Sentences with phrase «on art education without»

Not exact matches

While names like Claude Chabrol, Jacques Rivette, Eric Rohmer and Francois Truffaut may not be familiar to even film - buffs without an extensive education in European art house (though most would certainly recognise the name of Jean - Luc Godard) they have gone on to influence filmmakers such as Quentin Tarantino, Martin Scorcese and Michel Gondry.

Your gifts take music to places that have gone without - schools that have lost their music programs, special education classrooms that have been left out of arts instruction, children in shelters and medical settings, to students with disabilities, and to those in unusual educational settings - home day care centers, early intervention programs, head starts, to students in the juvenile justice system, to children on tribal reservations, to youngsters in high risk communities.

In the early 1980s, while teaching art to special education students in the South Bronx, he launched an after - school programme «the Art and Knowledge Workshop» for his most dedicated pupils, who would go on to become the founding members of K.O.S. «I couldn't do what I do without the kids; they couldn't do without me,» Rollins told the New York Times in 19art to special education students in the South Bronx, he launched an after - school programme «the Art and Knowledge Workshop» for his most dedicated pupils, who would go on to become the founding members of K.O.S. «I couldn't do what I do without the kids; they couldn't do without me,» Rollins told the New York Times in 19Art and Knowledge Workshop» for his most dedicated pupils, who would go on to become the founding members of K.O.S. «I couldn't do what I do without the kids; they couldn't do without me,» Rollins told the New York Times in 1988.

Events include artist Gary Woodley exploring the edge between mathematics and art (11 Oct), and Bob and Roberta Smith reflecting on FOLKESTONE IS AN ART SCHOOL (1 Nov), his initiative that aims to prove young people can get an art - school education without leaving the town — as shouted from the rooftops by several giant, colourful banners, supported by donors through an Art Happens campaiart (11 Oct), and Bob and Roberta Smith reflecting on FOLKESTONE IS AN ART SCHOOL (1 Nov), his initiative that aims to prove young people can get an art - school education without leaving the town — as shouted from the rooftops by several giant, colourful banners, supported by donors through an Art Happens campaiart (11 Oct), and Bob and Roberta Smith reflecting on FOLKESTONE IS AN ART SCHOOL (1 Nov), his initiative that aims to prove young people can get an art - school education without leaving the town — as shouted from the rooftops by several giant, colourful banners, supported by donors through an Art Happens campaiART SCHOOL (1 Nov), his initiative that aims to prove young people can get an art - school education without leaving the town — as shouted from the rooftops by several giant, colourful banners, supported by donors through an Art Happens campaiART SCHOOL (1 Nov), his initiative that aims to prove young people can get an art - school education without leaving the town — as shouted from the rooftops by several giant, colourful banners, supported by donors through an Art Happens campaiart - school education without leaving the town — as shouted from the rooftops by several giant, colourful banners, supported by donors through an Art Happens campaiart - school education without leaving the town — as shouted from the rooftops by several giant, colourful banners, supported by donors through an Art Happens campaiArt Happens campaiArt Happens campaign.

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 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.