Sentences with phrase «other contemporary teaching»

He is a proponent of blended learning techniques and other contemporary teaching methods.

Not exact matches

An award - winning poet who teaches at Virginia Commonwealth University, Graber has drawn her poetic inspiration from Mark Doty, Charles Wright and Stephen Dunn, among other contemporary writers.

Christian scripture doesn't have teachings like this toward other contemporary religions.

It would exercise some of the same freedom which Paul's and the other NT letters do when they refrain from any nostalgic attempts to play Galilee into their theology by transforming the teaching of Jesus» earthly ministry into a system of theology and ethics [Krister Stendahl: «Biblical Theology, Contemporary,» Interpreter's Dictionary of the Bible (Abingdon, 1962), I, 428].

Parish clergy and other pastoral workers should be aware of the issues facing the young; they should research them and preach and teach about Christian approaches to such contemporary questions.

Let us continue to examine the nature of the synoptic tradition by considering the results of the work of the scholar who has probably done more than any other to make available to contemporary scholarship historical knowledge of the teaching of Jesus, Joachim Jeremias of Gottingen, whom we are proud to acknowledge as our teacher.

Some of these concentrate on helping to place a passage in its original context so that the reader can be aware of the concerns of the author; others apply the passage to contemporary life; others, following the teaching of St Ignatius Loyola, encourage the reader to use her imagination to picture the scene described and thereby come close to Jesus.

To help teaching staff and advisers explore university, college, work, apprenticeships, and other choices, and to advise their students about contemporary choices, UCAS is running a pair of free online courses: one for teachers and advisers, followed by an accompanying course for their students.

Among her many residencies, lectures and teachings, other accomplishments include Artist talk Skt Hans arts Foundation; Talk and studio visits at Sam Fox School, Washington University, St. Louis; Artist in residency at Sazmanab Center for Contemporary Art, Tehran, Iran; Artist in residency at Monte residency, Buenos Aires, Argentina; as well as lecturer for a creative writing class at New York University.

Mali Morris interviews Geoffrey Rigden where we learn about the influence of jazz, the teaching of Hans Hofmann, what it means to be contemporary (what a great question, by the way), the influence of Noland and Louis in the early days as well as Milton Avery and Albert Marquet, also other less well known figures at the time like Adolf Gottlieb, for Rigden «still more pertinent and engaging than Pollock».

She has been a visiting lecturer and critic at numerous art schools and other institutions throughout the country, and taught seminars on curatorial practice and contemporary art at Art Center College of Design in Pasadena and the Rhode Island School of Design.

Since 1990 Cruzvillegas has taught, lectured, given tutorials, and coordinated seminars and workshops at the DIA Art Foundation, Malmö Art Academy, Ruskin College / Oxford, Duke University, NYU, Glasgow School of Art, CalArts, the New Museum, California College for the Arts, the Nasher Museum of Art, the Museum of Contemporary Art Chicago, Tate Modern, the Guggenheim Museum, the University of Houston, Universidad Nacional Iberoamericana, Universidad de Guanajuato, Tamayo Museum, Centro de la Imagen, Centro Nacional de las Artes, Universidad de Sonora, Universidad de Las Américas, San Francisco Art Institute, UCLA, UCSD, ENAP - UNAM, and La Esmeralda, among others.

Angie Keefer (b. 1977 Alabama; lives in New York) has exhibited, published, performed, taught, or otherwise produced work with The Whitney Biennial, 2014; Bienal do Mercosul, Porto Alegre; Objectif Exhibitions, Antwerp; Kunstverein, Amsterdam; ICA, Philadelphia; Office for Contemporary Art, Norway; Witte de With, Rotterdam; Yale Union, Portland, all 2013; Bienal de São Paulo; MoMA; Kunsthal Charlottenborg, Copenhagen, all 2012; CAC, Vilnius, 2011; and The Banff Centre, Canada, among others.

Ostendarp (American, b. 1961) has taught and exhibited widely, and his artwork is held in the collections of the Art Institute of Chicago, the Museum of Contemporary Art (Los Angeles), the San Francisco Museum of Modern Art, the Walker Art Center (Minneapolis), and the Whitney Museum of American Art, among other museums.

Lackey's works have been shown in solo and group exhibitions in venues including the Wellcome Trust, London; Contemporary Art Space, Osaka, Japan; I Space, Chicago; Exit Art, NYC; Tang Teaching Museum, Saratoga Springs, NY; Detroit Institute of Arts; the Art Gym, Marylhurst, OR; Asheville Art Museum, North Carolina; Cranbrook Art Museum, Bloomfield Hills, MI; Center for Contemporary Art and New Mexico Museum of Art, Santa Fe, NM; Loranger Art and Architecture Center, Detroit, MI along with numerous other museums and galleries.

My interest in African and African Diaspora visual arts, critical theories of contemporary art and visual culture, African and non-western theory, notions of the «primitive», «intuitive» and «self taught» artists and ideas of the «other» have always been a corollary to my thinking as a result of my background of working in the arts in the Caribbean.

Although my work doesn't look on the surface much like his, I think he taught me about using iconic signifiers and figures that I could project myself into for emotion and as an avatar in paint (like Scott McCloud describes in his amazing book, Understanding Comics, that we do as comic readers), and create figurative narrative allegories that hopefully resonate deeper than most political cartoons and relate to Goya and other art historical uses of politics and allegory as much as the imagery could relate to underground comics and contemporary worlds.

Solo exhibitions include the RISD Museum (Providence, RI); the Weatherspoon Art Museum (Greensboro, NC); the Nerman Museum of Contemporary Art (Overland Park, KS) The Tang Teaching Museum and Art Gallery (Sarasota Springs NY); the Museum of Contemporary Art Denver (Denver CO); and a twenty - year survey of her work at the Institute of Contemporary Art, Boston (Boston, MA) in June 2015, among many others.

For teaching resources created by Mark Bradford and other contemporary artists, please visit the Getty Museum's Open Studio website.

Sharon Hayes» selected solo exhibitions include Public Appearances, Tanya Leighton Gallery, Berlin, Germany (2013); There's so much I want to say to you, The Whitney Museum of American Art, New York, NY (2012); Habla, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain (2012); Elevator Music 20: Sharon Hayes, The Frances Young Tang Teaching Museum and Art Gallery, Saratoga Springs, NY (2012); 9 Scripts from a Nation at War (collaboration), Museum of Modern Art, New York, NY (2012); focus: Sharon Hayes, The Art Institute of Chicago, Chicago, IL (2011); In the near future, Vancouver Contemporary Art Gallery, Vancouver, British Columbia, Canada (2011), and others.

In 1993, in an essay reprinted in Frances Stark's Primer, compiled for the University of Southern California's recent symposium «On the Future of Art School» — an inspiration for Store's group show, which included work by Primer contributors Dexter Sinister and Mai Abu ElDahab, among others — Thierry de Duve sketched a pessimistic picture of contemporary art teaching.

Likewise, although PEET is relatively new to the contemporary art world, his experience in ceramics has propelled him to mentor and teach others, including art world veteran Tom Sachs.

They have had one - person exhibitions at the San Francisco Museum of Modern Art; University Art Museum, Berkeley; Contemporary Arts Museum, Houston, and the Tang Teaching Museum at Skidmore College and their works are in the permanent collections of The Museum of Modern Art, The Whitney Museum, Los Angeles Museum of Contemporary Art, the Brooklyn Museum, The Studio Museum in Harlem, and many others.

His work has also been exhibited at Palais de Tokyo, Paris; Museum of Contemporary Art, Chicago; Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York; American Academy in Rome; Eastern State Penitentiary, Philadelphia; Institute of Contemporary Art, Philadelphia; The Studio Museum in Harlem, New York; The Renaissance Society at the University of Chicago; and Contemporary Arts Museum Houston, among many others.

Some other memorable map exhibitions include: Map as Art, Kemper Museum of Contemporary Art, Kansas City, Missouri (2012); HereThereEverywhere, Chicago Cultural Center, Chicago, Illinois (2007); and The World According to the Newest and Most Exact Observations: Mapping Art and Science, at the Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, New York (2001).

Other jurors are Ian Berry, director of The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College; Lauren Haynes, curator of contemporary art at Crystal Bridges Museum of American Art; Eungie Joo, curator of contemporary art at the San Francisco Museum of Modern Art and Lilian Tone, assistant curator in the Department of Painting and Sculpture, at the Museum of Modern Art.

The Litchfield Law School would flourish from 1784 until 1833, providing practical legal training to students from across the nation, and producing many illustrious graduates.57 Other private law schools cropped up in the 1790s as well.58 They comprised not only the first attempts to systematically teach the law, but also set the mold for contemporary legal education.59 The moot court model pioneered by these schools would become the preferred way to teach practical skills such as writing and rhetoric.

109 See Hazelwood, supra note 19, at 286 — 89 (listing a number of ethical issues surrounding email that legal writing courses could raise, including third - party access / interception, metadata, data retention, and inadvertent disclosure); Dragnich, supra note 36 at 15 (discussing how an email assignment could include lessons about confidentiality, attorney - client privilege, and «contemporary issues such as information security and removal of metadata prior to transmitting documents»); Tracy Turner, E-mail Etiquette in the Business World, 18 No. 1 Persps.: Teaching Legal Research & Writing 18, 19 — 20 (2009)(discussing ethical and professional email issues, including when to use email versus other forms of communication, forwards and replies, and CC and BCC use); see also Shapo, supra note 3, at 345 («If you are forwarding a message to another attorney, for example, check that there is nothing in the thread that is not for the eyes of that recipient.