Sentences with phrase «discussing in your work history»

Two or three of your most recent positions should be discussed in the work history section.

Showcase this by discussing in your work history how you collaborated with team members to accomplish tasks.

Not exact matches

And, last year, Henry Kissinger jumped on the peril bandwagon, holding a confidential meeting with top A.I. experts at the Brook, a private club in Manhattan, to discuss his concern over how smart robots could cause a rupture in history and unravel the way civilization works.

Dr. Bellah clarifies the term «civil religion» and how the principle has worked out in our history, and he discusses the confusion about the nature of the American republic.

Writers who deal with the work of God in history can not always write with the preciseness of an Aristotle discussing categories or the habits of animals.

We can work together to look ahead and assist you in laying a healthy foundation for future sleep, or if you are struggling with sleep issues in a baby or older child, we will discuss your family's needs, review your history and create an individualized plan and strategy to encourage independent sleep in your baby.

This panel will discuss the intersection in which natural history museums and science centers are arenas for shaping and guiding science diplomacy as it pertains to working with nations of conflict, tackling STEM education, and conserving endangered species.

These individuals may also have an extended period of unemployment, and the training gives them tools to discuss gaps in their work history.

Abigail Loxham discusses the documentary work of José Luis Guerín, Albert Solé and Carla Subirana in the light of Catalan history.

Audio Commentary * — Directors John Musker and Ron Clements discuss their history of working with Disney, the origin of their ideas for Moana, the animation process, last - minute story changes, and how they got Troy Polamalu (former safety for the Pittsburgh Steelers) to make a voice cameo in the film.

Smith and Affleck return for a 27 - minute interview in which they discuss their history of working together and their experiences working on Jersey Girl.

Of the many thrills that come from interviewing creative people — variously, unknown, ascendant and at the top of their game — there's also the under - discussed flipside: talking with, 1) vapid young «actors» (line - reciters is more like it) who have neither a sense of film history nor an appreciation for their occupational good fortune and, 2) perfectly genial writers and directors who are nonetheless so relentlessly on script — occasionally reciting entire career - checking passages verbatim from press notes no doubt spit - polished into significance by some friendly faction in the dark wings — that you realize they actually have less summary insight or thoughts about several months or years of their own work than you do after 90 to 120 minutes with it.

For instance, one activity challenges students to discuss how the lack of any works of fiction or history in the Community affects the lives of its residents.

Oakland Unified history teacher Jennifer Brouhard discusses perceptions of women at work in the Richmond shipyards with 5th graders Luca Paz and Helenna Rekic.

It was with my mentors that I got to discuss the lessons that I had both observed and taught in the context of the most recent scholarship of History Teaching, to discuss the ramifications of the abolition of NC levels and plan a completely new History - specific model of assessment from scratch, and read and then discuss E.P. Thompson's Making of the English Working Class, both in the context of how we might introduce the content of Thompson's book into mixed ability classrooms in comprehensive schools, but also how Thompson's comments on the nature of historical change altered the way we thought about and taught historical change ourselves.

The teachers participated in training during the summer and continued during the school year, discussing topics such as the history and culture of schools, why the administration does certain things, how to prepare engaging instruction for teachers, how to work in professional learning communities, and how to deal with conflict.

This Library of Black History series title discusses the purpose and work of the Student Nonviolent Coordinating Committee and includes a chapter that specifically deals with their work with voter registration in the South.

He has also achieved success with works of popular science in which he discusses his own theories and cosmology in general; these include the runaway bestseller A Brief History of Time, which stayed on the British Sunday Times bestseller list for a record - breaking 237 weeks.

Other nonfiction works well worth discussing are Kenneth C. Davis» In the Shadow of Liberty: The Hidden History of Slavery, Four Presidents, and Five Black Lives (2016) and John Lewis and Andrew Aydin's March trilogy (2013 — 2016), all of which provide gripping perspectives on black history while also asking readers to consider that history's influence in our present - day liveIn the Shadow of Liberty: The Hidden History of Slavery, Four Presidents, and Five Black Lives (2016) and John Lewis and Andrew Aydin's March trilogy (2013 — 2016), all of which provide gripping perspectives on black history while also asking readers to consider that history's influence in our present - dayHistory of Slavery, Four Presidents, and Five Black Lives (2016) and John Lewis and Andrew Aydin's March trilogy (2013 — 2016), all of which provide gripping perspectives on black history while also asking readers to consider that history's influence in our present - dayhistory while also asking readers to consider that history's influence in our present - dayhistory's influence in our present - day livein our present - day lives.

Judy Chicago sits down with sociologist and writer Sarah Thornton to discuss the process and challenges of creating Chicago's iconic and ambitious work The Dinner Party, highlighted in our exhibition Roots of «The Dinner Party»: History in the Making.

In this unique gallery talk, Elena Shtromberg, associate professor in the Department of Art and Art History at the University of Utah, discusses specific works from Radical Women that inspire and provoke heIn this unique gallery talk, Elena Shtromberg, associate professor in the Department of Art and Art History at the University of Utah, discusses specific works from Radical Women that inspire and provoke hein the Department of Art and Art History at the University of Utah, discusses specific works from Radical Women that inspire and provoke her.

The pair will discuss the trajectory of Sala's art practice, his commitment to working with sound in relation to architecture and history, and his work for the exhibition «Anri Sala: Answer Me,» which includes multichannel audio and video installations that unfold across the Second, Third, and Fourth Floor galleries and create a symphonic experience specific to the New Museum.

Educator Lauren Ridloff discusses a work by Nancy Grossman in the exhibition An Incomplete History of Protest: Selections from the Whitney's Collection, 1940 — 2017.

The artists» selection of artwork developed through many conversations with curator Gary Garrels, in which they discussed the issues of their work, their individual studio practices, their appraisal of art history, and the current status of contemporary art.

Rod - ari and LaBate discuss how the important symbols found in these works can help visitors better understand their history and the stories they tell.

In an interview with Black Art In America, Shrobe discusses the rich history of materials, and poetically defines abstraction as a process wherein the artist invites materials to tell their own story.3 In so doing, Shrobe frees our collective imagination from the trappings of social object memory, uplifting the quotidian and inviting viewers with differing levels of art literacy to see themselves and their neighborhood reflected in his workIn an interview with Black Art In America, Shrobe discusses the rich history of materials, and poetically defines abstraction as a process wherein the artist invites materials to tell their own story.3 In so doing, Shrobe frees our collective imagination from the trappings of social object memory, uplifting the quotidian and inviting viewers with differing levels of art literacy to see themselves and their neighborhood reflected in his workIn America, Shrobe discusses the rich history of materials, and poetically defines abstraction as a process wherein the artist invites materials to tell their own story.3 In so doing, Shrobe frees our collective imagination from the trappings of social object memory, uplifting the quotidian and inviting viewers with differing levels of art literacy to see themselves and their neighborhood reflected in his workIn so doing, Shrobe frees our collective imagination from the trappings of social object memory, uplifting the quotidian and inviting viewers with differing levels of art literacy to see themselves and their neighborhood reflected in his workin his works.

In this video, Roni Horn discusses her work, Still Water (The River Thames for Example) and how the river figures into both history and imagination.

Here Stella discusses the show as well as the genesis of the works, their exhibition history, and what it means to present his works in Poland, where the titular inspirational wooden synagogues once stood.

, discussing directions in which photographic collections could or should develop, Discussing Provoke, a cross-analysis of the cult Japanese photo magazine, its historical context and its ties to the emergence of performance art in Japan in the 1960s, Photography Beyond the Image, on techniques used to produce photographic works that seek to go beyond the production of an image; Photography & Cinema in Practice, discussing vernacular photography in cinematic production and the role of still photography in the history of art; and The Artist As..., discussing the different roles that artists discussing directions in which photographic collections could or should develop, Discussing Provoke, a cross-analysis of the cult Japanese photo magazine, its historical context and its ties to the emergence of performance art in Japan in the 1960s, Photography Beyond the Image, on techniques used to produce photographic works that seek to go beyond the production of an image; Photography & Cinema in Practice, discussing vernacular photography in cinematic production and the role of still photography in the history of art; and The Artist As..., discussing the different roles that artists Discussing Provoke, a cross-analysis of the cult Japanese photo magazine, its historical context and its ties to the emergence of performance art in Japan in the 1960s, Photography Beyond the Image, on techniques used to produce photographic works that seek to go beyond the production of an image; Photography & Cinema in Practice, discussing vernacular photography in cinematic production and the role of still photography in the history of art; and The Artist As..., discussing the different roles that artists discussing vernacular photography in cinematic production and the role of still photography in the history of art; and The Artist As..., discussing the different roles that artists discussing the different roles that artists undertake.

In this conversation, artist in residence Kevin Beasley and Lumi Tan, Associate Curator at The Kitchen, will discuss Beasley's practice and works included in Material Histories: Artists in Residence 2013 — 1In this conversation, artist in residence Kevin Beasley and Lumi Tan, Associate Curator at The Kitchen, will discuss Beasley's practice and works included in Material Histories: Artists in Residence 2013 — 1in residence Kevin Beasley and Lumi Tan, Associate Curator at The Kitchen, will discuss Beasley's practice and works included in Material Histories: Artists in Residence 2013 — 1in Material Histories: Artists in Residence 2013 — 1in Residence 2013 — 14.

On the occasion of the publication of the new book The Big Picture:: Contemporary Art in 10 Works by 10 Artists, author Matthew Israel, and influential museum curators and directors Nicholas Baume, Adrienne Edwards, and Jens Hoffman discuss contemporary art's relation to art history and examine the place of contemporary art in museums as well as the future projects and programming at each panelist's institution.

Featuring an extensive text by Tiffany Bell which explores the artist's influences, history, and, most importantly, the work itself, as well as a significant essay by Robert Storr discussing Asawa's work in relation to mid-twentieth century art history, culture, and scientific theory.

Related: In recognition of Black History Month 2017, we were honored to have Harriet Kelley at the McNay to discuss the origins of the celebration, and to share her insight on two works from the Harriet and Harmon Kelley Foundation for the Arts.

Visual artist and quilter Marla A. Jackson discusses narrative quilt patterns like those found in works by Nari Ward, oral histories, and the vital coded language of the Underground Railroad.

Educator Lauren Ridloff discusses a work by Senga Nengudi in the exhibition An Incomplete History of Protest: Selections from the Whitney's Collection, 1940 — 2017.

The artist will discuss the history of her work as well as her experience of the Hammer Museum's Artist Residency Program, in which she led weekly drawing and embroidery workshops at the museum.

As the Japanese artist prepares to celebrate being named Deutsche Bank's «artist of the year» with a survey exhibition in Berlin, he discusses the pressures of art history, working with communities, the «Fukushima effect» and how to sell palm fronds.

She discusses her work and history in this interview and more can be learned by going to her website here.

In this selection of interviews, featuring artists from Vito Acconci to Shahzia Sikander, artists discuss works from the Metropolitan Museum of Art that spark their imagination and lend to their creative process, offering readers a unique look at art history through the artist's perspective.

In this Whitney Stories video, Michelson discusses the questions at the root of Devotion, including her role as choreographer, her relationship with dance and its history, and the way the work is intimately tied to the site where it's performed.

Snay discusses the role of drawing in France from 1500 to 1900, Bober explores the history of the Suida - Manning Collection, and Grant offers technical analysis of several works, unearthing new information about the creation and functions of the drawings.

Garabedian discusses his history as an artist, the challenges inherent in painting, and the subject matter of his new work: «I think with all artists an idea sort of manifests itself within a period time.

He discusses Pop Art's place in art history; his initial feelings about being considered a Pop artist; the influence of Los Angeles and its environment on his work; his feelings about English awareness of America; a discussion of his use of words as images; a discussion of the Standard Station as an American icon; a discussion of the notion of freedom as it is perceived as a Southern California phenomenon; how he sees himself in relation to the Los Angeles mural movement (L.A. Fine Arts Squad); the importance of communication to him; his relationship with the entertainment world in Los Angeles and its misinterpretation of him; his books; collaboration with Mason Williams on «Crackers;» his approach toward conceiving an idea for paintings; personal feelings about the books that he has done; the importance of motion in his work; a discussion of the movies «Miracle» and «Premium;» his friendship with Joe Goode; his return from Europe and his studio in Glassell Park; his move to Hollywood in 1965; the problems of balancing the domestic life and the artistic life; his stain paintings and what he hopes to learn from using stains; a disscussion of bicentemial exhibition at the L.A. County Museum: «Art in Los Angeles: Seventeen Artists in the Sixties,» 1981; a discussion of the origin of L.A. Pop as an off shoot from the American realist tradition; his feelings about being considered a realist; the importance for him of elevating humble objects onto the canvas; a discussion on how he chooses the words he uses in his paintings; and his feelings about the future direction of his work.

Focusing on his work in South Africa, Thomas will discuss his connection to history, identity, commercial iconography, and more.

Presented by Tate St Ives and University College Falmouth, there is an opportunity to hear the Turner Prize - winning artist Simon Starling at 6 pm on Wednesday in the Lecture Theatre, Woodlane Campus, UCF, when he introduces the ideas behind and discusses works from his new exhibition Simon Starling: Recent History which opens at Tate St Ives on February 5.

In it, he discusses not only his work, his inspiration, and his practice, but also his history and biography, topics about which he had carefully cultivated an air of ambiguity.

On March 15, 2013, Glenn Ligon discussed the layers of history, meaning, and physical material of three of his works in the permanent collection of the National Gallery of Art.

3 - 4PM Curator talk: Vassilis Oikonomopoulos in conversation with Abdulrahman Gazzaz Using recent examples of BRICKLAB's work, Abdulrahman Gazzaz and Vassilis Oikonomopoulos will discuss the role of objects, structures, histories and natures in BRICKLAB's practice

Harmony Hammond discusses her work and exploration of queer content in A Niche in History as part of the San Francisco Museum of Modern Art (SFMOMA) Live Projects series, at the Neptune Society Columbarium in San Francisco, CA.

December 2, 1:00 — 2:00 p.m. Curator - Led Tour Curator Hal Glicksman discusses the history and works of art in the collection.