Sentences with phrase «craft your work history»

You will find guidelines on how to create objective statements, craft your work history section, and show off your skills and qualifications.

A well - crafted work history section will provide the reader with in - depth information about your previous jobs.

It's a way for you to showcase your experiences as well as accomplishments.While you gather information for crafting your work history section, think about specific examples that include measurable and quantifiable results, as shown in the retail sales associate resume template for Word.

Not exact matches

Make sure to craft questions that will help you determine an applicant's ability, cultural fit and previous work history instead of open - ended questions that aren't relevant.

Croxsons» Tim Croxson says: «Working with craft distillers such as the York Gin Company is always a creative experience — in this case promoting added - value for the brand, with the square, weighty packaging working in tandem with the hand - drawn label and authentic closure to complement the city's rich medieval hWorking with craft distillers such as the York Gin Company is always a creative experience — in this case promoting added - value for the brand, with the square, weighty packaging working in tandem with the hand - drawn label and authentic closure to complement the city's rich medieval hworking in tandem with the hand - drawn label and authentic closure to complement the city's rich medieval history.

Participate in stories and crafts celebrating the life and work of inspiring Latinas to honor Latina Women's History Month (Jamaica Plain)

The Discovery Museums» SMART Gals series continues its celebration of Women's History Month with a DNA scavenger hunt and DNA inspired crafts in honor of chemist Rosalind Franklin's work (Acton)

You might think that with all his practice crafting works of fiction, from his education history to DWP statistics, that Iain Duncan Smith could deliver an interesting creative novel.

She was not, even by her own admission, a great actress and because of this awareness Harlow worked hard at her craft and eventually would successfully hone her screen personality into one of the most enduring in motion picture history: the sassy, saucy girl from the wrong side of the tracks.

Includes the follows: 1.54 A5 VISUAL TIMETABLE CARDS - Literacy, numeracy, wash hands, toilet, reading, writing, spellings, jobs, sleep, bikes, construction, small world, water, home corner, weather chart, scissor work, snack time, register, tidy up, sand box, pets and plants, communication, assembly, languages, home time, religion, your choice, science, role plays, history, gardening, painting, drawing, arts and crafts, jigsaws, design, play doh, music, emotions, play time, lunch time, computers, singing, swimming, carpet time, outdoors, story.

Consider the school personnel who already understand, intuitively, how this principle works: the music teacher whose program has been cut in order to fund computer labs; the principal who has had to beef up security in order to protect high - priced technology; the superintendent who has had to craft an «acceptable use» agreement that governs children's use of the Internet (and for the first time in our history renounces the school's responsibility for the material children are exposed to while in school).

Genre: Children's eBooks, Animals, Arts, Music & Photography, Computers & Technology, History, Action & Adventure, Fairy Tales, Folk Tales & Myths, Science Fiction, Fantasy & Scary Stories, Comics & Graphic Novels, Mysteries & Detectives, Geography & Cultures, Biographies, Holidays & Celebrations, Education & Reference, Religions, Science, Nature & How It Works, Cars, Trains & Things That Go, Sports & Outdoors, Humor, Science Fiction & Fantasy, Fantasy, Teen & Young Adult, Romance, Activities, Crafts & Games, Early Learning Size: 244 pages Free eBook download for Kindle from 15 May 2018 onward PDT / PST

From printing and binding a family history, to crafting a lavish work of fiction, to a manual or text book companion to your work or teaching career — print on demand and... Continue Reading →

But consider: writers who love to tell stories, who entertain, who work at their craft, who are productive, who keep striving to get better, who don't see plot as a four - letter word (irony intended)-- these writers now have a better chance to realize a return on their work than at any time in the history of storytelling.

As a writer, you have a unique history and connection with your craft and your work that brought you to where you are today.There was a time when you wrote the first sentence of your work, and then experienced the thrill and satisfaction of finishing your manuscript.

Matthews succeeds admirably in his goal of describing his family's journey from Russia to England and back again, in the process crafting a fascinating history that reads more like a novel than a work of non-fiction.

«This expertly crafted novel is an important work in terms of Irish social history, but it will also be enjoyed by anyone who appreciates intelligent and profound family sagas that make the reader count his own blessings.»

It's also a great personal pleasure to work with CTO again - they have a long history of leadership in this area going back 20 years when we worked together to craft CAST - the Caribbean Alliance for Sustainable Tourism.»

Kehayoglou speaks with great care for her craft, as well as her family's trade history, and it comes through in her working process.

Meppayil works «suggest that through meditative repetition, tradition remains in motion, guided equally by the history of craft and the hands through which it passes.»

Katie Schwab's practice interweaves personal, social, and craft - based histories, often drawing from marginalised and overlooked traditions of making and working collectively.

Exploring the role of craft and war in the construction of national identity, Smith's works are often sites of interaction, which provide a context for expression and dialogue among audiences about American history.

Informed by traditional crafts and the histories of female figures within art and architectural history, Leonor Antunes discusses her work alongside art historian Briony Fer.

Selected works reflect on the economic crisis, as well as Anthropocene — a new epoch in Earth's history, shaped by man (Liz Craft and her «Spinster» or Jerzy Szumczyk's outdoor installation).

Craft, technique, and awareness of the history of materials are very much in evidence in Simone Leigh's work, which takes up subjects cast as inherently abject by the cultural mainstream for the fact of their unapologetic Blackness, but appeals on a technical and material level to curators and audiences who might otherwise marginalize the work and its message.

Their ability to blur and subvert the lines between fine art and craft, decoration and abstraction, folklore and history, hand - made and processed, and the ancient and post-modern, results in a highly unique, inimitable and fascinating body of work.

Martin Puryear is a sculptor whose work reflects his knowledge of the history of modern sculpture and of non-Western traditions of craft with striking beauty.

Brooklyn artist Andisheh Avini's abstract works are influenced by a fascinating range of references, from art history and Andy Warhol to traditional Persian pattern and craft.

Traveled to: Renwick Gallery, National Collection of Fine Arts, Smithsonian Institute, Washington, D.C.; Cooper - Hewitt Museum, New York, 1979 - 1980 «Art from Corporate Collections,» Union Carbide Corporation Gallery, New York, May 9 - 30 «Selections from the Collection of Mr. and Mrs. Eugene Schwartz,» Knoedler Gallery, October 31 - November 28 «Color Abstractions: Selections from the Museum of Fine Arts, Boston,» Federal Reserve Bank Display Area, November 2 - January 31, 1980 1980 «L'Amerique aux Independents,» 91e Exposition, Societe des Artistes, Grand Palais, Paris, March 13 - April 13 «The Washington Color School Revisited: The Sixties,» Fendrick Gallery, Washington, D.C., September 9 - October 4 «Washington Color Painters,» Milwaukee Art Center, September 1 - December 1981 «Paintings from the United States from the Museums of Washington, D.C.,» Institute of Fine Arts, Mexico City, November 18, 1980 - January 4 1982 «A Private Vision: Contemporary Art from the Graham Gund Collection,» Museum of Fine Arts, Boston, February 7 - April 4 «Papermaking U.S.A.: History, Process, Art,» American Craft Museum, New York, May 20 - September 26 «Out of the South: An Exhibition of Work by Artists Born in the South,» Heath Gallery, Atlanta, Georgia, October 1982 1983 «Early Works by Contemporary Masters: Caro, Francis, Frankenthaler, Gottlieb, Held, Louis, Noland, Olitski,» Andre Emmerich Gallery, New York, September 6 - October 8 «Tapestries: Contemporary Masters,» Malcolm Brown Gallery, Shaker Heights, Ohio, October 21 - November 30; New York, February 25 - March 7 «American Post-War Purism,» Marilyn Pearl Gallery, New York, May 31 «Recent Paintings by Kenneth Noland and Darby Bannard,» Douglas Drake Gallery, Kansas City, Missouri, June 1 - 30 «Arte Contemporaneo Norteamericans, Collection David Mirvish,» American Embassy in Madrid, January 1985 «Recent Acquisitions,» Museum of Modern Art, New York, February 16 - March 17 «Grand Compositions: Selections from the Collection of David Mirvish,» The Fort Worth Art Museum, Texas, May 1 «Contemporary Monotypes,» Edith C. Blum Art Institute, Bard College, Annandale - on - Hudson, May 8 - July 10 «Selections from the William J. Hokin Collection,» Museum of Contemporary Art, Chicago, April 20 - June 16 «American Abstract Painting,» Margo Leavin Gallery, Los Angeles, California, June 19 - August 24

However, the recent exhibition of Jess Jones» and Lillian Blades» work at Atlanta's Swan Coach House Gallery tosses all that patriarchal competitive comparison out the door by presenting the strength of their individual practices, as well as their shared interest in the history and procedures of craft.

Though Diaz did not mention it, one can't help but connect the history of production behind Calder's fiber - based work (some crafted by 100 Nicaraguan laborers at four times the usual rate) to the culture of low - wage immigrant labor in which Diaz grew up.

Crafting intentional imperfections into their work, Carneiro da Cunha and Kristalova subvert the assumed innocence of childlike expression and suggest history's dark potential to repeat itself if children (or adults) are told falsehoods about the simplistic nature of the world.

Halonen's elegantly precise exhibition comprising four discrete works advances an appreciation for refined craft, art history, the aesthetic of wonder, and scholarly research into the eighteenth - century discovery of Prussian blue.

Pistoletto said that he is «pleased to be presenting a comprehensive show of my work within the unique setting that is Blenheim Palace, a place brimming with history, tradition, and craft.

The Intelligent Woman's Guide to Art is a comic alternative to art history, an art - historically minded piece of art, and a beautifully crafted, colored and reproduced work in itself.

The first publication to document the Museum's collection and its connections to dramatic changes in artistic practice over the past 70 years, Unpacking the Collection introduces this vital regional center for craft through photographs of work, essays, texts, archival photographs, decade - by - decade accounts of the institution's links to modern craft history and an abbreviated exhibition chronology.

Allison Smith is a sculptor and installation artist whose body of work often features elements from history, craft, and queer culture.

In conversation with both abstraction and craft traditions associated with the decorative to build a lexicon of community language, the work expands sculpturally on the foundation of known forms in Queer history.

Eight years of preparation went into crafting «WACK,» the first comprehensive effort to correct modern art history's shameful gender bias, focusing on work that emerged from the feminist art movement of 1965 through the 1980s and organized by theme.

Recent U.S. exhibitions include Bronx Calling: AIM Biennale, The Bronx Museum, NY; Fresh Figurines: A New Look at a Historic Art Form, Fuller Craft Museum, Brockton, MA; New Work: Jessica Stoller, The Clay Studio, Philadelphia, PA; and Reconstruct / Deconstruct History, Like the Spice Gallery, Brooklyn, NY, to name just a few.

The show's title plays on the history of ceramic objects as domestic and feminine works, relegated often to category of craft, but Ms. DiMattio seeks to take the elevate to another level.

Eduardo Sarabia's work utilizes folklore, traditional craft and a mythology of Mexico's recent and past history.

Works included speak to innovation, craft, history and science, as well the use of artistic materials — clay, paint, found objects, and precious metals — and the way in which they are employed in the making of artworks.

The works included speak to innovation, craft, history and science, as well as the way in which artistic materials — clay, paint, found objects, metal — are unconventionally employed.

By highlighting the often overlooked and undervalued manual labor that women have endured throughout history, the pair emphasizes domestic rituals and craft, redressing how women's work has been considered a lesser form of creativity than the «fine arts».

He often works in various craft traditions with simple materials when he makes pictures and installations in which colonialism and its consequences are explored, and topics such as South Africa and Zimbabwe's history and contemporary are dealt with alongside themes such as migration, national identity and borders.

The detailed and beautifully - crafted works deals with memory, history and the problem of knowledge.

Parker uses household accounts, women's magazines, letters, novels and the works of art themselves to trace through history how the separation of the craft of embroidery from the fine arts came to be a major force in the marginalisation of women's work.

Her work can be found in multiple permanent collections, including those of the Museum of Art and Design, Mesa Arts Center, Isle Royale Natural History Museum and the Museum of Contemporary Craft.

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 development.