Sentences with phrase «exploring ideas of art»

Her exhibition WALALA X PLAY is part of the gallery's summer programme — an immersive, interactive installation exploring ideas of art, wellbeing and human scale.

«This body of work explores the idea of art as a natural and evanescent object, meant to represent a memory or reflect a specific moment in time.

Not exact matches

They know the deal with art, they have plenty of ideas, my job is to provide the framework of a lesson, materials and some tips and then let them explore and create.

PACK EXPO Las Vegas will bring together top CPGs from around the world to explore state - of - the - art packaging technologies, equipment and materials as well as exchange ideas with peers and build professional relationships.

Out of the box learning ideas, playful art, exploring nature, and simple living - that is How We Learn!

We love the idea of piquing baby's interest in exploring the world from the very beginning, so gather your treasures from your past trips and choose art that encourages your little one to spread his wings.

The sale came as part of a themed auction called «Bound to Fail,» a selection of 39 works of modern and contemporary art exploring the idea of commercial failure and risk - taking to expand the boundaries of art.

What we need in higher education is a place to take bright ideas and see whether they're viable, to explore new modes of instruction, new ways of collaborating around the arts and performance.

He is a cartoonist by trade, and is using his art to explore the thoughts and ideas brought on by the death of a loved one.

It would have been even more fun to see Chinese martial arts infused with yoga poses, or fights between Chan and yoga masters, but Tong's screenplay is too heavily skewed toward mainland Chinese tastes to explore such ideas, marking a missed opportunity for an original mashup of Bollywood and Chinese entertainment styles.

Exploring the idea of spirit animals through art and expressing personalised portraits includes all lesson objectives and differentiation

The concept of Art as an idea is explored.

Students will: • Produce creative work, exploring their ideas and recording their experiences • Become proficient in drawing, painting, sculpture and other art, craft and design techniques • Use a range of techniques to record their observations in sketchbooks, journals and other media as a basis for exploring their ideas • Use a range of techniques and media, including painting • Increase their proficiency in the handling of different materials For more Champions of Change lesson plans and materials for BBC Children in Need, visit and our Tools and Resources pages to download directly: https://www.bbcchildreninneed.co.uk/championsofchange/resources Thank you.

When teachers and students explore the array of educational angles within a single work of art, notes the Art Institute's Robert Eskridge, «all of a sudden you have this interdisciplinary challenge that doesn't fit neatly into this class period followed by that one, and the idea of «teamwork» isn't relegated to after school.&raqart, notes the Art Institute's Robert Eskridge, «all of a sudden you have this interdisciplinary challenge that doesn't fit neatly into this class period followed by that one, and the idea of «teamwork» isn't relegated to after school.&raqArt Institute's Robert Eskridge, «all of a sudden you have this interdisciplinary challenge that doesn't fit neatly into this class period followed by that one, and the idea of «teamwork» isn't relegated to after school.»

Arts Festival Impacts aims to offer a case study to concretely examine theoretical ideas about the impacts of festivals, and, more broadly, further PZ's research interests in exploring the impacts and characteristics of arts and cultural offerings on community audienArts Festival Impacts aims to offer a case study to concretely examine theoretical ideas about the impacts of festivals, and, more broadly, further PZ's research interests in exploring the impacts and characteristics of arts and cultural offerings on community audienarts and cultural offerings on community audiences.

«We explored the idea of portfolios in writing, music, and art — the latter for all students, not just the serious musicians / artists,» Gitomer said.

Their shifting perceptions of multiple literacies were explored, as well as how these shifts in thinking helped shape or transform their ideas about teaching and learning language arts.

Participants will understand the value of using art and objects for increasing cultural competencies and critical thinking; experience pre - and post-museum trip activities that can be used to develop observation, deduction, and language skills, explore themes, and reinforce program learning objectives; and share their own ideas / resources for effective museum - based learning.

Attendees will explore ways to use museums as powerful sites for learning and engage meaningfully with art and artifacts in courses led by museum educators and classroom teachers, as well as continue exploration of Project Zero ideas begun the previous day.

Whether you are new to the field and looking for an insightful overview of group facilitation, or a seasoned veteran seeking inspiration and new ideas, here is your chance to gather some valuable tools and explore first hand the art of experiential facilitation and teaching.

OA: In The Art of Travel, Alain de Botton explores this idea that the finest way to apprehend beauty is to attempt to recreate it yourself.

Whether its the art scene that grabs you, or the idea of exploring Castle Tower along the Rhine and seeing some really amazing architecture, including the Neuer Zollhof buildings designed by Frank Gehry, Dusseldorf is a great city to visit.

We will generate a list of ideas of where you want to go: e.g. exploring the famous art galleries of Florence, staying in beautiful hotels or meeting the Italian people in a home stay in the vineyards of the Veneto countryside, a luxury hideaway to de-stress in the natural spa waters in the heart of Tuscany; a romantic retreat or a Honeymoon in Venice.

Students of USC's Interactive Media Program at USC's School of Cinematic Arts, Chen and Santiago were major proponents of showcasing ideas and feelings that gaming hadn't explored in the past.

Artists are paired with critics, curators, gallerists, writers or other artists to converse about art and the potential of exploring new ideas.

A major influence on the development of contemporary art in Scotland was the establishment of the Glasgow School of Arts» School of Sculpture and Environmental Art; where students learned to create art that explored ideas rather than a single traditional mediart in Scotland was the establishment of the Glasgow School of Arts» School of Sculpture and Environmental Art; where students learned to create art that explored ideas rather than a single traditional mediArt; where students learned to create art that explored ideas rather than a single traditional mediart that explored ideas rather than a single traditional medium.

The gallery is committing to exploring new ideas vis - à - vis traditional and new mediums and highlights a program of «Women in Art» as well as special events aligned with our creative vision.

We'll be taking over the studio for the month of January 2014 and are excited to have this opportunity to work together on our ideas, and to explore what art can be and what it can do.

The students have taken part in practical workshops, explored the art and ideas produced by a range of artists and have been on research trips to the Imperial War Museum in London.

An exhibition (19 May - 17 September 2017) of international contemporary art exploring the spiritual figure of Luther and inspiring ideas of the Reformation.

«Treasures of New York: Pratt Institute,» a PBS documentary now available for streaming, explores the great minds and bold ideas that have established Pratt as an art and design education powerhouse.

This two - part course taught by Whitney Teaching Fellow Paula Burleigh will explore ideas of «American - ness,» American culture, and the American Dream in twentieth century and contemporary art.

Jonathan Gabb is an artist who has been exploring the idea of paint as object since graduating from Cass school of art at London Metropolitan University in 2008.

Says the gallery in an email, «With the legalization of pot recreationally in eight states, along with the federal backlash from Jeff Sessions, we felt that this is the right time to explore this idea within the context of the arts.»

Focusing on the relationship with his friend and fellow artist Marcel Broodthaers, as well as artists ranging from George Condo, Gavin Turk and David Altmejd, the exhibition explores the way Magritte set into motion the concept of the «trashing of painting by painting itself», an idea still wilfully prevalent in art today.

Since 1974, Creative Time has produced over 350 groundbreaking public art projects that ignite the imagination, explore ideas that shape society, and engage millions of people around the globe.

In a new exhibition at the San José Museum of Art, artists use the idea of the single - family house to explore memory, identity, and belonging.

With concise eloquence she traverses a complex field of issues: inviting criticism she evokes ideas of value; the reference to a «crit», a nod to art education; in composition her works explore colour, line and form; and as drawings they point to experimentation and process.

The Mitchell - Innes & Nash exhibition poses that this idea, and others explored in Color Field painting, are critically relevant to developments in contemporary art: the notion of a painting rooted in process and material rather than gesture and reference.

The layers of ideas the artist explored in his early performance art, conceived of as existential explorations and social commentaries, have carried through to the more traditional studio practice he embraced upon moving to Shanghai in 2005, after living and working for eight years in New York City.

We see ourselves as a vehicle whereby under - represented artists can create, explore and exhibit their creative ideas outside the concerns of the commercial art world, offering many artists the exposure and recognition they deserve.

From the renowned Performa Commissions program — with ambitious new work by Paweł Althamer, Rosa Barba, Boris Charmatz, Raqs Media Collective, Subodh Gupta, Florian Hecker, Rashid Johnson, Joan Jonas, Ryan McNamara, Eddie Peake, Alexandre Singh, Marianne Vitale, and Tori Wraanes — to the inaugural Pavilions Without Walls, in which the biennial explored the character of contemporary art in Norway and Poland, and including special thematic focuses on ideas of Citizenship, the Voice, and the historic anchor of Surrealism, Performa 13 is an exhilarating look at the state of artists» performance today.

Schleuning also served an integral role in establishing and working with national and international institutional and creative partners to create and develop new perspectives, ideas, and possibilities for a series on the High's Piazza of outdoor interactive installations, increasing community engagement and offering the opportunity to explore how to engage with art outside of the museum galleries.

Organized by the Art Institute of Chicago, this traveling show explores how the topic of food has «allowed American artists both to celebrate and critique their society, expressing ideas relating to politics, race, class, gender, commerce, and how these categories define American identity.»

Through theatre - inspired exercises Ruth explored ideas of performance and physical actions as a way of making art with the group.

Using ceramic practices as a cue, the group exhibition explores ideas about the division between fine art and craft initiated in the 19th century, and the position of decorative arts within 20th century art history calling into question the relationship between contemporary aesthetics and social life.

This class focuses on developing each artist's inclination to make abstract art through a range of activities, studying in particular how to explore one's inspiration and ideas vis - à - vis process and using a language specific to each artist to develop coherent abstract images.

About: The Target Gallery, national exhibition space of the Torpedo Factory Art Center, promotes high standards of art by continuously exploring new ideas through the visual media in a schedule of national and international exhibitioArt Center, promotes high standards of art by continuously exploring new ideas through the visual media in a schedule of national and international exhibitioart by continuously exploring new ideas through the visual media in a schedule of national and international exhibitions.

In the late 1960s poet Ishmael Reed adopted the 19th - century term «HooDoo,» referring to forms of religion and their practice in the New World to explore the idea of spiritual practice outside easily definable faiths or creeds and ritualism on contemporary works of literature and art.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqArt as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raIdea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqart dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqart's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raidea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»