Sentences with phrase «life as an art form»

Actually, I approach my entire life as an art form.

• Still Life As an Art Form • Types of Still Life • History • Northern Renaissance and Dutch Realism • Italy, France, Spain • 19th Century Still Lifes • 20th Century Still Lifes

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About the veil, specifically though, we must also see it as potentially a form of oppression for the individual, as Ayaan Hirsi Ali has courageously and under threats pointed out poignantly through life and art and biographical writings.

Every people has its culture, whether primitive or advanced, and this culture is discerned in the folkways and moral standards, forms of family life, economic enterprises, laws and modes of dealing with lawbreakers, forms of recreation, religion, art, education, science, and philosophy that constitute the social aspects of human existence as contrasted with the bare biological fact of living.

26 New laws and new activities result: «Abstraction, logic, reasoned choice and inventions, mathematics, art, calculation of space and time, anxieties and dreams of love — all these activities of inner life are nothing else than the effervescence of the newly - formed center as it explodes onto itself.»

Abstract thought, logic, reasoned choice and invention, mathematics, art, the exact computation of space and time, the dreams and anxieties of love: all these activities of the inner life are simply the bubbling up of the newly - formed life - centre as it explodes upon itself.

If indeed we are to judge all thought by the way it «promotes the art of life,» then I think that we must recognize that there are many ways in which that «art» can be promoted, just as there are many different forms and styles within the fine arts, all of which can give rise to particular kinds of rich aesthetic experience.9

Besides the conditions of society itself, under which family and friends had primary responsibility for the care of the dying and the dead, memento mon were spread throughout culture: in the church's art, in morality plays like Everyman, in drinking songs, in the ordinary artifacts of everyday life (e.g., in Austria a towel hanger portraying a human form split down the middle: one half a beautiful young woman, the other a skeleton) To be sure, the specter of death (and judgment) has been used as a form of social control.

less than or equal to lamivudine Acquired Immune Deficiency Syndrome Antiretroviral therapy, usually means 1 - 2 drugs, used in early studies Antiretroviral zidovudine (also known as ZDV) Breastfeeding Baby Friendly Hospital Initiative Breastfeeding and HIV International Transmission Study Combined antiretroviral therapy Centers for Disease Control and Prevention Deoxyribonucleic Acid Exclusive Breastfeeding Enzyme Linked Immunosorbent Assay Food and Agrigulture Organization Fixed dose combination ART, e.g., lamividine, stavudine, and nevirapine Highly Active Antiretroviral Therapy, 3 or more drugs for more effective treatment used in later studies Human Immunodeficiency virus International Atomic Energy Agency Infant feeding Infant and young child feeding Lopinavir cubic millimetre Mother - to - Child Transmission of HIV Non-governmental organization Nevirapine Polymerase Chain Reaction People Living with HIV Prevention of Mother - to - Child Transmission Replacement Feeding Ritonavir Ribonucleic acid, one of the three major macromolecules (along with DNA and proteins) that are essential for all known forms of life single dose NVP United Nations Agencies Joint United Nations Programme on HIV / AIDS United Nations Population Fund United Nations Commissioner for Refugees United Nations Children's Fund U.S. Agency for International Development World Alliance for Breastfeeding Action United Nations World Food Programme World Health Assembly WHO 2010 Guidelines on HIV and infant feeding World Health Organization Zidovudine (same drug as AZT)

We share our passion for puppetry as a vital, living art form and strive to engage audiences of all ages, abilities and backgrounds.

Whether you're a bona fide meditation follower or a skeptic looking for more information, you won't want to miss Light Watkins» simple and refreshing real - life perspective on meditation as an art form, daily practice, and way of life.

To live creatively does not necessarily mean to be involved in a visual or otherwise technical art form as profession or in your leisure time, but rather to live creatively is to understand that you make each moment as you live it.

Poetically dubbed «Self / Reflection», the Mulberry fall 2016 campaign directly looks into the dualities one may face during life, as well as into those fashion (both as an industry and as a form of art) constantly embraces season after season.

Those are the people who think a blog about style is a waste of time, especially after going through something as life changing as the big C. To me, fashion is art, a creative form of expression, and most importantly, an outlet that makes me happy.

Although it's been used repeatedly as a movie title, Alive and Kicking perfectly captures the joyous enthusiasm of Susan Glatzer's debut documentary, which presents swing dance as a vibrant, living art form.

Chekhov didn't live to see cinema emerge as an important global art form.

The book isn't so much about Arkin's life as it is about improvisation, a theatrical art form he encountered upon landing a gig at...

The book isn't so much about Arkin's life as it is about improvisation, a theatrical art form he encountered upon landing a gig at... more

John L. Sullivan, played by Joel McCrea, is a successful Hollywood comedy director — but he wants to create serious art, in the form of a movie called O Brother, Where Art Thou, and as research, he leaves all his money behind and, disguised as a hobo, goes out to live among «real people.&raqart, in the form of a movie called O Brother, Where Art Thou, and as research, he leaves all his money behind and, disguised as a hobo, goes out to live among «real people.&raqArt Thou, and as research, he leaves all his money behind and, disguised as a hobo, goes out to live among «real people.»

Activision has released a new trailer for the upcoming Transformers title, Transformers: War For Cybertron. This newest Transformers title features two distinct storylines: the Autobot campaign tells a story of heroism to save their home planet against overwhelming odds, and the Decepticon campaign tells a story of an unquenchable thirst for power to control the universe. For the first time in a Transformers title, fans will be able to play the game with their friends through team - based online co-op, or go head to head in a variety of online multiplayer game modes. The game features a sci - fi art style that introduces to fans the entire living, metallic world of Cybertron, as well as all - new visualizations of the iconic Transformers characters in their original Cybertronian forms.

I am interested in the change from the period when the meaning of art and form in art was in making complex experience simple and lucid, as is still the case in «Knife in the Water» [Roman Polanski, 1962] or «Bandits of Orgosolo» [Vittorio De Seta, 1960], to the current acceptance of art as technique, the technique which in a movie like «This Sporting Life» [Lindsay Anderson, 1963] makes a simple, though psychologically confused, story look complex, and modern because inexplicable.

The book isn't so much about Arkin's life as it is about improvisation, a theatrical art form he encountered upon landing a gig at the nascent Second City in Chicago.

Trained by their sensei in the special form of martial arts called Sosetsuken, Billy and Jimmy are equipped with lethal combat skills and weaponry to bust some faces and battle the baddest goons around as they journey across the galaxy to rescue the love of their lives.

They consider the various forms of nonwritten communication as some type of therapy or art, something that is not relevant to the everyday life of a student.

Studies indicate that students involved with art forms such as filmmaking do better in academics and life in general, and this experience seems to be crucial to a student's overall success.

Henry Moore describes in his sourced quotes sculpture art and life in English artistic scene of the 1930's - 1950's Henry Moore's quotes illustrate clearly his focus as sculptor for the natural forms such as bones, shells and the pebbles with their holes right through them, on the beach.

FINE ARTS: Theatre GRADES 5 - 8 NA - T.5 - 8.6 Comparing and Connecting Art Forms By Describing Theatre, Dramatic Media (Such As Film, Television, and Electronic Media), and Other Art Forms NA - T.5 - 8.8 Understanding Context by Recognizing the Role of Theatre, Film, Television, and Electronic Media in Daily Life

As Caroline Dent, Art Teacher at Oundle, says: «The sculpture seems a living and involving form, which tells a story through its play and interaction with light, space and human presence.

The lighter version of creative grooming is known as pet tuning and is more owner - oriented, adjusting the pets» visual appearance to their owners» amusement or life style, while the creative grooming is more of an art form, therefore more artist (groomer) oriented.

As we get deeper into life and gaming as a medium continues to grow and evolve, even those that claim it isn't an art form have to see the lines getting blurreAs we get deeper into life and gaming as a medium continues to grow and evolve, even those that claim it isn't an art form have to see the lines getting blurreas a medium continues to grow and evolve, even those that claim it isn't an art form have to see the lines getting blurred.

He created some great stuff with the Sega Genesis» sound hardware, and his Video Games Live concert series does admirable work in promoting video game music as an art form.

The Inchcolm Project may perhaps be placed more easily as a piece of theatre, while Dear Esther Live is arguably closer to a concert - hall musical performance, but both are experiments in an overlap of art forms.

Bobbie began her creative life as a dancer and an artist before studying graphic design with Armin Hofmann at the Basel School of Art and Crafts, and her work is shaped by both balletic movement and rigorous attention to form.

Hughes would certainly recognize her own sensibility in Oldenburg's 1961 manifesto, «I Am for an Art», which contains the statement: I am for an art that takes its form from the lines of life itself, that twists and extends and accumulates and spits and drips, and is heavy and coarse and blunt and sweet and stupid as life itseArt», which contains the statement: I am for an art that takes its form from the lines of life itself, that twists and extends and accumulates and spits and drips, and is heavy and coarse and blunt and sweet and stupid as life itseart that takes its form from the lines of life itself, that twists and extends and accumulates and spits and drips, and is heavy and coarse and blunt and sweet and stupid as life itself.

Located in Provincetown, Massachusetts — an area with a long history as an arts colony — the Work Center provides seven - month fellowships to twenty fellows each year in the form of living / work space and a modest monthly stipend.

In his review of the exhibition in The New York Times, Holland Cotter writes, «the grid as a form gets an impressive pre-Minimalist workout in 1940s room dividers made of cellophane and horsehair by the incomparable weaver, printmaker, art historian, philosopher, teacher, theorist and life - student Anni Albers.»

NEWS Sharon Watson rallies fellow creatives in Harlem to preserve the legacy of Langston Hughes, by forming I, Too, Arts Collective, and raising funds with the goal of leasing and renovating as a creative arts space the E. 127th Street brownstone where the legendary poet once liArts Collective, and raising funds with the goal of leasing and renovating as a creative arts space the E. 127th Street brownstone where the legendary poet once liarts space the E. 127th Street brownstone where the legendary poet once lived.

The methods of teaching developed at the BMC — such as an emphasis on interpretation and dialogue in the form of the student critique (or «crit»)-- are still present in many of our most advanced art schools; the language of interdisciplinarity began at BMC and the mixture of disciplines and mediums gave way to what is largely regarded as the first «happening»; and the aspirations of intentional communities, utopian ways of thinking, bridging the gap between art and life, and the creation of a counter-culture that are characteristic of American culture in the 1960s all flourished at the college in the preceding decades.

If works of abstract art like Ellsworth Kelly's Blue Black, Richard Serra's Joe and Cy Twombly's Hero and Leander — previously exhibited at the Pulitzer — are notable for giving form to the interior life of the individual, the reconstructed house in the Pulitzer stands as a visible form addressing the interior life of the city.

JMcK: The teaching of drawing has occupied an important place in your career as an artist specifically teaching life drawing at a time when abstract art and conceptual forms of art were in the ascendancy.

After the second world war, as the US became a superpower, a new generation of artists made New York the centre of modern art, with a strange yet authoritative form of abstraction that was free from the influence of the still - living European modern masters.

The house would have a two - level basement, closed to the public, conceived as an underground studio where he would make his art — a secret lair and such a natural extension of his overall artistic project that it seems like some kind of joke (it is tempting to think of it as a real - life «Fortress of Solitude,» Superman's hideout, which Kelley constructed in three - dimensional form and used as the central image in his final solo exhibition last September at the Gagosian Gallery in London).

In the Spring of 2014 the NCAA will participate in Creative Time's traveling exhibition Living As Form at Harvard University's Carpenter Center for the Visual Arts.

While living in Washington, D.C., Louis, along with Kenneth Noland and other Washington painters, formed an art movement that is known today as the Washington Color School.

These shows typically take one of two approaches: faithfully reconstructing an exhibition from the past (such as New York gallery Zwirner & Wirth's 2008 redo of Dan Flavin's 1964 exhibition at Green Gallery), or conceiving of a new project that uses a past exhibition as a conceptual jumping - off point (for example, When Attitudes Became Form Become Attitudes at San Francisco's CCA Wattis Institute for Contemporary Arts in 2012, a contemporary riff on the famous Live in Your Head: When Attitudes Become Form at Kunsthalle Bern in 1969).

Performa: New Visual Art Performance presents an authoritative introduction to the genre, many forms including radio broadcast, dance, live installation, new technologies, film and video, music, historic reconstructions and lecture - as - performance, and provides a vivid tour through the world of contemporary performance, featuring inventive documentation of works by some of the most significant artists of our time, including Jesper Just, Francis Alys, Christian Marclay, Laurie Simmons, Tamy Ben - Tor, Melik Ohanian, Michael Smith, Christian Holstad, and Gelitin.

He had been working all of his life in a style he evolved as a young man which at the same time was changing the face of the art world: Abstract Expressionism (characterized briefly as a form of painting which emphasized gesture in an effort to define the flatness and realness of color and shape as a more integrated realization of the painted space).

I had the privilege of viewing Creative Time's Living as Form, and I must say I was really impressed with the whole show, especially the reuse art.

Often archival art pays homage to a historical figure in the form of a monument, or by using the figure's life and / or work as an organizing theme.

Exhibitionism's 16 exhibitions in the Hessel Museum are (1) «Jonathan Borofsky,» featuring Borofsky's Green Space Painting with Chattering Man at 2,814,787; (2) «Andy Warhol and Matthew Higgs,» including Warhol's portrait of Marieluise Hessel and a work by Higgs; (3) «Art as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqArt as Idea,» with works by W. Imi Knoebel, Joseph Kosuth, and Allan McCollum; (4) «Rupture,» with works by John Bock, Saul Fletcher, Isa Genzken, Thomas Hirschhorn, Martin Kippenberger, and Karlheinz Weinberger; (5) «Robert Mapplethorpe and Judy Linn,» including 11 of the 70 Mapplethorpe works in the Hessel Collection along with Linn's intimate portraits of Mapplethorpe; (6) «For Holly,» including works by Gary Burnley, Valerie Jaudon, Christopher Knowles, Robert Kushner, Thomas Lanigan - Schmidt, Kim MacConnel, Ned Smyth, and Joe Zucker — acquired by Hessel from legendary SoHo art dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqart dealer Holly Solomon; (7) «Inside — Outside,» juxtaposing works by Scott Burton and Günther Förg with the picture windows of the Hessel Museum; (8) «Lexicon,» exploring a recurring motif of the Collection through works by Martin Creed, Jenny Holzer, Barbara Kruger, Bruce Nauman, Sean Landers, Raymond Pettibon, Jack Pierson, Jason Rhoades, and Allen Ruppersberg; (9) «Real Life,» examines different forms of social systems in works by Robert Beck, Sophie Calle, Matt Mullican, Cady Noland, Pruitt & Early, and Lawrence Weiner; (10) «Image is a Burden,» presents a number of idiosyncratic positions in relation to the figure and figuration (and disfigurement) through works by Rita Ackerman, Jonathan Borofsky, John Currin, Carroll Dunham, Philip Guston, Rachel Harrison, Adrian Piper, Peter Saul, Rosemarie Trockel, and Nicola Tyson; (11) «Mirror Objects,» including works by Donald Judd, Blinky Palermo, and Jorge Pardo; (12) «1982,» including works by Carl Andre, Robert Longo, Robert Mangold, Robert Mapplethorpe, A. R. Penck, and Cindy Sherman, all of which were produced in close — chronological — proximity to one another; (13) «Monitor,» with works by Vito Acconci, Cheryl Donegan, Vlatka Horvat, Bruce Nauman, and Aïda Ruilova; (14) «Cindy Sherman,» includes 7 of the 25 works by Sherman in the Hessel Collection; (15) «Silence,» with works by Christian Marclay, Pieter Laurens Mol, and Lorna Simpson that demonstrate art's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.&raqart's persistent interest in and engagement with the paradoxical idea of «silence»; and (16) «Dan Flavin and Felix Gonzalez - Torres.»