, which transform architectural spaces into massive dreamlike environments enhanced by hypnotic musical scores, according to the museum.

Influenced early on by German Expressionism and later by the Abstract Expressionist movement, he broke free of these in the 1960s to develop a style more concerned with colour and texture over representation.

The twentieth - century British printmaking is much defined by diversity, originality and technical expertise, marking a notable shift in style and technique from earlier modes of representation.

Mangelos» Negation de la Peinture series, 1951 - 1956, are striking examples of early conceptualism wherein an image, perhaps from an art magazine, is almost completely occluded by black tempera as a gesture against direct representation.

Other strengths of the twentieth - century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O'Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson and Ralston Crawford; a good showing by the American Scene painters Charles Burchfield and Edward Hopper; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry and Thomas Hart Benton, notably the latter's celebrated five - panel mural, The Arts of Life in America (1932).

[56]: 43 What, however, can be said, is that it was a movement that developed in the early 20th century mainly in Germany in reaction to the dehumanizing effect of industrialization and the growth of cities, and that «one of the central means by which expressionism identifies itself as an avant - garde movement, and by which it marks its distance to traditions and the cultural institution as a whole is through its relationship to realism and the dominant conventions of representation.»

From the visual representation of time (known by Latham as the «quantum - of - mark») in the early spray paintings and One - Second Drawings, to the book reliefs of the 1960s, the roller paintings of the 1970s and the late glass tower works which incorporated bits of all theorems, John Latham maintained a steadfast devotion to exploring the most complex cosmological ideas and questioning the traditional notions and structures of art, science and philosophy.

Her work is informed by late 19th - and early 20th - century modes of representation in documentary practice.

This free screening will be followed by a discussion with Steve Wurtzler, associate professor of cinema studies, and Diana Tuite, Katz Curator, about the film's representation of landscape and the influence of wide - screen Technicolor cinematography on the early work of artist Alex Katz.

The importance of Rona Pondick's original and inventive work led to her early and continued inclusion in scores of museum shows, and decades - long representation by leading international galleries including Thaddaeus Ropac and Sonnabend Gallery.

Frazier is a photographer and media artist whose practice is informed by late 19th - and early 20th - century modes of representation.

One Minute Sculptures reconsider this early interpretation of sculpture as a stand - in for the human form by using an actual human body as a replacement for its representation in durable form.

Influenced by the style of contemporary German Expressionism, these prints reveal an early abandonment of representation in favour of abstraction.

It includes work spanning the Swiss artist's entire career, from her early single - channel videos of the 1980s, which explore the representation of the female body in popular culture, to her recent expansive video installations, which transform architectural spaces into massive dreamlike environments enhanced by hypnotic musical scores.

It includes work spanning the artist's entire career, from her early single - channel videos of the 1980s, which explore the representation of the female body in popular culture, to her recent expansive video installations, which transform architectural spaces into massive dreamlike environments enhanced by hypnotic musical scores.

With hindsight, Batman Chair II (1976), one of the early drawings included in the show, is a perfect and ridiculous representation of the struggles of painting and drawing at the time (which were led by New Image Painting's reinsertion of the recognisable image into the discourse of abstraction).

The works I sw in the Louvre, the Prado convinced me to make more of a record of the time I lived in Detroit and I began to explore Black Representation in the early nineties and by the late nineties was making more narrative imagery using «Pop» imagery as a substitute for such inflammatory imagery as Mammy and Sambo.

Concentrating on expanding their representation of women artists, Tate has purchased a rare painting by British oil portraitist Joan Carlile, now the collection's earliest work by a female artist.

The exhibition surveys the representation of the Devil from the 16th through the 20th century, tracing his evolution from the bestial enemy of mankind and Christ in the earlier period, to his perception by the Romantics as a sort of noble rebel against patriarchal authority, to an insinuating dandy, to his virtual absence in the 20th century (in all but advertising and entertainment) as people increasingly recognised that we create our own hell on earth.

«Pixel Forest» will be the most comprehensive presentation of Rist's work in New York to date; it spans the artist's entire career, from her early single - channel videos of the 1980s, which explore the representation of the female body in popular culture, to her recent expansive video installations, which transform architectural spaces into massive dreamlike environments enhanced by hypnotic musical scores.

Tompkins didn't secure gallery representation and her paintings spent three decades rolled up under her pool table until they were rediscovered by the dealer Mitchell Algus in the early 2000s.

Jones's work is informed by historical source material and early modes of representation in documentary practice.

With a halting and tender view, they investigate representation in ways echoed by the early 20th - century Indian artist Amrita Sher - Gil's jaw - dropping painting at the Neue Galerie, Self - Portrait as a Tahitian (1934).

The Moores» comprehensive collection of prints by Elizabeth Catlett, Romare Bearden, Jacob Lawrence and John Biggers is an all - encompassing visual representation of the changing landscape of black life in America from the 1940s to the early 21st century.

A singular force in China's contemporary art scene, Aniwar Mamat creates abstract paintings influenced by his earlier experiments in minimalism and figural representation, as well as by the history of Abstract Expressionism.

These depictions, considered his early work, are marked by an expressive figurative style, somewhere between representation and pure abstraction.

Among the earliest sculptures in this exhibition, the azure neon Untitled (1971), is one of the first representations by the artist of the Fibonacci principle - a numerical sequence in which each number is the sum of the previous two numbers.

A show currently running at MoMa Ps1 focuses on Lassnig's self - portraiture, the exhibition presents works by the artist — most of them never previously exhibited in the U.S. — from all creative periods of her career, spanning her early involvement with graphic abstraction in Paris and Art Informel, to her later shift to figural representation.

Examples of the first type included early solo presentations by Joan Jonas (1984), Martin Puryear (1984), Leon Golub (1984), Linda Montano (1984), Allen Ruppersberg (1985), Kim Jones (1986), Hans Haacke (1987), Bruce Nauman (1987), Christian Boltanski (1988), Ana Mendieta (1988), Nancy Spero (1989), and Mary Kelly (1990), while the multi-artist exhibitions «Art and Ideology» (1984), «Difference: On Representation and Sexuality» (1984), and «Damaged Goods: Desire and the Economy of the Object» (1986) established the Museum's reputation for engaging with postmodernism and critical theory.

Edited and designed by Dias (born 1944), the volume moves through the many phases of his varied practice, from his early experimentation at age 19 with visual representations of protest — before the 1964 military coup and at Brazil's political and social climax — to his conceptual production in Milan, his early film work, his works on paper developed in Nepal and the painting practice that has continued throughout his life.

Admission will be free, and the museum will have nearly 2,000 works of postwar and contemporary art from the Broads» personal collection as well as from the Broad Art Foundation, including Jasper Johns and Robert Rauschenberg works from the»50s, Pop works from the early»60s by Andy Warhol and Roy Lichtenstein, and a deep representation of»80s works by Cindy Sherman, Barbara Kruger and Keith Haring, among others.

Their purchase supplements two earlier works by Rae that are also owned by the Tate Collection and give depth to her representation here.