Sentences with phrase «long practice of art»

Not exact matches

A wide array of modern minds have thought the same: Hegel lamented that philosophy is no longer «practiced as a private art, as it was by the Greeks,» Heidegger called for a return to the Greek grammar of being, and Kant claimed that «the ancient Greek philosophers remained more faithful to the Idea of the philosopher than their modern counterparts have done.»

Don and Jeanne Elium, family therapists and authors of the books «Raising a Son,» «Raising a Daughter» and the new «Raising a Family: Living on Planet Parenthood» (Celestial Arts), concur with Brazelton that the discipline practices promoted by Ezzo are neither age - appropriate nor effective in the long run.

The practices of meditation and art have long gone hand in hand; art itself is often described as a meditative experience.

We sit down to discuss a life long practice of martial arts, the rise of Brazilian Jui Jitsu, transitioning to MMA, and the best practices for recovery and...

His down to earth training methods are derived from his decades long practice of martial arts and his study of exercise science.

Even if recent years have seen the rise of women practicing martial arts, there is still a long way to go.

So before they come to a head, address the small contentious issues; maybe your partner tends to prioritize social engagements over dinner dates for the two of you, maybe they simply leave the laundry in the washing machine longer than you would like — whatever it may be, working through these small things is important because when you get to the big issues you will have had practice in the art of compromise and conflict resolution.

English language arts teachers have long had an established practice of using film adaptations of the literary works their students read.

Almost two decades of CMAIE research findings and publications point to the following long - term goal: to provide research - based, innovative music and arts - in - education practices that will serve as a foundation for a designated laboratory school program in every U.S. school district.

HOT Schools Orientation participants will experience HOT Schools theory in action as they observe and are guided through the ways in which Lyman structures instruction through the HOT School core components of strong arts, art integration and democratic practice; providing each student with the tools to achieve high academic standards and become a creative, successful, life - long learner.

HOT Schools Orientation participants will experience first - hand, HOT Schools theory in action as they observe and are guided through the ways in which Lyman structures instruction through the HOT School core components of strong arts, art integration and democratic practice; providing each student with the tools to achieve high academic standards and become a creative, successful, life - long learner.

The Veterinary Medical Center of Long Island (VMCLI) is a 28,000 square foot, state of the art, 24 - hour, emergency and multi-specialty referral practice, located in West Islip, Long Island.

To practice the highest quality standards of integrated medicine and the art of healing utilizing client education and preventive practices enabling our patients to live long, healthy lives.

In Sairento, you play as a member of the Silent Ones — a righteous but covert organization of seemingly ordinary people who practice the long forsaken code and martial arts of the ancient samurais and ninjas.

I don't know what's «industry standard practice» for fine art galleries these days, regarding pricing works on paper vs. works on canvas, but my suspicion is that the reason for the * historical * difference between the two is that works on paper are perceived to be less «serious» (after all, watercolor started out as a quick way for oil painters to sketch out drafts), and less long - lasting (historically, a lot of watercolors were fugitive, and tended to fade with time, unlike varnished oil paintings).

This work illuminates Thiebaud's life long practice of questioning what we see in art by infusing banal objects with an iconic status.

«JACK WHITTEN: Five Decades of Painting» Museum of Contemporary Art San Diego, La Jolla, Calif. Sept. 20, 2014 — Jan. 4, 2015 Jack Whitten's approach to abstraction is distinct, defined by his career - long commitment to evolving his practice.

Artists» journeys have been documented throughout art history: Those whose main practice has been «walking» include British artists Richard Long and Hamish Fulton, as well as others like Francis Alÿs, whose counterintuitive trip in «The Loop» (1997), from Mexico to California via a loop around the world (all to avoid the crossing of the US — Mexico border), was message - driven.

Centered around women in the arts, Wise Blood will provide a window into the decades - long interdisciplinary practices of seven women.

2009 100 Years, PS1 / MoMA, Queens, NY Reflections on the Electric Mirror: New Feminist Video, Brooklyn Museum of Art, NY Party at Chris's House, Janet Kurnatowski Gallery, Brooklyn, NY Supergirl, Nexus Foundation for Arts, Philadelphia, PA One Minute More, The Kitchen, New York, NY Pink Panther, Kumukumu Gallery, New York, NY Night Gallery Rosslyn, Arlington Arts, Arlington, VA Tell Me Everything, As You Remember It», Creative Research Lab, The University of Texas at Austin, TX Chewing Color: Patty Chang, Kate Gilmore, Marilyn Minter, Creative Time, Times Square, NY City Garden, Contemporary Art Museum, St. Louis, MO East Coast Video, Ramis Barquet, New York, NY I am a Video, Good Children Gallery, New Orleans, LA No Longer Empty, The Chelsea Hotel, New York, NY Practice, Practice, Practice, Lora Reynolds Gallery, Austin, TX Sixty Minutes, University of South Florida Contemporary Art Museum, Tampa, FL Feel the Force, Cafe Gallery London, London, England It's You, Not Me, San Jose Institute of Contemporary Art, San Jose, CA Theoretical Practice, International Studio and Curatorial Program, Brooklyn, NY Our Great Show: Selections from the Jefferson Godard Collection, Nice & Fit, Berlin, Germany

No longer separately relegated to «walking» art or «land» art, but including action - based processes, Wanderlust allows viewers to experience 50 years of artistic practices that are intertwined while highlighting diverse approaches to contemporary art.

James Prosek's practice is inspired by the long tradition in art history of depicting nature — starting with paintings of animals deep within the caves of Lascaux and Altamira to detailed drawings of animals by Albrecht Dürer.

Lin's research - based, interdisciplinary practice is ideally suited to the Artist Lab Residency, connecting her with a long succession of artists whose interests in feminism, gender and queer theory, performance, time - based art forms, and cross-disciplinary research have informed the ethos of 18th Street Arts Center over the past two and a half decades.

The Monash University Collection has been characterised by a long - standing professional commitment to the development of contemporary art practice, leading to a major, forward - looking and adventurous collection of innovative and experimental works.

Through the practice of modern and contemporary sculptors, the three - dimensional art form has certainly come a long way since the marble busts and butts of yore.

Current partners include: A Blade of Grass, American Folk Art Museum, Bad at Sports, BRIC, Bronx Museum of Art, Bureau of General Services — Queer Division, Caribbean Cultural Center African Diaspora Institute, Community Access Art Collective, Decolonize This Place, Discwoman, El Museo de Los Sures, Eyebeam, Flux Factory, Fourth Arts Block, Interference Archive, International Center of Photography, Knockdown Center, Maker Park Radio, New York City Department of Cultural Affairs, New York Hall of Science, No Longer Empty, Recess, Social Justice Tours, Social Practice Queens, Studio Museum in Harlem, Swale, Sylvia Rivera Law Project, The 8th Floor, and Visual AIDS.

Art, after all, is something we live with, and since a collection will define a collector's spirit and style long after the collector is no longer, the practice of acquisition in and of itself becomes increasingly important as the truly excellent finds become ever more evasive.

A thorough examination of his practice, «Charles White: A Retrospective,» accompanies the White's long - awaited survey which will be on view this summer at the Art Institute of Chicago, before traveling to MoMA in New York, and the Los Angeles County Museum of Art.

Working within a long art historical and anthropological tradition of funerary and memorial work, Holmes has been inspired by a wide range of burial practices.

Asawa's work comes out of a practice — fiber art — that was long lumped in with craft but is now understood, in the context of so much contemporary use of alternative materials, as a serious endeavor.

Born in California, 1977 Lives and works in New York City EDUCATION 2007 - 2009 MFA, Columbia University 1995 - 1999 BFA, Rhode Island School of Design EXHIBITIONS 2011 Andrea Rosen Gallery, New York, NY, «A Thousand & One Nights,» March 18 — April 23 2010 Laurel Gitlen, New York, NY, «In Here,» July 9 — August 13 Museum 52, New York, NY, «Preconceived Iconography,» Apr 7 — May 9 2009 Andrea Rosen Gallery, New York, NY, «The Perpetual Dialogue,» December 12 — January 23, 2010 SculptureCenter, Long Island City, NY, «In Practice Fall» 09,» September 13 — November 30 Brown Gallery, London, «Evading Customs,» group show curated by Lumi Tan and Peter J. Russo, September Socrates Sculpture Park, Long Island City, NY, «EAF09: 2009 Emerging Artists Fellowship Exhibition,» with Ninh Wysocan, September 2009 - March 2010 Bard College, Annandale - on - Hudson, NY, «The Special Affect,» video screening co-curated with Summer Guthery, May The Fisher Landau Center for Art.

MR: «Curatorial activism,» is a term I use to designate the practice of organizing art exhibitions with the principal aim of ensuring that certain constituencies of artists are no longer ghettoized or excluded from the master narratives of art.

His art practice addresses both the contemporary world around him and his cultural heritage, with Italian peasant traditions having provided a life - long source of inspiration for his practice.

That's a very big difference, because, for example, one of the great breakthroughs in digital art is the great practice of Ian Cheng that, all of the sudden, video no longer has to be a loop but now can be an algorithm, a complex dynamic system that can evolve and change.

#Hashtags provides a platform for longer reconsiderations of artworks and art practices outside of the review format and in new contexts.

Some forty - odd years after Bruce Nauman began tweaking the conventions of studio practice and the hallowed persona of the «artist - as - seer,» Pamela M. Lee wrote in Artforum not long ago, «his station in postwar art history rests secure.

And although the idea may seem counter-intuitive to those emotionally beholden to the old ideal of the cloistered genius flattered and enriched by virtue of shining talent alone, artists who think beyond their own careers, leave the confines of the studio, and contribute to the art community tend to have more rewarding art practices over the long haul.

Silhouette art — a beautiful memento of a time and place, particularly of children — is no longer practiced the way it once was.

Beasley's work has recently been included in exhibitions at The Renaissance Society at the University of Chicago (2016); San Francisco Museum of Modern Art (2016); Hammer Museum at Art + Practice, Los Angeles (2016); White Columns, New York (2016); The Solomon R. Guggenheim Museum, New York (2015); MoMA PS1, Long Island City (2015); Art Gallery of Ontario, Toronto (2015); The Glass House, New Canaan, CT (2015); The 2014 Whitney Biennial, Whitney Museum of American Art, New York (2014); The Seoul Museum of Art, Seoul (2014); The Museum of Modern Art, New York (2014); and The Studio Museum in Harlem, New York (2014).

The issues she investigates — such as identity in a time of consumerism, privacy in an era of surveillance, and the relationship between real and virtual worlds — appeared in her art practice long before they became key topics in our society.

This practice was sharply critical of the ingrained characteristics long associated with art institutions and conventional exhibition - making; and yet, Voorhies finds, over time the critique has been diluted by efforts of the very institutions that now gravitate to the «participatory.»

2014 Ayelet Danielle Aldouby, Curator & Co-Founder, Artea Projects Harutyun Alpetyan, Independent Curator, Armenia Marco Antonini, Executive Director & Curator, NURTUREart Rocio Aranda - Alvarado, Curator, El Museo del Bario Karen Archey, Independent Curator & Critic, NYC and Berlin Nova Benway, Assistant Curator, The Drawing Center Boshko Boskovic, Program Director, Residency Unlimited Marie Burns, Program Manager, apexart Ethan Cohen, President & CEO, Ethan Cohen Fine Arts Irina Danilova, Independent Curator Eva Diaz, Critic & Assistant Professor of Contemporary Art, Pratt Institute Erin Donnelly, Independent Curator & Programs Manager, Smack Mellon Juliana Driever, Independent Curator, Writer, and Educator Shlomit Dror, Independent Curator Jason Duval, Artist & Independent Curator Alessandro Facente, NARS Special Projects Curator Jane Farver, Independent Curator Elizabeth Ferrer, Director of Contemporary Art, BRIC Arts Carter Foster, Steven and Ann Ames Curator of Drawing, Whitney Museum of American Art Anna Frost, Independent Curator, Berlin andCopenhagen Asya Geisberg, Owner & Director, Asya Geisberg Gallery Jessica Gildea, Programs Director, CUE Art Foundation Jan Hanvik, Executive Director, Clemete Soto Velez Cultrual Center Larissa Harris, Curator, Queens Museum Eric Heist, Founder & Director, Momenta Naomi Hersson - Ringskog, Executive Director, No Longer Empty Felicity Hogan, Artist, Independent Curator & Senior Program Officer, New York Foundation for the Arts (NYFA) Learning Jin Young Hwang, Co-Founder, K&H Art Advisory Inc Tzu - chieh Jian, Independent Curator & Critic, Taiwan Paddy Johnson, Founding Editor, Art Fag City Rhiannon Kubicka, Co - Owner / Co-Director, Blackston Gallery Omar Lopez - Chahoud, Independent Curator & Artistic Director, UNTITLED Stephen Maine, Artist, Critic & Independent Curator Julie McKim, Director, Kunsthalle Galapagos John Moore, Independent Curator & Critic Isabelle Normand, Independent Curator, Paris & Los Angeles Isin Önol, Independent Curator, Vienna Douglas Paulson, Residency Director, Flux Factory Vittoria Pavesi, Independent Curator, Italy Laurel Ptak, Director, Triangle Arts Association Sara Reisman, Director, Percent for Art, NYC Department of Cultural Affairs David A. Ross, Independent Curator & Chair, MFA Program in Art Practice, School of Visual Arts Cindy Rucker, Owner & Director, Cindy Rucker Gallery Sebastien Sanz Santamaria, Director of Operations, Residency Unlimited Krista Saunders, Curator & Co-Founder, Ground Floor Gallery Keith Schweitzer, Co - Founder / Director, The Lodge Gallery and Director of Public Art, Fourth Arts Block Bernard Schutze, Independent Curator & Critic, Montreal Felipe Scovino, Independent Curator Eric Shiner, Director, Andy Warhol Museum Carolyn Sickles, Director of StudioLab, Abrons Arts Center Sarah Suco Tores, Independent Curator Yulia Tikhonova, Independent Curator Jodi Waynberg, Executive Director, Artists Alliance Inc..

Working for one of the world's most esteemed arts materials suppliers, it should come of no surprise that I have long been an advocate of the practice of painting and perceive the recognition of work by David Salle and Neo Rauch as a testament to the innovative and infinite possibilities of paint on the contemporary art stage.

After a nearly decade - long hiatus from the West Coast art scene, his paintings at this exhibition present a sort of general overview of a thrillingly differing painting practice and thus making an assertive case for the historical significance of Schnabel's opus as well as his increasing relevance to the new generations of artists and art aficionados.

Over the course of her five - decade - long career, most of which was spent as artist - in - residence with the City of New York Department of Sanitation, Ukeles mapped out a practice that seems to place her somewhere between the late - 20th - century strategy of institutional critique and the current vogue for social - practice art.

Juxtapoz x Superflat is a manifesto for new creative practices that can no longer be adequately described by the traditional categories of art and production.

However, whereas Long's installations were a resolution of a walking - as - art practice that considered the natural landscape as its medium, MPA's take on the landscape is of its performance as a post-apocalyptic stage.

And while these artists» practices are formally linked by their «challeng [ing] the notion of the canvas as a flat surface,» the exhibition's strongest assertion is that there is no singular Puerto Rican aesthetic — a still important point of resistance within a long lineage of Eurocentric museums» limiting our collective understanding of «non-Western art» by naming it as something distinct («primitive,» «craft,» «artifact») from the trajectory of art history otherwise taught in schools.

«Art Action Academy,» long course led with Steve Lambert, Portland State University, Social Practice Arts Program, January 17 - 19, 2013; CEC ArtsLink, Saint Petersburg, Russia, June 2 - 6, 2014; OSF Arts Exchange, Brooklyn Museum, Brooklyn, NY, August 10 - 12, 2016; NEA, Queens Museum, Series of 7 Saturday Workshops, Queens, New York, October 8 - November 20, 2016; European sex workers and artists, Dublin, Ireland, December 13 - 17, 2016; OSF Arts Exchange, Brooklyn Museum, Brooklyn, NY, October 11 - 14, 2017; NEA, Queens Museum, series of weekend workshops, Queens, New York, October 7 - 28, 2017, OSIWA, Conakry, Guinea, December 18 - 22, 2017

She lives and works in New York Ms. Arjona graduated from The Higher Academy Of Art Of Bogota (ASAB) in 2000 and her practice is exclusively focused on long duration performance.