Sentences with phrase «later collective works»

Not exact matches

[16:00] Pain + reflection = progress [16:30] Creating a meritocracy to draw the best out of everybody [18:30] How to raise your probability of being right [18:50] Why we are conditioned to need to be right [19:30] The neuroscience factor [19:50] The habitual and environmental factor [20:20] How to get to the other side [21:20] Great collective decision - making [21:50] The 5 things you need to be successful [21:55] Create audacious goals [22:15] Why you need problems [22:25] Diagnose the problems to determine the root causes [22:50] Determine the design for what you will do about the root causes [23:00] Decide to work with people who are strong where you are weak [23:15] Push through to results [23:20] The loop of success [24:15] Ray's new instinctual approach to failure [24:40] Tony's ritual after every event [25:30] The review that changed Ray's outlook on leadership [27:30] Creating new policies based on fairness and truth [28:00] What people are missing about Ray's culture [29:30] Creating meaningful work and meaningful relationships [30:15] The importance of radical honesty [30:50] Thoughtful disagreement [32:10] Why it was the relationships that changed Ray's life [33:10] Ray's biggest weakness and how he overcame it [34:30] The jungle metaphor [36:00] The dot collector — deciding what to listen to [40:15] The wanting of meritocratic decision - making [41:40] How to see bubbles and busts [42:40] Productivity [43:00] Where we are in the cycle [43:40] What the Fed will do [44:05] We are late in the long - term debt cycle [44:30] Long - term debt is going to be squeezing us [45:00] We have 2 economies [45:30] This year is very similar to 1937 [46:10] The top tenth of the top 1 % of wealth = bottom 90 % combined [46:25] How this creates populism [47:00] The economy for the bottom 60 % isn't growing [48:20] If you look at averages, the country is in a bind [49:10] What are the overarching principles that bind us together?

Sure there is irony in the Guy Fawkes mask use as of late HOWEVER it seems fairly clear to me as well that the historical relevance of this symbolism is nowhere near as important as the shear numbers using it to represent their collective frustration against what they believe is a system not working for but instead against them.

The report finds makes a list of recommendations for business, industry, professional bodies and government, namely: Construction businesses · Focus on better human resource management · Introduce and / or expand mentoring schemes · Boost investment in training · Develop talent from the trades as potential managers and professionals · Engage with the community and local education establishments Industry · Rally around social mobility as a collective theme · Promote better human resource management and support the effort of businesses · Promote and develop the UK as an international hub of construction excellence · Support diversity and schemes that widen access to management and the professions · Emphasise and spread understanding of the built environment's impact on social mobility Professional bodies and institutions · Drive the aspirations of Professions for Good for promoting social mobility and diversity · Support wider access to the professions and support those from less - privileged backgrounds · Promote and develop the UK as an international hub of construction excellence · Emphasise and spread understanding of the built environment's impact on social mobility · Provide greater routes for degree - level learning among those working within construction Government · Produce with urgency a plan to boost the UK as an international hub of construction excellence, as a core part of the Industrial Strategy · Provide greater funding to support the travel costs of apprentices · Support wider access to the professions and support those from less - privileged backgrounds · Place greater weight in project appraisal on the impact the built environment has on social mobility The report is being formally launched at an event in the House of Commons later today.

She worked as an assistant to the conceptual artist Vito Acconci and later joined a British collective called Art and Language.

Economically, each of his films is tailored to allow him a large measure of creative control and make close collective work possible (even Les Destinées sentimentales [2000], to some degree, fits such a description, as we will later see).

She and her Georgetown buddy Zal Batmanglij, while they were unable to get work in film, spent that first summer trawling around the country with backpacks living off the grid with anarchist collectives, direct action groups and freegans, dumpster diving and train hopping, which later became rich fodder for their current film, their second together, the terrorist thriller «The East» (May 31).

In a new Education Next article «A Bad Bargain: How teacher collective bargaining affects students» employment and earnings later in life,» Michael Lovenheim and Alexander Willén of Cornell University present the first evidence that students» exposure to a duty - to - bargain law while in elementary and secondary school lowers future earnings and leads to fewer hours worked, reductions in employment, and decreases in labor force participation.

Once I had the team together we worked towards a few more immediate deadlines (Eirtakon convention in late 2016, then EGX Rezzed indie submission, Steam Greenlight campaign, Reboot Develop conference, and Square Enix Collective campaign in early 2017) but things started going wrong again after those.

The jurors — Sabine Breitwieser, Naomi Beckwith, Mario Codognato, Yungwoo Lee, and Ranjit Hoskote — also singled out three artists for special mentions: in the main exhibition, the late Harun Farocki (whose entire film catalogue is being screened there); the Aboundaddera collective, which is presenting videos from Syria; and Algerian artist Massinissa Selmani for «working in a modest medium which has the capacity to act beyond its scale.»

In his latest body of work, produced during his residency at the German Ministry for Foreign Affairs, he focuses on how power can be used to influence individual and public perception, change collective memory and subsequently the official course of history.

The dot - com boom, from the late 1990s to early millennium, is also examined through work from international artists and collectives.

Drawing from its collection, the museum is featuring works spanning the late 19th century to the present that «explore the practice of portraiture and figuration as a means of celebrating personal and collective histories, ideas and identities.»

This exhibition is the latest in «The Collective» series which forms part of a programme of visual art conceived to inspire and uplift members and staff of this ground - breaking not - for - profit club which helps those who have experienced homelessness back into long - term work.

Read our latest Blog where Museum & Galleries Assistant Kari Adams discusses why is it important to showcase work as an artist collective?

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 greater.

For their latest exhibition, the collective presents work from a new series titled Long Legged Linguistics, «an ongoing investigation of language as a source of political, metaphysical and even sexual emancipation».

The Museo Nacional Centro de Arte Reina Sofía has defended its decision to include a deliberately «inflammatory» work by the art collective Mujeres Públicas in its latest exhibition.

Students are required to sign a release form at the start of their studies granting the school permission to use, copy, publish or distribute, perform or publicly display, create derivative works, and incorporate into compilations or collective works the works of authorship created during their enrollment as a student at Cooper Union in any form, format or media now known or later developed or created in the future, for educational purposes and for promoting, marketing and advertising Cooper Union and its educational services worldwide, without compensation.

Key figures within «No Wave», a short - lived avant - garde scene in the late 70's in New York led by a collective of musicians, filmmakers and artists, Dick and Goldin met during this time and became life - long friends whose work richly influenced each other.

An early member of the Chicago - based 1960s collective the Hairy Who (which later morphed into the Chicago Imagist Group), Wirsum's works speak widely to the canon of modern artists who privilege experimentation and transgression over cohesive style, and who used popular culture as if the boundaries between high and low had never existed.

Though most people came to know him through his mid -»80s painting and installation work, John Armleder was in fact a founding member of Ecart, the late -»60s Fluxus - inspired artists» collective that staged happenings, published books, and created objet trouvé installations.

In 2005, she began working with Zulu bead workers in South Africa, and it is this all - woman collective who have fashioned her latest.

Track 16 February 10 - March 31, 2018 The latest work from Argentine art collective Mondongo (Juliana Laffitte and Manuel Mendanha), is overwhelming, igniting contradictory feelings through an array of mediums...

Vaguely recalling the efforts of the late - 60s collectives such as the Art Workers Coalition, these works feel a bit dated, but they lend the show a historic scope.

A work from Empire, State, Building, the latest exhibition by the Parisian collective Société Réaliste, until 8 May at the Jeu de Paume, 1 Place de la Concorde, Paris.

Quintessential LA artist and godfather of light art James Turrell took the psychedelic light shows of the 1960s out of the Fillmore West and Avalon Ballroom and into the fine art world with his seminal early light works of the late 1960s, simultaneously blowing the establishment's collective minds and writing a new chapter in postmodern art history in the process.

Chris Corsano is a drummer who has been working at the intersections of collective improvisation, free jazz, avant - rock, and noise music since the late 1990's.

And don't forget, on Friday, June 21, for the Late Nights at the Dallas Museum of Art, there will be several happenings associated with this DallasSITES exhibition, notably, Good / Bad Art Collective will have a performance and former members of the group Toxic Shock will talk about their work in the 1980s.

Similarly to Independent New York's trend earlier this year of showing new and established (or late) artists» work together, Elizabeth Dee gallery will show the work of Leo Gabin — the Ghent - born trio, comprising Lieven Deconinck, Gaëtan Begerem, and Robin De Vooght whose work often explores the collective behaviour enabled by the online world — alongside pieces from the late radical American artist Steven Parrino.

And late last year, L.A.'s Launch Gallery showed the work of the Namaak Collective, a group that was allegedly founded in Amsterdam, but is actually the work of Los Angeles artists Marischa Slusarski and Britt Ehringer.

The latest exhibition of work by experimental collective Brass Art — made up of Chara Lewis, Kristin Mojsiewicz and Anneké Pettican — at International 3 gallery in Salford explores the London home of renowned psychologist Sigmund Freud.

After the dissolution of Gruppo N in late 1964, Biasi embarked upon evolving the principles that were first developed as part of this collective artist group, and in earlier works like the Trame series, which dates from the late 1950s.

The first major survey of the artist's work in Australia, Gerard Byrne: A late evening in the future builds on this interest in collective history and dramatic reconstruction, employing the device of a playback system to convulsively shuttle and scroll through moments of memory and cultural amnesia.

Works submitted to the Biennale may be those of Russian or foreign artists of the new generation, working in the field of contemporary art with the latest strategies, concepts, and techniques (individual, collective, or as part of curatorial projects).

Founded in Hull during the late 1960s by artists Genesis P - Orridge and Cosey Fanni Tutti, COUM was a collective whose work confronted, subverted and challenged societal conventions.

Contributors to the Marrakech Biennale include curator Omar Berrada, who will present a specific show within the larger exhibition on the body of work and the archive of the late Moroccan critic and filmmaker Ahmed Bouanani; artists Yto Barrada and Mona Hatoum; a small survey of the art movement initiated by the Casablanca School; and architect Khaled Malas with documentation of his ongoing collaboration with a collective of artists and craftsmen in Ghouta and other areas of Syria to build windmills out of found materials to generate electrical power for hospitals.

Also featuring: Francesca Tarocco reports on recent changes in urban culture and queer aesthetics across the Sinosphere; Evan Calder Williams investigates the films of Johan Grimonprez, which probe the mechanisms of the arms trade; Turner Prize - winning artist Helen Marten responds to Ed Atkins's latest work, Old Food, at Martin - Gropius - Bau in Berlin; Alice Rawsthorn unpacks the ecological innovations of Studio Formafantasma's new project, Ore Streams, at the inaugural NGV Triennial in Melbourne; and Nick Thurston compares the interactive experiences spurred by collectives Blast Theory, Forced Entertainment and Slavs and Tatars.

The opening season will feature two exhibitions running from 3 February — 22 March: the first major show to explore the work and legacy of COUM Transmissions, which was founded in Hull by artists Genesis P - Orridge and Cosey Fanni Tutti, a subversive collective that took the art world by storm in the late 1960s, ahead of their later involvement in the musical collective Throbbing Gristle.

Edward Clark's abstract expressionist tondo The Big Egg (1968) establishes the artist among the earliest American painters to experiment with oval forms (later explored by artists like Jasper Johns), while works by the 1970s black artist collective AfriCOBRA — who operated loosely as the visual arts arm of the Black Arts Movement, and whose influence can be found in the work of Kerry James Marshall and David Hammons — are given prominence.

Vaguely recalling the efforts of the late -»60s collectives such as the Art Workers Coalition, these works feel a bit dated, but they lend the show a historical scope.

In homage to the pop music references in Glenn Brown's work, a performance by avant - garde music collective a.P.A.t.T. will take place in the foyer throughout Late at Tate.

Feriel Bendjama questions in her latest work the origin and effect of collective and individual perception.