Sentences with phrase «high art contexts»

The early lumping of Mr. Rauschenberg's work with Pop art now looks like a misreading, as his creativity went far beyond pressing low culture imagery into high art contexts.

Images of sex, so often depicted from a male perspective ---- whether for overtly pornographic purposes or with greater prurience in the high art context ---- are in Semmel's work reconfigured from her perspective as a woman witnessing, capturing, and interpreting the act.

Not exact matches

My first proposal for the reorganization of higher education accented the distinctive role of the professions and the importance of liberal arts in this context.

The High - Leverage Practices Video Exemplars Collection documents a range of mathematics and English Language Arts teachers whose practice TeachingWorks has chosen to exemplify the high - leverage practices in different forms and in different school conteHigh - Leverage Practices Video Exemplars Collection documents a range of mathematics and English Language Arts teachers whose practice TeachingWorks has chosen to exemplify the high - leverage practices in different forms and in different school contehigh - leverage practices in different forms and in different school contexts.

Higher Level students have an extra requirement for The Comparative Study... criterion F, which gives context to their own work in relation to the artwork studied, by making meaningful connections.You can reference the full CS Assessment Criteria here Criterion F. Making Connections to Own Art Making Practice (HL only): 12 points possibleHL students reflect on how the work chosen for consideration...

The literacy tasks are developed to align with the Common Core English Language Arts Standards and are meant to promote high - quality student assignments that develop reading, writing, and thinking skills in the context of learning science, history, English, social studies, and other subjects.

The tasks are developed to align with the Common Core English Language Arts Standards and are meant to promote high - quality student assignments that develop reading, writing, and thinking skills in the context of learning science, history, English, social studies, and other subjects.

After examining our students» contexts, we may find that find it appealing to pursue success on an exam that will increase students» life opportunities but is not aligned to the course they are teaching (such as a High School Exit Exam that measures mastery of some components of algebra (your course) but also components of language arts, chemistry, biology, economics, geometry, U.S. history and world history).

Developed in cooperation with the U.S. Department of Education and the White House Policy Council, the initiative aims to demonstrate that high - quality, integrated arts education boosts academic achievement, motivates student learning, and improves school culture in the context of school reform.

That solitude gives Rebecca plenty of time to figure out whether her camera is still the best way to share what she sees with the world — and to determine who she is outside of the context of high - end art galleries and New York City.

The $ 10,000 cash award, intended to be used for college, is funded by the Municipal Art Society and the Rockefeller Foundation and given to two exceptional NYC public high school seniors who demonsrate academic and extracurricular commitment to environmental stewardship with the urban context.

Questioning the distinctions between high and low art, Ceramics presents new works that are an appropriation and celebration of the cultural and historical vernacular traditions of her native Poland and a wider European context.

When removed from a militant context, many weapons can be taken for decorative arts objects due to their intricacy and high level of craft.

Much like the internet itself, Art in the Age of the Internet is great at delivering high - quality, likable content, but not as good at providing a substantial context.

Inspired by the High Line as an ambulatory space experienced most naturally in motion, Wanderlust extends the tradition of Conceptual art wherein the act of walking served as an inspiration for many artists who explored life both in the urban context and in an ambivalent confrontation with nature.

Madahar also referenced the work of early - twentieth - century photographer of high society Madame Yevonde (1893 --- 1975), adding another layer of art historical context.

First Mark upends the conventions of viewing art with works placed high and low, reflecting the artist's interest in how found objects fuction outside their usual context.

While the field of social practice has had an increasingly high profile within contemporary art discourse, this book documents artists who have been under - recognized because they do not show in traditional gallery or museum contexts and are often studied by specialists in other disciplines, particularly within the Latin American context.

There are several characteristics which lend art to being postmodern; these include bricolage, the use of words prominently as the central artistic element, collage, simplification, appropriation, performance art, the recycling of past styles and themes in a modern - day context, as well as the break - up of the barrier between fine and high arts and low art and popular culture.

Unlike most fairs, galleries handling objects ordinarily seen in a design context are given equal billing to high - end art dealers, which gives the event a pleasant domestic feel.

Growing up in the Midwest, he was heavily influenced by Chicago's modern architecture and developed an in - depth understanding of contemporary art within the context of architecture while working at the Des Moines Art Center and the High Museum of Aart within the context of architecture while working at the Des Moines Art Center and the High Museum of AArt Center and the High Museum of ArtArt.

In juxtaposing the myriad references the coins bring to mind — the ubiquity of 99 Cent stores in low - income neighborhoods, accompanied by the textual references to sales and bargains — alongside the high - art status of the actual objects, stunningly rendered in burnished metal, and displayed in the context of a Chelsea gallery, poignant contrasts emerged.

He has shown his work internationally, including exhibitions at New Galerie, Paris; Higher Pictures, New York; Exile, Berlin; Institute of Contemporary Art, London; Carlos / Ishikawa, London; China Art Objects, Los Angeles; and in a variety of noninstitutional contexts on the Internet.

Taking a cue from Warhol and Lichtenstein, who also incorporated comics via silkscreen or stencil, Prince succeeds in bringing a «low» art form into a «high» art context.

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 developmHigh 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 developmhigh 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 developmhigh 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 developmhigh 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.

«One way of understanding the relation of the terms «modern,» «modernity,» and «modernism» is that aesthetic modernism is a form of art characteristic of high or actualized late modernity, that is, of that period in which social, economic, and cultural life in the widest sense [was] revolutionized by modernity... [this means] that modernist art is scarcely thinkable outside the context of the modernized society of the late nineteenth and twentieth centuries.

Through such tactics Dahn's suggests there is no distinction between high and low culture: «You can transform the low, the most shitty and obvious things, into high quality art, recycle them into an art context where they take on different meanings... That's my strategy, working with these kinds of mass or working class icons.

With an eye towards honoring and connecting with the history and context of Post War art, Jonathan LeVine Projects explores the terrain of the high / low and everything in between.

Medford Johnston: Counterpoise and Splendor: The Work of Jim Waters, at the High Museum of Art through June 8, place two distinctive bodies of locally made artwork in a broader historical context.

Jo Spence (British, 1934 − 1992) was a pivotal figure in the establishment of a post-modern feminist discourse who challenged the dominance of photography - as - high - art in the context of the museum and the art market.

Knowing the historical context of the nude in high art and refreshing the complex artist - model relationship, her work is distinct from the «raw» figure paintings of Jenny Saville and Lucian Freud, and goes beyond John Berger's juxtaposition of female nudes from old master paintings with porno shots in Ways of Seeing (1972).

In this context Point of View as a collection represents how artists offer up an alternative to mainstream, mass - produced culture's content by combining the imaginative and innovative properties identified with high art with forms and subjects drawn from advertisements, commercial movies, graphic and industrial design, science fiction, and popular music.

This original documentary provided an artistic and historical context to Miró's works through stunning high - definition video, historical footage and photographs of the artist at work in his studio, and in - depth interviews with the Marshall Price, the Nasher Museum's Nancy Hanks Curator of Modern and Contemporary Art; Nasher Museum Director Sarah Schroth and Miró scholar Robert Lubar.

I read this as an undergraduate with particular relationship to Chicana / o studies, but it remains critical to me for offering a meaningful way to understand the inextricably related nature of cultural production, power and context, something so often elided when we begin to stratify high art and popular culture.