Sentences with phrase «exposure to the arts as»

They found of that group, those who own businesses or patents received up to eight times more exposure to the arts as children than the general public.

IPaintMyMind is a 501 (c)(3) non-profit dedicated to increasing the public's exposure to art as well as supporting artists.

Not exact matches

Almost as if in verification of Nietzsche's point, Besançon mentions in the Introduction how his exposure to contemporary art led him to write his book.

Mr. Lally's past practice has included successfully representing President George W. Bush before the Miami - Dade and Orange County Boards of Election at the 2000 Florida Recounts; handling numerous complex corporate reorganizations involving multi-jurisdictional assets; recovering priceless stolen art from an international auction house; restructuring of clients» business affairs to reduce their tax and liability exposure; successfully litigating major elections cases and appeals; representing media groups in domestic and international litigation; handling complex domestic relations, divorce, and custody matters; serving as general counsel to numerous corporations in the health care, media, manufacturing, and hospitality industries; and representing parties in multi-national litigation.

Such a move offers many obvious advantages: State - of - the - art facilities would allow me to carry out high - level engine testing, exposure to different research methods would enhance my own research skills, new challenges would emerge, and I welcomed the idea of working as part of a well - known research group and interacting with members of a team.

After working in performance art and installation, the Colombian - born and Toronto - based artist announced herself as a filmmaking talent to watch with her feature debut Señoritas, which we called «portraiture through accumulated exposure.»

To its credit, TIFF still finds room for both mainstream multiplex fare that will soon arrive in theaters (such as «The Martian,» Ridley Scott's latest foray into outer - space starring Matt Damon and opening Oct. 2) alongside smaller art - house titles that might never get a chance to reach theater screens without TIFF exposurTo its credit, TIFF still finds room for both mainstream multiplex fare that will soon arrive in theaters (such as «The Martian,» Ridley Scott's latest foray into outer - space starring Matt Damon and opening Oct. 2) alongside smaller art - house titles that might never get a chance to reach theater screens without TIFF exposurto reach theater screens without TIFF exposure.

Arts education today is more than instruction: it is also a barometer of our willingness as a nation to provide equity through our public institutions.I applaud Rocco Landesman for bringing his important message directly to Secretary of Education Arne Duncan at their joint appearance at the Arts Education Partnership: «Arts exposure is fine, but unless students are prepared for the art, unless teachers are integrating the art into the student's overall learning for the year, it remains exposure, not education....

The inclusiveness of the Arts, the space they provide to conceptualise and explore issues and the exposure to and influence upon audience allow students to enact social justice as well as to consider it.

Chin & Phillips (2004) found differences in children's exposure to academic learning experiences (such as camps and academic programs) and opportunities to develop their talents (such as art classes, piano lessons, and organized sports).

In budget conscious times, it has been our goal to continue to provide students the exposure to subjects such as physical education, music and art.

Since we know essential ingredients of a thriving future include a strong academic foundation as well as exposure to rich experiences outside of the classroom, we are committed to the arts, provide an array of field trips throughout California, invite special guest instructors, and host a robust summer camp.

A new nationwide survey on the state of arts education in U.S. public schools finds that arts offerings haven't declined as much as expected, but that students in high - poverty schools, particularly at the secondary level, do not receive the same rich exposure to arts opportunities as their wealthier peers.

Game creators have not received the necessary exposure for the public to respect games as art.

After meeting El Glaoui at Art x Lagos fair, «it seemed like a great opportunity to give our artists some reach and exposure, and bring them to a different group of people who would interpret the work differently as well,» said Abdullahi Umar, a cofounder and director of the gallery.

For Kathy Gerdon Archer, artist and owner of White Bird Gallery in Gloucester, involvement with the Rocky Neck Art Colony gave her the exposure and community she needed to succeed as a photographer.

When the Studio Museum in Harlem was established in 1968, its purpose was to serve as a nexus for black artists, to provide a platform for exposure and serve as a resource in an art world that...

In addition to this, Jarvis has independently curated and consulted on many fine art exhibitions including: The Amistad Center for Art and Culture's Double Exposure: African Americans Before and Behind the Camera five - city traveling exhibition (2007 - 2010); Black Abstraction at Harmony Hall Regional Art Gallery in Fort Washington, MD for the group Black Artists of DC (2011); GA Gardner: Interconnections at the Athenaeum in Virginia (2012); (in) Visible and (dis) Embodied: Repositioning the Marginalized as part of the Curatorial Initiative program at the District of Columbia Arts Center (2014) all in Washington, DC; and most recently, Of Present Bodies at the Arlington Arts Center, VA (201art exhibitions including: The Amistad Center for Art and Culture's Double Exposure: African Americans Before and Behind the Camera five - city traveling exhibition (2007 - 2010); Black Abstraction at Harmony Hall Regional Art Gallery in Fort Washington, MD for the group Black Artists of DC (2011); GA Gardner: Interconnections at the Athenaeum in Virginia (2012); (in) Visible and (dis) Embodied: Repositioning the Marginalized as part of the Curatorial Initiative program at the District of Columbia Arts Center (2014) all in Washington, DC; and most recently, Of Present Bodies at the Arlington Arts Center, VA (201Art and Culture's Double Exposure: African Americans Before and Behind the Camera five - city traveling exhibition (2007 - 2010); Black Abstraction at Harmony Hall Regional Art Gallery in Fort Washington, MD for the group Black Artists of DC (2011); GA Gardner: Interconnections at the Athenaeum in Virginia (2012); (in) Visible and (dis) Embodied: Repositioning the Marginalized as part of the Curatorial Initiative program at the District of Columbia Arts Center (2014) all in Washington, DC; and most recently, Of Present Bodies at the Arlington Arts Center, VA (201Art Gallery in Fort Washington, MD for the group Black Artists of DC (2011); GA Gardner: Interconnections at the Athenaeum in Virginia (2012); (in) Visible and (dis) Embodied: Repositioning the Marginalized as part of the Curatorial Initiative program at the District of Columbia Arts Center (2014) all in Washington, DC; and most recently, Of Present Bodies at the Arlington Arts Center, VA (2014).

It's opportunities such as these that give students vital exposure to the local art scene and experience in applying their growing knowledge and expertise to the pragmatics of organizing exhibitions.

You don't have to spend much in the so - called art world to discover that exposure and fame are as much of a mystery as art itself.

MW Capacity is known among painters and art enthusiasts as an online hub for exposure to and discussion about painting, particularly painting in the Midwest, although the artists selected for this exhibition reside in a wide variety of locations throughout the United States.

Short Shows, such as the ones at DVAC, provide exposure to works by artists outside of the regular exhibition schedules and make for a lively arts scene.

Drexler had considerable exposure to the performing arts as a child, attending vaudeville acts with her friends and family.

The exposure to different corners of the art world, diving into performative and video art, pretty much everything that would be categorized as contemporary art, was so fresh.

Summer School asserts that art can serve as a platform for children to develop critical and creative thinking, and early exposure can lead to a lifelong interest in art.

In keeping with the exhibition series and commissioned in conjunction with Providence College's Centennial programming, From New Castile to New England: Fly on the Wall uses contemporary art as a lens through which to have a look at this multi-faceted region in Spain, once a hub - site for St. Dominic's early ministry and exposure to the arts.

Weekly informal gatherings, inter-studio visits and activities, as well as monthly field trips and meals together, are designed to form a community, foster cultural and exchange of artistic practices and ideas among residency and studio artists, and provide exposure to New York based artists and art institutions.

Juliana Huxtable is a transgender model, D.J., writer and artist whose most prominent art world exposure to date has been as the nude subject of an iridescent 3 - D sculpture by Frank Benson at the 2015 New Museum Triennial, where her photographs were also on display.

The gallery created this monthly solo art exhibition series as an outlet for emerging, mid-level and, even, professional artists to gain more worldwide online exposure.

Fusion Art is also an online gallery website where new, emerging and professional artists can enter online juried art exhibitions, obtain competition experience, as well as gain exposure to art collectors and art professionaArt is also an online gallery website where new, emerging and professional artists can enter online juried art exhibitions, obtain competition experience, as well as gain exposure to art collectors and art professionaart exhibitions, obtain competition experience, as well as gain exposure to art collectors and art professionaart collectors and art professionaart professionals.

As editors of the Chadwick Family Papers, Blachly and Shaw have exhibited work and given lectures related to their findings at the Winkleman Gallery, New York, NY; Southern Exposure, San Francisco, CA; Museum of Art and Design, New York, NY; The Tate Modern, London, England; and the Queens Museum of Art, Flushing, NY.

When the Studio Museum in Harlem was established in 1968, its purpose was to serve as a nexus for black artists, to provide a platform for exposure and serve as a resource in an art world that gave scant consideration to diverse voices.

Exposure to these works — with which many Chinese artists might be familiar only in reproduction or online — is seen by Tinari as a means of fostering creative dialogue between the two artistic traditions and diminishing the «time - lag» that hindered domestic art for so long after the Reform and Opening Up period that followed Mao's death in 1976, traditionally taken as the «starting point» of contemporary Chinese art (Tinari concedes that this is a useful marker, but suggests that a new generation of art historians should «complicate» such simplified narratives).

Our partners, Flanders Arts Institute, ArtBrussels, the artmagazine art and the printing company Cassochrome as well as our sponsors, ING, Eeckman Art & Insurance and Linklaters greatly contributed to give the BelgianArtPrize and its participating artists an enhanced international exposure and we are extremely grateful to them for their trust and structural suppoart and the printing company Cassochrome as well as our sponsors, ING, Eeckman Art & Insurance and Linklaters greatly contributed to give the BelgianArtPrize and its participating artists an enhanced international exposure and we are extremely grateful to them for their trust and structural suppoArt & Insurance and Linklaters greatly contributed to give the BelgianArtPrize and its participating artists an enhanced international exposure and we are extremely grateful to them for their trust and structural support.

Documentary and portrait photography from the collection The Museum of Contemporary Art, Oslo The End of an Age Gemeentemuseum, The Hague 2016 West Concourse Gallery, National Gallery of Art, Washington D.C. Strange and Familiar: Britain as Revealed by International Photographers Manchester Art Gallery, Manchester Rudin Prize for Emerging Photographers Norton Museum of Art, West Palm Beach Nude: Art from the Tate collection Art Gallery of New South Wales, Sydney Intra-Action: Women Artists from the Harn Collection Harn Museum of Art, Gainesville Underway SKMU Sorlandets Kunstmuseum, Kristiansand First Light: Rineke Dijkstra / Nan Goldin ICA, Boston Who Shot Sports: A Photographic History, 1843 to the Present The Brooklyn Museum, New York Invisible Adversaries, Marieluise Hessel Collection Hessel Museum of Art, Annandale - on - Hudson, New York ENERGY FLASH: The Rave Movement MUHKA — Museum van Hedendaagse Kunst Antwerp, Antwerp Counterpoints: Photography Through the Lens of Toronto Collections Justina M Barnicke Gallery, University of Toronto, Toronto Art Alive Festival Louisiana Museum of Modern Art, Humlebæk Idiosyncrasy: Anchovies Dream of an Olive Mausoleum Centro de Artes Visuales - Fundación Helga de Alvear, Cáceres Portrait De L'artiste En Alter FRAC Haute - Normandie, Sotteville - lès - Rouen Private Exposure me Collectors Room, Berlin On Paper: Picturing Painting The Baltimore Museum of Art, Baltimore Strange and Familiar: Britain as Revealed by International Photographers Barbican Art Gallery, London Botticelli Re-imagined The V&A London Queensize Museum Arnhem, Arnhem A quoi tient la beauté des étreintes FRAC - Auvergne, Clermont Ferrand Fire under snow Louisiana Museum of Modern Art, Humlebæk 2015

He was nominated for the Turner prize in 2007 [partly thanks to the installation for Frieze art fair, which I mentioned above] and lost out — rightly, as it happens, to Mark Wallinger — but Venice will give him the opportunity for huge exposure among the best of the best of international contemporary art.

Both her style and materials would change as a result of her exposure to this ancient art.

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 developmarts, 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 developmArts 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.

As the art world moved on from the dominant paradigm of Abstract Expressionism, Bellamy gave exposure to new sensibilities, as Oldenberg said, bringing «the ethos of downtown to uptown.&raquAs the art world moved on from the dominant paradigm of Abstract Expressionism, Bellamy gave exposure to new sensibilities, as Oldenberg said, bringing «the ethos of downtown to uptown.&raquas Oldenberg said, bringing «the ethos of downtown to uptown.»

Influences upon these movements were varied: from exposure to Eastern decorative arts, particularly Japanese printmaking, to the coloristic innovations of Turner and Delacroix, to a search for more realism in the depiction of common life, as found in the work of painters such as Jean - François Millet.

His all - ages workshops that he has held over the years in his studio as a community service have inspired many students who would otherwise have no exposure to art.

Students receive critical guidance and exposure to a broad range of aesthetic perspectives and professional experiences from the faculty, visiting artists and critics, as well as from an excellent internship program that emphasize the development of personal visions grounded in strong professional development and a solid foundation in the fundamental processes of photography, filmmaking, and installation art.

The artist and KM Fine Arts have joined with the Rush Philanthropic Arts Foundation and Russell Simmons to redirect a portion of the proceeds from the show toward providing exposure to the arts for urban communities where such opportunities may be scarce, as well as support for exhibitions by under - represented artiArts have joined with the Rush Philanthropic Arts Foundation and Russell Simmons to redirect a portion of the proceeds from the show toward providing exposure to the arts for urban communities where such opportunities may be scarce, as well as support for exhibitions by under - represented artiArts Foundation and Russell Simmons to redirect a portion of the proceeds from the show toward providing exposure to the arts for urban communities where such opportunities may be scarce, as well as support for exhibitions by under - represented artiarts for urban communities where such opportunities may be scarce, as well as support for exhibitions by under - represented artists.

Founded in 1995 by brothers Russell, Danny, and Joseph «Rev. Run» Simmons, Rush Philanthropic is dedicated to providing inner - city youth with significant exposure and access to the arts, as well as providing exhibition opportunities to under - represented artists and artists of color.

An internship at Vox Populi provides exposure to the world of contemporary art from an alternative, collective perspective for those considering a future in the arts as an artist, curator, or administrator.

Southern Exposure is committed to continuing to serve as a resource for the independent visual arts community through Alternative Exposure and our other programs.

In a savvy move, Andy Warhol Museum associate curator of art Jessica Beck tapped Cheung to install a version of this piece in the Warhol's Exposures window series, a reference to Warhol's early days as a window dresser.

10 % of the show's proceeds will benefit the foundation which is dedicated to providing inner city youth with significant exposure to the arts, as well as, supporting under - represented artists with exhibition opportunities.

We talked about Kuo's early exposure to Fort Thunder as a student at RISD, how wild and elegant color is, My Chemical Romance making good on their promises as a band, the lineage of emo, the best time of day to paint, getting into self - publishing, the new Obama portrait, anxiety and jokes, literally biting your tongue, how Peter Halley has made the same painting for decades and why that's the one of the most audacious radical painting moves out there, Kuo's band HEX MESSAGE, why Bart Simpson is still on every single thing in the zine tent at the New York Art Book Fair, Jeremy Lin and bootleg merch beef, Kuo's two - person exhibition «It Gets Beta» with Scott Reeder in 2015, avoiding knuckleheads so you can enjoy watching sports, being the last generation who for some reason is still afraid of selling out, his own roundball podcast Cookies, and embracing the simulation.

From there she moved to Southern Exposure and served as its associate director until leaving to take the galleries manager position at the San Francisco Arts Commission in 2008.