Sentences with phrase «for conceptual practices»

This highly significant work by a French émigré who challenged long - held assumptions about what was considered art, paving the way for conceptual practices, is a fitting starting point for our exhibition.

Fred Wilson (b. 1954, New York) internationally lauded for his conceptual practice, received a MacArthur Foundation «genius grant» in 1999 and represented the United States with a solo exhibition in the US Pavilion for the Venice Biennale in 2003.

Adam Pendleton (b. 1984, Richmond, Virginia) is recognized for his conceptual practice, which encompasses painting, sculpture, publishing, photographic collage, video, and performance.

Not exact matches

The first set is this: It is re central to a complex set of other practices, such as practices of collecting and maintaining excellent to the extent that the conceptual growth is guided by an interest in God for God's own sake.

Of course, «conceptual resources» is far too weak a phrase, for if actual practices of care and discipline are absent, then our imaginations will be equally impoverished.

Only when midwives and obstetricians start working in partnership, and valuing each other's roles in supporting women, do we see women offered genuine choices, and offered the best care for themselves and their unborn baby (One example of research supporting this: Colter 2014, «Midwife - Physician collaboration — a conceptual framework for inter-professional collaborative practice»).

For academically at - risk students who have been enrolled in U.S. schools since kindergarten and who have experienced educational opportunities that are basically similar in design and practice, research suggests that a classroom - wide, universal approach focused on building up academic vocabulary and conceptual knowledge would be appropriate.

The example has clearly color coded sections for students to draw conclusions from and develop conceptual understanding as they apply their own knowledge through practice.

We'll cover concrete practices to help students develop a growth mindset through productive struggle, tactics for developing deeper conceptual thinking in mathematics and beyond, and strategies for moving past rote tasks in homework and in - class assignments to work that actually engages students» intellects and challenges them to think creatively.

It also provides educators with a conceptual framework for organizing and reflecting on curriculum assessment and pedagogical practices.

All include lesson plans, conceptual practice, idea templates for writing poetry, and some sample public domain poetry to assist in teaching.

The project documents the effectiveness of instructional practices that are likely to enhance multistep reasoning, systems thinking, conceptual and spatial understanding, and motivation for learning while learning to work with maps to solve problems involving geography and ecological awareness.

How the content standards and practice standards connect across grade levels to build on prior learning, deepen conceptual understanding, promote real - world application, and prepare students for high school level mathematics.

This exposure leads me to note the differences between for - profit cram school notions of learning, and the non-profit practices of enhancing student engagement for broader conceptual understanding.

Morgan theorizes that, just as children need to practice reading a lot and become fluent readers before they can analyze texts, math students need to become fluent with basic operations before they can talk about multiple methods for solving problems or arrive at deep conceptual understandings.

As has been well - documented for both children and their teachers, opportunities for reflecting upon practice enriches conceptual understanding, and deeper conceptual understanding improves practice (Bransford, 2000).

Focus and coherence in state content standards, combined with the standards for mathematical practice require rigorous conceptual understanding and fluency with math.

The hands - on learning board and 200 full - color activity cards in the LOGiCO system provide hours of independent, self - correcting practice in - Reading Math Science Social Studies Visual Discrimination Benefits of LOGiCO: Offers differentiated practice at three different, color - coded levels of difficulty Promotes learning independence, enthusiasm, and self - confidence Builds skills and conceptual knowledge required for success in school LOGiCO Classroom Package Includes 200 Activity Cards, 6 LOGiCO Learning Boards, Skill Divider Tabs, Scope and Sequence Skills Chart, and Teacher's Notes.

Recognizing that building a strong conceptual foundation was necessary to increase grade 6 math proficiency, the district focused its efforts two years earlier — on grade 4 math — adopting research - based practices and increasing opportunities for deeper learning that align with the districts vision for personalized, adaptive instruction.

[I had an interest] in all the concepts regarding practice, materials, conceptual engagements and all the issues that relate to the actual work itself and then the issues related to how works create a contextual environment for the viewer when they're installed in an exhibition space.

The 20 essays and book reviews that comprise Words For Art assess the practices and precepts of a wide range of artists, critics, and historians — from E. H. Gombrich's theory of perception and Walter Benjamin» views on color to the conceptual underpinnings of Mel Bochner's word paintings and the complications of Jack Tworkov's belief in the need for ethics in aFor Art assess the practices and precepts of a wide range of artists, critics, and historians — from E. H. Gombrich's theory of perception and Walter Benjamin» views on color to the conceptual underpinnings of Mel Bochner's word paintings and the complications of Jack Tworkov's belief in the need for ethics in afor ethics in art.

Yves Klein (1928 — 1962), was a conceptual artist par excellence, a radical, utopian dreamer described by the French critic, Pierre Restany as «a painter, but also infinitely more: a believer living in his own sense of the divine», whose diverse practice included ephemeral works in his quest for immateriality.

Yve - Alain Bois's book Painting as Model was written twenty - odd years ago and continues to be an important text, providing conceptual fodder for many contemporary art practices.

He candidly voiced the angst of striving to sustain a hermetic studio - based existence, of imbuing painting with conceptual and metaphysical validity, of being stuck with oneself and one's compulsive behaviors, and of constantly seeking the means to short - circuiting one's predilections in pursuit of an innovative artistic practice that retains urgency for both practitioner and viewer.

A conceptual artist known for her performance work and video installations, O'Grady will discuss how conversations around «post-racial» and «postfeminist» political ideologies influence her practice.

Known for his founding role in the Conceptual Art movement in the 1960's, his radical art practice continues to challenge the cultural status quo by exploring propositions about our relationships to objects and places.

Steir's practice embraces chance as a conceptual backbone for her work; the paintings form themselves through gravity and transform their own palette through the chemistry of the paint layers.

Ifeel that both the work and my studio practice have matured and this exhibition reflects my creative and conceptual ambition, even with the sculptural difficulties it throws up for me as an artist.»

The formal and conceptual complexity of her practice leave much room for investigations of composition and mark - making, representation and identity, and as viewers, we can only be certain that Ojih Odutola will continue to welcome us along as she excavates.

Known primarily for his association with the Arte Povera movement, Giulio Paolini is distinguished by practices that belong to a more strictly Conceptual context.

For LeWitt, the act of exchange seemed to be not only a personal gesture, but also an integral part of his conceptual practice.

Known for his handcrafted sculptural installations of crochet, tulle, spices and stones, Neto's renowned art - making practice draws from a wide variety of sources, from Modernist traditions of biomorphic abstraction, through Arte Povera and American Minimalism, to the legacies of Brazilian neo concrete, conceptual and Tropilcália movements.

The exhibition investigates this area of artistic practice by considering a variety of linguistic, conceptual, and sculptural approaches that artists have employed for scoring action.

A Mexico City — based conceptual artist, Minerva Cuevas is known for her research - oriented social practice that engages with pressing political and economic issues and the lives of everyday people.

Tuesday, April 26, 2016 11 AM — 1 PM: Lecture DER RISS — DRAWINGS AND CONSEQUENCES by Christian Schwarzwald, artist 1 — 2 PM: Lunch break 2 — 5 PM: Time for artistic practice and exchange Wednesday, April 27, 2016 11 AM — 1 PM: Lecture CONCEPTUAL DRAWING by Nadine Fecht, artist 1 — 2 PM: Lunch break 2 — 5 PM: Time for artistic practice and exchange Thursday, April 28, 2016 11 AM — 1 PM: Lecture CAPUT by Ralf Ziervogel, artist 1 — 2 PM: Lunch break 2 — 5 PM: Time for artistic practice and exchange Friday, April 29, 2016 11 AM: Guided tour through the exhibition «We're Off Then — Travel Pictures from Albrecht Dürer to Olafur Eliasson» at the Kupferstichkabinett.

And, while painting has certainly been subject to a reappraisal during the last few decades as postmodern theory, conceptual and time - based art practices have challenged the primacy of painting and increasingly advocated for the dematerialization of the traditional art object, the tenets and practice of painting far from disappearing or being weakened by this realignment, have indeed emerged revitalized and re-imagined in the hand of many a creative practioner.

Tuymans has specifically selected these artists for the individual nature of their practice and the paradoxical way each of them uses their medium — as the artist himself is a figurative painter who constantly seeks to extend the traditional boundaries of his own practice — Tuymans has sought to recognise a similar trait in the artists he has chosen to exhibit; their works collectively investigate the potential, formal and conceptual tensions within the notion of abstraction.

For an artist who borrows so much from contemporary black culture epitomized by the milieu on 125th street, Simmons's current work in this context makes a strong case for the transformative (and potentially stultifying) effects of conceptual artistic practicFor an artist who borrows so much from contemporary black culture epitomized by the milieu on 125th street, Simmons's current work in this context makes a strong case for the transformative (and potentially stultifying) effects of conceptual artistic practicfor the transformative (and potentially stultifying) effects of conceptual artistic practices.

For the 2016 Walter Annenberg Lecture, Rosler will speak about her multidisciplinary practice and the genealogy of conceptual and feminist art in the United States with Adam D. Weinberg, the Museum's Alice Pratt Brown Director.

Furthermore, this exhibition sheds light on the aesthetic universe of Carron, providing foundations for his visual and conceptual vocabulary and allowing insight into a practice that combines strategies of appropriation with sculptural bravado.

Martha Wilson's practice, for example, includes photo - text works and conceptual performance art in which gender - based roles and identities are explored, as she dresses in and assumes the identities of stereotypical feminine archetypes and also takes on male personas.

Though he has faithfully practiced painting for thirty - five years, Guillermo Perez Villalta considers himself a conceptual artist.

Pendleton's destabilization of authorship is a strategy that follows the structures and dynamic history of the avant - garde in the 20th century, and forms the conceptual foundation for a practice that expands from a dissolution between material and process.

Montgomery distills a unique mysticism in his works that communicates wider social messaging - bridging a gap between a search for genuine spiritual feeling and an updated «Beuysian» conceptual art practice of social sculpture.

As part of an expanded artistic practice, Quaytman was from 2005 to 2008 the director of the collectively run gallery in New York known as Orchard — a loosely knit collective of artists, filmmakers, and art historians widely admired for its innovative conceptual framework that sought to «put the diversity of its members» practices into discursive motion.»

The text, though at first slightly offputting, ends up being a valuable entry point for the often difficult - to - access conceptual practices of many of Dee's artists — like wall texts but better.

Published in 1973, Six Years simultaneously catalogued and described the development of conceptual art practices in the late sixties and early seventies, and is now widely considered an essential reference work for the period.

All practicing artists, writers, or critics, they bring with them conceptual rigor and a respect for the achievement of craft employed in their own practices.

The exhibition's subtitle, Performing for the Camera, emphasizes the aspects of masquerade, theatricality, and performance at the root of his conceptual photographic practice.

The gallery represents artists who use photography as a starting point for conceptual and interdisciplinary practices that span performance, sculpture, and installation.