Sentences with phrase «picture of your work history»

That way, a hiring manager can get a clear picture of your work history.

Not exact matches

Since «Christ» is bound up with the pictures of Jesus that have succeeded each other in our history, and since those pictures are bound up with the judgments of historians, Altizer does not ignore the work of the great New Testament scholars.

The shadow chancellor says for the first time that he could work with the Lib Dem leader, supports airport expansion and says history will «paint a different picture» of Gordon Brown.

The new work, he said, «clearly cautions us that a present snapshot of a system does not always give a full picture of its history.»

American Film Institute: AFI is America's promise to preserve the history of the motion picture, to honor the artists and their work and to educate the Batman begins making a name for himself just as the flamboyant Joker takes over the Mafia in director Tim Burton's adaptation of the comic book.

American Film Institute: AFI is America's promise to preserve the history of the motion picture, to honor the artists and their work and to educate the The Vow's Michael Sucsy will direct the film, which has also secured the life rights of Jessica Walsh, 26, and Timothy Goodman, 32, the friends behind the

Owens spent the rest of 1957 working mostly on loan - out, but it was a 1958 Fox production that secured her place in motion picture history — as Helene Delambre, the wife of scientist Andre Delambre in The Fly.

She was not, even by her own admission, a great actress and because of this awareness Harlow worked hard at her craft and eventually would successfully hone her screen personality into one of the most enduring in motion picture history: the sassy, saucy girl from the wrong side of the tracks.

On the television side, which spanned 10 awards, «Justified» was a surprise winner for Best TV Drama Series, while the deliciously ribald «It's Always Sunny in Philadelphia,» now entering its seventh season, was named Best TV Comedy Series, knocking off last year's winner, «The Big C.» Kate Winslet («Mildred Pierce») and Jason Isaacs (PBS» «Case Histories») were awarded Best Actress and Best Actor prizes in the Miniseries or Motion Picture Made for Television categories, while Vanessa Williams («Desperate Housewives») and Ryan Hurst («Sons of Anarchy») won supporting performance trophies, which span both TV movie and serial work.

Already working on another batch of motion pictures, The Arsenal and Midnight Riders, the production company has differentiated itself by focusing solely on films rooted in American history.

Hailed by the New York Times on its Paris release as «one of the great films in motion picture history,» Raymond Bernard's Wooden Crosses, France's answer to All Quiet on the Western Front, still stuns with its depiction of the travails of one French regiment during World War I. Using a masterful arsenal of film techniques, from haunting matte paintings to jarring documentary - like camerawork in the film's battle sequences, Bernard created a pacifist work of enormous empathy and chilling despair.

VARDELL: On your website, you write about poetry as memoir, fiction, picture book, history, and empathy — all of which are reflected in your body of work.

In much the same way that a resume displays your work experience to a prospective employer, a credit report provides prospective creditors (and in some cases employers and insurers too) with a detailed picture of your credit history.

Upstart factors in different variables to get a better picture of its borrowers — including where they went to school and work history — which helps them provide a more reasonable loan rate than what is typically offered to people with limited credit history or low scores.

Our internal medicine team works in conjunction with a highly skilled team of radiologists to fully understand the patient's history and clinical findings to allow optimal diagnostic evaluation and therapeutic recommendations based on the whole clinical picture.

His work unmoors itself from the didacticism of American abstraction and self - reflexively seeks to picture the future while conjuring moments in the history of painting.

, curated by Andrea Salerno and Carmen Zita, Salvatore Ferragamo Gallery, NYC 20th Anniversary, Galerie Gabrielle Maubrie, Paris, France 2005 Faith, Real Art Ways, Hartford, CT Kiss: When a Kiss isn't just a Kiss, Contemporary Art Galleries, University of Connecticut, Storrs, CT Superfat, curated by Joshua Altman, Brooklyn Fire Proof, New York Frontier, Roberts & Tilton, Los Angeles, CA Bodies of Evidence, The RISD Museum, Providence, RI History of Disappearance: Live Art from New York 1975 — Present, Works selected from the Archives of Franklin Furnace, Baltic Centre for Contemporary Art, Gateshead, United Kingdom Springtide, Institute of Contemporary Art, Philadelphia, PA Fear Gear, curated by Euridice Arratia and Elizabeth Beer, Roebling Hall, New York 2004 The Realm of the Senses, James Cohan Gallery, New York, NY The Print Show, Exit Art, New York, NY Dimension: Folly, curated by Roberto Pinto, Galleria Civica di Arte Contemporanea, Trento, Italy (performance) Camera / Action, Museum of Contemporary Photography, Columbia College, Chicago, IL Sympathetic Nerve, Capsule Gallery, New York Self - Evidence: Identity in Contemporary Art, DeCordova Museum, Lincoln, MA Videoplayground, Galerie Alain Gutharc, Paris, France 2003 Occurrences: The Performative Space of Video, The School of the Art Institute of Chicago, Betty Rymer Gallery, Chicago, IL Only Skin Deep: Changing Visions of the American Self, International Center of Photography, NY, NY (catalogue) Im Balance: Video Works by Janine Antoni and Patty Chang, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY Moving Pictures: Contemporary Photography and Video from the Guggenheim Museum Collections, Guggenheim Museum Bilbao, Spain (catalogue) Black Belt, curated by Christine Kim, The Studio Museum in Harlem, NY, NY (catalogue) traveling to: Santa Monica Museum of Art, Santa Monica, CA, 2004/2005 10 Year Anniversary Exhibition, Yerba Beuna Center for the Arts, San Francisco, CA Paradigms, curated by Louky Keijsers, Longwood Arts Center, Bronx, NY Coup de Coeur (A Sentimental Choice), CRAC ALSACE, Altkirch, France Skowhegan 2002/2003, Institute of Contemporary Art at Maine College of Art, Portland, Maine (catalogue) Still Waters, Roberts & Tilton.

In renewing a consistent theme throughout art history, Simeone's latest body of work highlights the artist's interest in the way a picture can also be an object in and of itself, not simply a representation of something.

Often working with set designers, models and technicians, Williams» technically precise pictures recall Cold War era imagery and 1960s advertising, as well as invoking histories of art, photography and cinema.

Not only does Thomas upset the power dynamics at work between passive sitter and active viewer, which structure the history of art, she makes a case for upsetting a gendered dynamic beyond the space of the picture.

Carmen Winant, Assistant Professor of Visual Studies and Contemporary Art History, has had solo exhibitions at Skibum MacArthur in Los Angeles and Fortnight Institute in New York, respectively titled Pictures of Women Working and Who Says Pain is Erotic?.

In my work, colour, compositional structures, and gestures function not just as picture - making tools but as historical references which I use to create a bond between it and the history of painting.

Marden's early paintings box the viewer into the moment of encounter, offering at most a sliver of spattered canvas along a picture's bottom edge — like a faint crack of light beneath a door — as a whispered invitation to ponder the work's material history and creative context.

On the occasion of the publication of the new book The Big Picture:: Contemporary Art in 10 Works by 10 Artists, author Matthew Israel, and influential museum curators and directors Nicholas Baume, Adrienne Edwards, and Jens Hoffman discuss contemporary art's relation to art history and examine the place of contemporary art in museums as well as the future projects and programming at each panelist's institution.

The exhibition then turns to other works from 1960 onwards, including pieces from movements such as Fluxus and the socalled Pictures Generation, as well as an introspective look at the history of America through work by artists such as Romare Bearden, Jeff Wall, and Cady Noland.

Numerous artists re-contextualize pictures of solar phenomena from the 19th century to today, tracing the intersecting histories of photography and scientific knowledge, including Simon Starling's video installation Black Drop (2012) and Sarah Charlesworth's multi-photo work Arc of the Total Eclipse, February 26, 1979 (1979).

For a start, how about teaching art history in art lessons from the point of view of the artist, tell them Francis Bacon hung about with the Krays, or that Caravaggio murdered someone, let them know that the stuff about the vanishing point and composition are tools for conveying aspects of life, death, fear, sex - god forbid, humour - and those po faced dullards with posh voices that stand in front of great works pointing at background views of Tuscany are no more to do with painting pictures than I am an art historian.

Some entries detail the lens, lighting and film used to take a particular picture; others the exhibition history of a work; and still others, specifically for the Zeiss Distagon lens, its focusing range.

She creates a personal and contemporary fiction within her works, bringing to light issues of race and representation throughout the history of traditional figurative painting: «My work is a form of tribute, analysis and intervention: tribute out of sincere admiration for the figurative tradition; analysis, by making something vast,» the role of race in the history of figurative painting «comprehensible to both myself and to my viewers; and intervention, by positioning a woman - of - color as primary picture - maker, in whose hands the figurative tradition is refashioned.»

Frazier's work is in dialogue with this artistic history, but rather than depicting a romanticized, sensationalist, or voyeuristic view of socio - economic decline, she presents an intimate and quiet body of work that speaks to personal loss and pictures the effects of deindustrialization on her own family and community.

McGee was a painter of courageous ability and range... this show provided an art history lesson as we saw McGee working out the picture making problems that captivated the art world for some 40 years.

The formal concerns present in her work evolved from Manceaux's personal interest into the history of satire, comics and narrative humor — tracing dichotomous relations between the concepts of progress and synthesis, information and deformation, drawing and subversiveness, as the underlining scope for the way she treats the subjects of her pictures.

Often printed on the grand scale of a history painting — exhibited either as backlit lightboxes akin to advertising displays or as crisp ink jet and silver gelatin prints — Wall's works reveal their poetic potential through portraying empathetic characters, picturing impossible vantage points, and capturing elusive moments.

Seen through the lens of the history of performance documentation, Sehgal's work reveals that we have become so used to the idea that performance documentation is visual in nature — and consequently neglect «the presentational qualities of writing» (Reason, Documentation, 183)-- that we blithely consider a work to be undocumented because there are no pictures of it even when there are copious written descriptions.

These important pictures augment the couple's 1998 gift of nearly 1,000 works spanning the history of the medium.

A selection of ambitious and celebrated works will be highlighted, including a complete set of the seminal Untitled Film Stills (1977 - 80) and a complete group of her 12 centerfolds (1981), and selections from major series such as fairy tales / mythology (1985), history portraits (1988 - 90), sex pictures (1992), headshots (2000), clowns (2002 - 04), fashion (1983 - 84, 1993 - 94, 2007 - 08), and society portraits (2008).

Postcards From The Edge, Metro Pictures, New York, US New York / New Drawing 1946 - 2007, Museo de Arte Contemporáneo Esteban Vicente, Segovia, ES Monuments With A Horizon Line II, Buchmann Galerie, Berlin, DE Desenhos [Drawings]: A-Z, Museu da Cidade, Pavilhão Preto, Lisbon, PT The Porn Identity, Kunsthalle Wien, Vienna, AT A Bit of Matter And A Little Bit More, screening Performatik 09, Cultuurcentrum Strombeek and Performatik, Brussels, BE Regift, The Swiss Institute, New York, US Cut & Paste, Galleri Susanne Ottesen, Copenhagen, DK Down To Earth (Ceramics), Cultuurcentrum Strombeek, Grimbergen, BE Double 40 Jahre Kabinett für Aktuelle Kunst, Bremerhaven, MMK, Frankfurt, DE The First Stop on the Super Highway, Nam June Paik Art Center, Gyeonggi - do, KR Feedbackstage, Galerie Thomas Schulte, Berlin, DE Sharjah Biennial 9: Provisions For The Future (curated by Isabel Carlos), Sharjah Arts Museum, Sharjah, UAE Two in One Contemporary Art from Witte De With & De Appel, Christie's, Amsterdam, NL 40th Anniversary Benefit Exhibition, White Columns, New York, USA Écritures Silencieuses, curated by Herve Mikaeloff, L'Éspace Louis Vuitton, Paris, FR Carnival Within - An Exhibition Made in America, curated by Sabine Russ, Gregory Volk, Uferhallen, BE Espèces d'Espaces, Yvon Lambert, New York, US Take The Money And Run, Brouwergracht 196, Appel, Amsterdam, NL Double Participation, Museum für Moderne Kunst, Frankfurt / Main, DE Beginnings, Middles, And Ends (cur.Gianni Jetzer), Christine Koenig Galerie, Vienna, AT Dematerialised: Jack Wendler Gallery 1971 to 1974, curated by Teresa Gleadowe, Chelsea Space, London, UK Time As Matter, MACBA, Barcelona, ES 15 Years of Collecting Against the Grain, Kunstmuseum Wolfsburg, Wolfsburg, DE Artist Rooms Tate St Ives Summer Season, Tate St.Ives, UK Au Pied De La Lettre, Centre d'Art Contemporain, Chamarande, FR Art - Athina, Galerie Hubert Winter, Faliro Pavillion, Athens, GRSerralves 2009 The Collection: An Exhibition in Three Parts and Permanent Works in the Park, Serralves 2009 - The Collection: Passage through the First Part of the Exhibition, Serralves Museum, Porto, PT Serralves 2009 - The Collection: Videos and Films in the City, 74 Rua Cândido dos Reis, Porto, PT As Long As It Lasts, curated by Tom Eccles, Marian Goodman Gallery, New York, US Close Encounter, Blokhuispoort, Leeuwarden, NL When Ideas Become Forms 30 Years of Gallery, La Galleria, Venice, IT; Galerie Dr.Dorothea van der Koelen, Mainz, IT The Poetics of Space, curated by Anja Isabel Schneider, Galerie Marian Goodman, Paris, FR Zidovi na Ulici / Walls in the Street, multiple locations around Belgrade, RS Target Practice: Painting Under Attack 1949 - 78, Seattle Art Museum, Washington, US Time, Konrad Fischer Galerie, Düsseldorf, DE This World & Nearer Ones, curated by Mark Beasley, Governors Island, New York, US Recontres International Paris / Berlin / Madrid, Haus der Kulturen der Welt, Berlin, DE Turning Some Pages, screening A House is not a Home, La Calmeleterie, Nazelles, Négrons, FR Printed Matter, Learn to Read Art (Aprender a Leer Arte), Museo de Arte Contemporáneo de Castilla y León, ES Collection History: Highlighting Recent Acquisitions, MOCA, Los Angeles, California, US In & Out of Amsterdam: Travels in Conceptual Art, 1960 - 1976, curated by Christophe Cherix, Museum of Modern Art, New York, US Memory Labyrinth.

Over the next decade Longo became known as a leading protagonist of the «Pictures Generation,» working across drawing, photography, painting, sculpture, performance, and film to make provocative critiques of the anaesthetizing and seductive effects of capitalism, mediatized wars, and the cult of history in the US.

But the work goes beyond personal history, with the pink fabric conjuring up associations such as the smoldering coals in Francisco Goya's «The Forge» (c.1815 - 1820) and the motif of an unswept floor, known as an asaroton, found in Roman mosaics, a historical parallel that returns the piece to Steinberg's description of the flatbed picture plane:

«In Sepuya's work, they are underscored, bringing forward lost histories, as well as the influences and agency of both the pictured and the picturer.»

These works closely reference Japanese art history, particularly «pictures of the floating world» - paintings and prints of the Ukiyo - e school.

The exhibition then turns to other works from 1960 onwards, including pieces from movements such as Fluxus and the so - called Pictures Generation, as well as an introspective look at the history of America through work by artists such as Romare Bearden, Jeff Wall, and Cady Noland.

In foregrounding her work's relationship to the economies of collaboration and exchange, Lawler shifts focus from the individual picture to the broader history of art.

Susanne Gaensheimer «The Pictures Generation» at the Metropolitan Museum of Art, New York, was a groundbreaking exhibition containing works from a moment in art history that has been recognized only in recent years as one of the most significant after Minimalism and Conceptualism.

Sultan's editorial work was an outgrowth of his long history of engagement with a number of different, if overlapping, photographic languages, be it that of the institutional archive (Evidence), the home movie and family album (Pictures from Home), the forensic photograph (The Valley), or the advertising image (Billboards).

«Shades of Black (ness),» Davison Art Center, Wesleyan University, Middletown, CT, January 25 — March 3, 2005 «Collection Remixed,» The Bronx Museum of the Arts, Bronx, NY, February 3 — June 5, 2005; catalogue «Landscape,» Whitney Museum of American Art, New York, NY, March 24 — September 18, 2005 «The Shape of Time,» Walker Art Center, Minneapolis, MN, April 17, 2005 — October 25, 2009 «Very Early Pictures,» Luckman Gallery, California State University, Los Angeles, CA, May 26 — July 23, 2005; traveled to Arcadia University Gallery, Glenside, PA, September 6 — October 30, 2005 «African American Art: Masterworks of Contemporary Art,» Saint Louis Art Museum, St. Louis, MO, June 24 — August 28, 2005 «Wordplay: Text and Image from 1950 to Now,» Davison Art Center, Wesleyan University, Middletown, CT, October 25 — December 11, 2005 «The Painted Word: Language as Image in Modern Art,» Williams Center for the Arts Gallery, Lafayette College, Easton, PA, October 28 — December 14, 2005; brochure «Between Image and Concept: Recent Acquisitions in African American Art,» Princeton University Art Museum, Princeton, NJ, November 12, 2005 — February 6, 2006 «Beauford Delaney in Context: Selections from the Collection,» Philadelphia Museum of Art, Philadelphia, PA, November 13, 2005 — February 26, 2006 «A Brief History of Invisible Art,» CCA Wattis Institute for Contemporary Arts, San Francisco, CA, November 30, 2005 — February 21, 2006 «Linkages and Themes in the African Diaspora,» Museum of the African Diaspora, San Francisco, CA, December 1, 2005 — March 12, 2006 «Looking at Words: The Formal Presence of Text in Modern Contemporary Works on Paper,» conceived by Barbaralee Diamonstein - Spielvogel, Andrea Rosen Gallery, New York, NY, October 28, 2005 — January 15, 2006 «Collective Histories / Collective Memories: California Modern,» Orange County Museum of Art, Newport Beach, CA, February 9, 2005 — September 26, 2006 «Drawing from the Modern, 1975 - 2005,» Museum of Modern Art, New York, NY, September 14, 2005 — January 9, 2006 «ROMANCE (a novel),» curated by Adriano Pedrosa, Cristina Guerra Contemporary Art, Lisbon, Portugal, September 14 — October 15, 2005; catalogue «A Thousand Words,» Inman Gallery, Houston, TX, July 9 — August 27, 2005 «Getting Emotional,» Institute of Contemporary Art, Boston, MA, May 18 — September 5, 2005 «Double Consciousness: Black Conceptual Art Since 1970,» organized by Valerie Cassel Oliver, Contemporary Arts Museum, Houston, TX, January 22 — April 17, 2005

The artist is left with only a picture of the moment the work of art took place and correlates to his graffiti history, as painting in public is commonly erased in a similar manner.

«Garden Party» blends four distinct areas of Gray's newest work — re-interpretations of Flemish still lifes, grip tape collages, large abstract «spectrum» paintings, and smaller «snapshots» of vases, horses, and sculptural busts that seem excerpted from his larger works — to cohesively to present a larger picture of his experimentation with traditional subjects in art history through contemporary media and techniques.

The four postcards chosen for this exhibition span 400 years of art history and include work from the Dulwich Picture Gallery's permanent collection as well as recent art school graduates.

Through these techniques as well as the use of actual film to take pictures, at times out of focus, the artist imbues the works with a haziness that speaks to the indistinct nature of history and «fact» and a surface that The New York Times describes as «clouds of scintillation.»