Sentences with phrase «century work environments»

Another reason is that 21st - century work environments are all about cross-functional teaming, collaboration, and integrated design.

Another reason is that twenty - first century work environments are all about cross-functional teaming, collaboration, and integrated design.

Another reason is that 21st - century work environments are all about cross-functional teaming, collaboration, and integrated design.

Not exact matches

And I'm sure that the board, once it meets, will consider what the next steps are that we need to take to ensure that all of the 2,500 students plus the additional students that are in the pipeline from the elementary and middle schools actually have a safe, secure learning environment for 21st century work.»

The astounding improvements in public health between 1900 and 1950, aided by such factors as refrigeration, sewage treatment, and safer working environments, produced many of the increases in life expectancy in the last century.

«From the work of Claude Bernard in the 19th century, the concept of homeostasis as the maintenance of a constant internal environment is deeply ingrained in our thinking about how organisms work,» the researchers write.

There is at least a century of real - life improvement projects in communities and the environment that kids and adults can work together on to adjust the health of our planet.

She leads programs and workshops that cultivate highly collaborative learning environments where teachers and game designers work together to design game - like curriculum aligned to Common Core and 21st century standards.

«We've heard several times over the past few years that nothing is more cognitively and physically taxing in the project - learning environment than managing student work groups,» McDowell writes in «Leading Student Work Groups in the 21st Century,» an in - progress article that discusses the tools, best practices, and scholarly strategies for student work groups in the project - learning environmwork groups,» McDowell writes in «Leading Student Work Groups in the 21st Century,» an in - progress article that discusses the tools, best practices, and scholarly strategies for student work groups in the project - learning environmWork Groups in the 21st Century,» an in - progress article that discusses the tools, best practices, and scholarly strategies for student work groups in the project - learning environmwork groups in the project - learning environment.

• 21st century learning environments and opportunities are essential to prepare all students for the challenges of work, life, and citizenship in the 21st century and beyond, as well as ensure ongoing innovation in our economy and the health of our democracy.

Learn more about Lesson2Life, a program designed to provide teachers the opportunity to observe firsthand how the integration of 21st century skills and the Arizona Workplace Skills Standards impacts job performance in actual work environments.

Such a shift would move schools away from what educators sometimes refer to as the «industrial model» of education that held sway in the 19th and 20th centuries to a model geared towards the more flexible work environments of the 21st century, proponents argue.

We work with our students to master The New Jersey Student Learning Standards so that they can compete for the college or career of their choice in a 21st Century, globally - competitive environment.

At the same time we will work with 21st century skills like problem solving, flexibility, critical thinking, creativity and perseverance in a collaborative environment.

Learning and Innovation Skills: Learning and innovation skills increasingly are being recognized as the skills that separate students who are prepared for increasingly complex life and work environments in the 21st century, and those who are not.

From job hunting to online interviews and working remotely, writers, bloggers and journalists work in a different rhythm and environment than their peers from a century ago.

The two lineages were thought to part ways in the early 20th century since breeders focused on selecting for specific traits ideal for these dogs» work and living environment in Russia and Central Asia, respectively.

In late 19th - century Germany, breeders wanted to develop a hunting dog that could work closely with a human partner and was flexible enough to work in different environments: dense forests, open fields, small villages and farms, and cold water.

As for the artwork, Lovecraft Tales will feature hand - drawn 2D environments inspired by 19th century art, i.e. the works by the German painter Caspar David Friedrich.

At the same time the themes that continue to shape her work — myth as a conduit to the subjective and social unconscious, the holistic yet destructive relations of humans with other species, the beauty yet fragility of the natural environment — make her work of vital relevance to the 21st century.

Ambienti / Environments centres on Lucio Fontana's pioneering work in the realm of installation art, along with a selection of his seminal Ambienti spaziali that highlights the farsighted, innovative genius of this 20th century master.

Profoundly influenced by Chinese painting traditions and techniques — especially the marks of the eighth - and ninth - century Yi - pin «ink - splashing» (or «flung ink») painters — mentorships from John Cage and Agnes Martin, and the harmony between man and nature espoused by Taoist philosophy, Steir considers elemental forces active participants in her work, intentionally removing herself from the action and allowing gravity, time, and the environment to determine the work's result.

This is juxtaposed with her work from the ancient city of Angor, Tetrameles Nudiflora of Ta Prohm (Angkor)(2015) which places an emphasis on the beauty and strength of the environment and the notion of «Eternal Life», with imagery depicting trees growing out of ruins of the ancient civilization dating back to the 12th century.

From portraits of victims of violence by Titus Kaphar and Miguel Ángel Rojas, to visions of our endangered or decaying environments by Fabiano Parisi and Marco Veronese, and critiques of military might by Democracia and Anastasia Taylor - Lind, the works in A Global Gathering reflect how we live and die, work, play, and dream in the 21st century.

As one might expect from a collection of 19th and 20th century Scandinavian paintings, scenes are full of gloomy weather, domestic interiors and often that signature anxious isolation that permeates work created in these environments.

At the same time the themes that continue to shape her work — myth as a conduit to the subjective and social unconscious; the holistic yet destructive relations of humans with other species; the fragility of the natural environment; and the creativity of play — often represented by children — make her work of vital relevance to the 21st century.

Gormley said: «I will never forget seeing Field reflected in the mirrored pillars of an old supermarket in Colchester, under the perpendicular vaults of Gloucester cathedral cloisters, in the haunting environment of the old carriage works in Gateshead, against the verdant landscape of a 19th - century park in Wakefield — and most recently in a very fully adapted church in Scunthorpe.

Five additional works are on view in the Melvin Blake and Frank Purnell Gallery (20th - Century Art: Places): Big Wind in Georgia (about 1933) by Hale Woodruff; Shotguns (1983 — 86) by John Biggers; Environment (1947) and Still - Life: Past Revisited (1973), both by Eldzier Cortor; and Greene Street (1940) by Beauford Delaney.

Judd's critical response to the work of other artists is examined, as is the importance of color to his work, and his reaction to new man - made materials and artificially generated color in the late twentieth - century environment.

In a way, as critic Charles Darwent has written, Ofili «seems to be reliving 20th - century modernism backwards,» cycling through clear formal periods wherein his compositions have become more stripped - down, foregoing the dense layering and collaged elements of earlier works, and often focusing on a limited color palette — including the red, green, and black of Marcus Garvey's pan-African flag in the series of paintings he began in 2000 and showed in concert in an immersive environment at the 2003 Venice Biennale's British Pavilion.

In gallery news: David Zwirner now represents the Joan Mitchell Foundation, with an exhibition planned for next year in the gallery's New York space — «The gallery is proud to be entrusted to help with the extraordinary legacy of Joan Mitchell, one of the most important and original American painters to emerge in the second half of the twentieth century», Zwirner commented; Lehmann Maupin have announced representation of the Estate of Heidi Bucher — «Her exploration of spaces — often designated as feminine, particularly domestic environments and objects — is very much in line with Lehmann Maupin's programming and closely ties into the work of artists such as Do Ho Suh and Liza Lou,» director Anna Stothart said; New York's James Cohan Gallery represents Matthew Ritchie; LA's Kayne Griffin Corcoran now represents painter Mary Obering (her work is on show at their booth at Frieze New York); London's White Cube have opened an office on New York's Upper East Side; and Mexico City gallery kurimanzutto also opened a space in New York's Upper East Side yesterday, inaugurated with new work by Abraham Cruzvillegas.

Profoundly influenced by Chinese painting traditions and techniques — especially the marks of the eighth - and ninth - century Yi - pin «ink - splashing» painters — mentorships from John Cage and Agnes Martin, and the harmony between man and nature espoused by Taoist philosophy, Steir considers elemental forces active participants in her work, intentionally removing herself from the action and allowing gravity, time, and the environment to determine the work's result.

Sillman's work is rooted in the «triumph of American painting,» witnessed mid-century with the height of abstract expressionism, and cultivated in an environment of painterly dissent that characterized the 20th century's latter half.

In thinking about the softening of modernist styles through both post-modernism and folk aesthetics, Morrison's works reveal how particular genres have been borrowed in order to lend a certain sense of authority, permanence or perceived refinement to the otherwise disposable late 20th century built environment.

The interior resembles a confounding series of hallways, but with a twist: the walls are adorned with hand block - printed wallpaper depicting the delicate cream contrasts of an eighteenth - century floral Georgian Knot pattern.3 The interstitial, liminal presence of walls and passageways has a long trajectory in the artist's work.4 Here, dynamic and surreal corridors become Sosnowska's phenomenological response to an environment frozen in time.

As you say, painters have been projecting onto canvas for centuries, and thus the technique is not new, but the use of 3 - D models is, and I believe it lends your works a unique sense of depth, as if the canvases are film stills or jpegs taken from a virtual environment.

Highlights include works by the iconic 19th - century painter Childe Hassam, who popularized impressionism in the United States with his lush city scenes and natural landscapes; Japanese American artist Yasuo Kuniyoshi's bold image of the modern woman as a bather in the 1920s; and a recent minimalist seascape by photographer Catherine Opie that reduces the ocean to subtle, ethereal layers of color in which the human figure is almost overwhelmed by natural environment.

Contact: Betsy Ann Craig ([email protected]) Gallery Hours: Monday - Saturday 9:30 - 5:30 Spanierman Gallery is pleased to announce the opening on June 7, 2012 of Artists of the East End: Past and Present, an exhibition featuring works created from the mid-twentieth century to the present by artists who have lived and worked on Eastern Long Island, drawn by an environment of extreme natural beauty as well as one that has long fostered artistic inspiration and camaraderie.

Over the last half century, our working environment, physical or virtual, has changed constantly in response to technology and ideology.

Referencing precedents such as 19th century romantic landscape painting, as well as more recent artistic endeavours in the natural environment, these works playfully critique our ambitions to take on the world and the spaces beyond.

Image: Installation view of Conversations with the Collection: Building / Environments, showing an eighteenth century map of Kyoto and works by Norman Lewis, Frank Lloyd Wright, Roger Brown, Philip Hanson, and Yves Klein.

The exhibition presents Stettheimer's work in the context of the social and intellectual environment of early twentieth - century New York, exploring the artist's fascinating position as an American modernist whose work exuberantly reflects on the mass culture of her times.

Alertnet: Palestinian olive growers make a living from trees that are, in some cases, 2,000 to 3,000 years old — proof that these farmers have been working in harmony with the environment for centuries, according to Nasser Abufarha, a representative of Fairtrade producers in the Middle East.

Scholars in China have developed Plan C, based on Lester Brown's pioneering work in Plan B, which is intended to bring China into the 21st century, enhancing social and economic development, but not at the expense of the environment.

Since its founding in 2003 by Ted Nordhaus and Michael Shellenberger, the Breakthrough Institute has worked to change the way people think about energy and the environment in order to meet the global challenges of the 21st century.

19Jesse H. Ausubel, Perrin Meyer, and Iddo K. Wernick, «Death and the Human Environment: America in the 20th Century,» working paper, Program for the Human Environment, The Rockefeller University, New York, 1995; and John B. McKinlay and Sonja M. McKinlay, «The Questionable Contribution of Medical Measures to the Decline of Mortality in the United States in the Twentieth Century,» Milbank Quarterly on Health and Society (Summer 1977): 405 - 428.

Emma Phillips will talk to sole practitioners and members of small law firms about developing policies to deal with a changing work environment at the Law Society's Solo and Small Firm Conference: The 21st Century Lawyer.

Though maybe it has now had its best century, Tolley, now the UK market leader in tax, was eventually, for me, a cheery, open, somewhat maverick and collegiate environment in which to work.

One can already see the huge generational rift among lawyers; those at the twilight of their careers fighting to retain a 19th Century business model, while younger lawyers want to move the profession into the 21st Century so as to better serve their clients and provide a better work environment for themselves.

Technologists have been experimenting with virtual reality since the mid-19th century, working their way up from realistic art panoramas to driving simulators to glasses that could replicate a virtual environment in front of a user's eyes.