Sentences with phrase «greatest value of art»

Not exact matches

Transform legacy applications to state of art technologies and modern architecture to stay relevant and deliver greatest business value

In worship, art, architecture, literature, communal life, language, beliefs, moral values, models of a virtuous life, views of the past, the persistence of an aristocratic culture» in all of these aspects of life, a profound and far - reaching transformation of the society was underway, and the book would have benefited from greater attention to at least some of them.

Great art is the arrangement of the environment so as to provide for the soul vivid, but transient, values.

It shows us the beauty of «the art of defending» and reminds us all, about the great value of team work.

«The things that go into making a great coach area: 1st: being a really compassionate caring person that has a real interest in people growing... the art of coaching begins with [a real] understanding [of] the value of the person in front of you... that high regard that a person has for another is at the center of GREAT coaching... That space between... the outcome and what [we say] to them... defines young minds, how they think about themselves taking the credibility from an adult vgreat coach area: 1st: being a really compassionate caring person that has a real interest in people growing... the art of coaching begins with [a real] understanding [of] the value of the person in front of you... that high regard that a person has for another is at the center of GREAT coaching... That space between... the outcome and what [we say] to them... defines young minds, how they think about themselves taking the credibility from an adult vGREAT coaching... That space between... the outcome and what [we say] to them... defines young minds, how they think about themselves taking the credibility from an adult voice.

First people earn money for their own comfort, but in the low tens of millions of dollar range and up, most people who earn great wealth struggle to spend it as fast as they earn it, because at that point many of the things that they purchase (e.g. real estate and art) don't get used up and decline in value after you buy them.

Governor Ambode, who was represented at the commissioning by his Special Adviser on Tourism, Arts and Culture Hon. Adebimpe Akinsola, described the statue as a monument of great value that describes the passion Lagosians and Nigerians bestow upon sports and football in particular.

Each winner shown below offers great audio quality, state - of - the - art tech, and excellent value.

For even better value click on the bundle link and buy this self - assessment worksheet as part of my great value art self - assessment bundle.

citizens formation make us more and more able to value and to use our great assets of joy, art, movement, ancestral sustainable values, attitudes and skills to increase our capacity to develop creative alternatives to unsustainable public policies.

Free cultural events, such as Art's Biennials exhibitions of famous artists of all continents, Cinema, Theater, Music and Dance International Festivals are great channels for non-formal dissemination of Global Citizenship values, mainly in respect and appreciation of cultural diversity.

In CECIP's perspective, Brazil needs to foster Global Citizenship Education — with whatever denomination it takes -, since its methodologies and strategies for active learning, racism / sexism deconstruction, democracy reinforcement and glocal citizens formation make us more and more able to value and to use our great assets of joy, art, movement, ancestral sustainable values, attitudes and skills to increase our capacity to develop creative alternatives to unsustainable public policies.

In addition to the general knowledge these experiences convey, the research I've done with others at the University of Arkansas on the effects of field trips to art museums and to see live theater suggests that these culturally enriching experiences change student values to promote greater tolerance and empathy.

I believe deeply that arts education is of great value in and of itself, not only instrumentally; I believe just as emphatically that education in the arts is the business of all of us, from the home and the family to the neighborhood and the village, from the P - 12 school system to higher education to lifelong learning, culminating in the great and defining legacy of our public culture.

The California Department of Education's English Language Arts Framework (1987) also emphasized a literature - based curriculum that «engaged students with the vitality of ideas and values greater than those of the marketplace or video arcade» (p. 7).

While completing their professional practical experience, the majority of respondents reported being exposed to schools that did not value the arts, instead placing greater emphasis on other academic subjects.

They have a great understanding and appreciation of the importance of the arts, both for its intrinsic value and how it impacts and influences student academic achievement.

For 2016, the models below present great value, useful and attractive designs and state - of - the - art optional features.

Underrated: Book Review: It's All About Who You Hire, How They Lead..., Book Review: The Art of Value Investing, Book Review: The Great Rebalancing, Book Review: Time Out For Happiness, Book Review: The Snowball, Part One, Book Review: The Payoff, Book Review: The Nature of Risk, Book Review: The Crisis of Crowding, Book Review: Bailout, Book Review: The Malign Hand of the Markets.

Value Investing is as much art as science and the investor psychology plays a great role in the success or failure of your investment strategy.

As the UK's leading provider of specialist rail holidays for more than thirty years, Great Rail Journeys has perfected the art of creating escorted rail tours in South Africa which combine the best and most memorable experiences with outstanding value for money.

Its winning mix of heritage, sun - kissed beaches, state - of - the - art facilities and superb value has propelled it into the league of one of the world's great destination cities.»

Febris Hotel and Spa offers great value, three - star accommodation in Kuta, located on the famous Jalan Kartika Plaza, which is only a five - minute transfer from the Ngurah Rai International Airport in the neighbouring area of Tuban.This southern Kuta beach area also provides ease of access to among the notable highlights of the area, such as the Discovery Shopping Mall, the largest in the area, and the best water park in Bali, Waterbom Bali.The sands of Kuta Beach are within only walking distance from this street - side hotel and an abundance of other shopping opportunities are down the street, such as the Kuta Art Market, the Kuta Square and Kuta Centre.

Keep reading to find out about an art deco gem in an old water works building, another in the executive offices of a brewery, a Starwood property poised to become Australia's largest hotel, plus a great value in a converted mid-century mod office tower.

Coming just a couple of years after our first PSP game, award winning Syphon Filter: Dark Mirror, our goal was to create another great chapter in the saga of Gabe Logan, blowing out both the game play and production values to create a state - of - the - art Syphon Filter experience.

Toki Tori 2 + features some exceedingly beautiful music and art design and very high production values - from the little details like the scared look in an NPC frog's eyes as he finds himself in a dark cave, to the bigger moments like when the music picks up as you gain some progress in a puzzle, you'll find the game has a great sense of pacing.

*** Ultimate Marvel vs Capcom 3KOF XIVMortal Kombat XL Killer Instinct Pokken Tournament Blazblue Centralfiction UNIEL Guilty Gear Xrd Relevator Dead or Alive 5 Last Round *** $ 100 Pot Bonus *** Tekken Tag Tournament 2 Super Street Fighter II Turbo Street Fighter III Third Strike WWE 2K17 Soul Calibur II Rivals of Aether Windjammers Gears of War 4 Texas Hold em Poker in the Poker Room and many more to be announced... Watch the Announcement Trailer here: https://youtu.be/iPdBCGltZjA Live streams provided by: Team Sp00ky Sabin (Art Sanchez) https://www.twitch.tv/teamsp00ky Bifuteki https://www.twitch.tv/bifuteki Punch - Kick - Block https://www.twitch.tv/kpblive Game Underground https://www.twitch.tv/gameunderground Kombat Network https://www.twitch.tv/kombatnetwork Great Value Smash http://www.hitbox.tv/greatvaluesmash Here is the link to reserve your hotel at Foxwoods!

Awesome stealth mechanics; Augmentations add a whole lot of depth to the game; Heavy choice based gameplay, a lot of freedom to play the way you want; Great story with nice twists; Really likable main character; City hubs are open and rich; Atmospheric; Really believable world; Really long adventure; Very high replay value; Exceptional art design; Brilliant level design; Soundtrack is awesome; Awesome cover system; Takedown animations are flashy and slick; Third person view to first person view transition is smooth and fluid

If we could come up with an idea to protect our art that would be of great value in itself!

The value of art is such a great question it always reminds me of what happened to me and the lesson about value that it taught me.

For example, the value of art is subjective and may fluctuate to a greater degree than other types of collateral.

In the end, the greatest value of this fascinating show might be a reminder that place, not things, has always defined us as a nation, and that engagement with that great theme has given us much of our lasting and most important art.

In revealing the failure of much academic art history, and a great deal of history in general, to take account of the unacknowledged value system, the very presence of an intruding subject in historical investigation, the feminist critique at the same time lays bare its conceptual smugness, its meta - historical naïveté.

Presenting work by some of the greatest artists of the 20th century alongside those at the forefront of contemporary art, Christie's Post-War and Contemporary Art Evening Auction in London totalled # 137,459,750 / $ 189,969,375 — the highest ever for a London Post-War sale, and was 92 per cent sold by lot and 96 per cent by valart, Christie's Post-War and Contemporary Art Evening Auction in London totalled # 137,459,750 / $ 189,969,375 — the highest ever for a London Post-War sale, and was 92 per cent sold by lot and 96 per cent by valArt Evening Auction in London totalled # 137,459,750 / $ 189,969,375 — the highest ever for a London Post-War sale, and was 92 per cent sold by lot and 96 per cent by value.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the gGreater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the gGreater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the gGreater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the ggreater, when the lesser is invested in its lesser relationship to the greatergreater.

This tells us a great deal about the price of contemporary art, but it also raises questions about value in cases where an aesthetic difference can not be discerned.

In the midst of the Great Depression, on January 16, 1936, Virginia's political and business leaders bravely demonstrated their faith in the future and their belief in the value of art by opening the Virginia Museum of Fine Arts in Richmond.

There is a push - pull in the art market where value often comes from works of art trading with exceptional infrequency even as the fact of repeated sales of art in general and an artist's work or even a specific work, in particular, gives buyers greater confidence in art as a store of value (or an asset class.)

In the midst of the Great Depression, on January 16, 1936, Virginia's political and business leaders bravely demonstrated their faith in the future and their belief in the value of art by opening the Virginia Museum of Fine Arts in Richmond on the former site of the Robert E. Lee Camp Confederate Soldiers» Home.

So much pious pontificating rubbish is spouted about the function and value of the arts in society that I was delighted last week to catch the great sculptor Anthony Caro putting the subject into wise perspective during an interview with my colleague Alastair Sooke on the latter's BBC Four series Romancing the Stone.

In international terms, Arte Povera is the most famous and most influential Italian art movement of the late 20th century, marked by the sweeping aside of limits of space and time and the accomplished form of the artwork in favour of a greater focus on the processes, on the intrinsic value of materials, on nature and the senses as a possibility of life and not of representation.

Since the early 1990s, Pedro Cabrita Reis has made masterful use of architectural materials including cement, bricks, wood, steel, metal, beams and actual fragments of architecture, which he juxtaposes with elements from the visual arts such as enamels, pigment and neon light to create poetic, imagination - led works of great political value, capable of revealing memories associated with the context in which they are located and from where they come.

Daniele Dodd, one of the founders of the charity Salon Des Arts, which raises money to promote the arts, said she thought conceptual art was «great when the idea behind it has value&raqArts, which raises money to promote the arts, said she thought conceptual art was «great when the idea behind it has value&raqarts, said she thought conceptual art was «great when the idea behind it has value».

A fascinating account of an extraordinary life, defined by the process of accumulation and the unknown value of objects, which was lived amidst the great art and artists of the 20th century.

The value of criticism when it is allied to a great social issue within a given constituency is that it records, discusses, and introduces audiences to art that was intended to transcend or bypass museums and markets and connect with multitudes.

During his years at university, one teacher had influenced him most: the highly independent - minded Margaret Peterson, whose total dedication to her teaching, and insistence on the ethical value of art, were to have a great impact on the artist Elmer Bischoff would be.

«New Works in Context» also reveals the generosity of the many donors who understand the value of making great art available to the community, according to the museum.

It is one reason why we value art and part of what makes her a great artist.

Jim D observes «Leftist people tend to go into academics, arts and science because they see value in teaching, service, advancement of arts and knowledge for the greater good, a greater cause than themselves.

It is very clear why leftist people tend to go into academics, arts and science because they see value in teaching, service, advancement of arts and knowledge for the greater good, a greater cause than themselves.