Sentences with phrase «presentation of work history»

The other most common reason for these materials is that not enough thought has been put into improving the presentation of work history, skills, or other materials.

Not exact matches

It is not the purpose of this presentation to look into the theme of proselytism throughout the history of the Christian Church, but at least we should bear in mind that «Proselytism became a major interchurch problem through Roman Catholic (RC) and Protestant missionary work in countries where other Christian churches were already present - for example, among the Orthodox in the Middle East, Ethiopia and India, and among RCs in Latin America.»

His Gifford Lectures at Edinburgh on The Presence of Eternity: History and Eschatology (Harper, 1957) and various books of essays — the most notable collections in English being Faith and Understanding (Harper & Row, 1969) and Existence and Faith (World, 1960)-- show over how long a period, and in relation to how many challenges, he worked out his own presentation of the Word of God to our time.

For anyone who cherishes the Scriptures as passionate presentations of God at work in history, this film is dead at its core.

Curriculum vitae (CV): A detailed summary of your education experience, work history, and research experience, including publications and presentations, that is generally used for academic job searches.

His involvement and presentation of history, integrated with stories of worker women and their attorney, shows a complex intermingling of working class women's lives.

A fellowship will be awarded to one recipient annually for scholarly work on the history of endocrinology and for the preparation of the Clark T. Sawin Memorial History of Endocrinology Lecture presentation to be featured at the Endocrine Society's annual mhistory of endocrinology and for the preparation of the Clark T. Sawin Memorial History of Endocrinology Lecture presentation to be featured at the Endocrine Society's annual mHistory of Endocrinology Lecture presentation to be featured at the Endocrine Society's annual meeting.

An annual art and music show; Black History Month celebration; and presentations regarding gender and generational differences, work - life balance and world cultures and religions are some of the initiatives the Diversity Council leads.

Prior to Hughes» presentation of Film - Work at the inaugural History and Film Conference in 1981, few filmmakers and film scholars had substantial knowledge of the WWFFU.

A full resource pack for teaching CUBISM to Years 7 - 9 Includes: Project brief sheet PowerPoint presentation visual history of cubism Scheme of work Key activities to teach lesson by lesson Mrpicassohead computer activity to create own cubism head teacher and peer assessment sheets Mark sheet for recording feedback and comments on each piece in the scheme Takes the pain out of planning lower school SOW.

In the weeks prior to Memorial Day, classes work on Memorial Day lessons put together by the school's gifted and talented students, and sixth graders view a Power Point presentation about the history of the holiday created by eighth graders.

Information packs include facts about the country, its location, geography, modern history, ancient history, climate, general information, famous people and inventions etc Display • Photo packs for each country • Country names flashcards, key word flashcards, food flashcards, population statistics poster, A4 flags Maps and Activities • Maps of each country, Scandinavia, the Arctic circle, Europe, the world, continents, map jigsaw, maps to colour, matching cards, flag activities, Language (As Swedish is the most common language spoken across Scandinavia resources are included in this languages) • Number flashcards from 1 - 20 in Swedish • Days of the week in English and Swedish flashcards • Months of the year flashcards in English and Swedish • Common phrases cards — in English and Swedish • Colour flashcards in Swedish • A4 speech bubbles showing «hello» in each Scandinavian language Activities • Themed writing paper with flags to frame pupils work • Writing activities, drawing activities, make a presentation, research note pad, place mat, reward chart, word search, quiz, etc Borders, Banners and Buntings • Extra large lettering spelling «SCANDINAVIA» • Long banners for each country name, buntings with names • patterned and plain display borders and packing paper if needed

Recently, the schools music teacher used a projector to share a PowerPoint presentation she had created about the U.S. Constitution and its history; and the school counselors aunt shared with students the work of Afghan women in a program called Rubia.

Open to teachers, researchers, and education administrators interested in sharing their work and talking through professional issues, the meetings incorporate elements from medical rounds — such as case histories, focused presentations on research or new practices, and an opportunity to share expertise — in a format adapted to meet the needs of educators.

The presentation was so entertaining and unexpected that this reporter wrote it up for ARTnews — only to be informed by editors that «Lieutenant» Stoeckley had no affiliation whatsoever with the NYPD and was himself an artist with a long history of performance - based work.

Works featured in this presentation address his familial roots in Virginia, and the history of the Underground Railroad in the Great Dismal Swamp.

The presentation of their work revolves around art itself and its history, both ancient and modern, and they take quite disparate approaches to historical points of departure.

One major highlight will be NG ArtGallery's presentation of works by Fiona White, who is known for her portraits of characters inspired by global events and that reference history and racial politics.

Dr. Tsai, the curator of the exhibition, will discuss the selection and presentation of nearly 60 works, including sculpture, stained - glass panels and oil paintings which together, as a whole, alter the narrative of art history.

This is the largest presentation of the Kunstmuseum's collection in its 150 - year history and includes work by the likes of Goya, Hokusai, Munch, and Picasso.

Together these solo presentations will celebrate the continuing legacy of Hudson in the work of his artists; and represent the pioneering contribution of galleries, not only to their respective communities but to art history.

From focused exhibitions on the work of Cuban painter Amelia Peláez and Haitian born, Miami - based artist Edouard Duval - Carrié to thematic presentations of the Museum's permanent collection to major retrospectives on artists Ai Weiwei and Beatriz Milhazes and group exhibitions on the exchange of ideas between the Caribbean basin, Europe, and North Africa, PAMM's upcoming projects serve as critical frames through which larger dialogues about recent history, migration, new cultural formations, and diverse ideologies can be structured.

The show, organized with Hammons» support, will trace the evolution of the artist's entire oeuvre from the late 1960s to the present day and build on Mnuchin Gallery's history of collaboration with the artist, following the gallery's presentations of new work in 2007 and 2011.

Concurrent with Jenkins Johnson Gallery's presentation of his work at EXPO Chicago from September 13 - 17, Lavar Munroe will speak on the panel, Race and Representation in Contemporary Institutions, moderated by Perry Irmer, president and CEO, the DuSable Museum of African American History.

When conceiving a work, Asher takes into account all aspects of the conditions of its presentation, including not only economic restraints and the size of the exhibition space, but also the function, history and character of the institution.

The work, which first premiered at the 2015 Venice Biennale and will have its first New York presentation at the New Museum, focuses on the ocean as an environmental, cultural, and historical force, connecting literature and poetry, the history of slavery, and contemporary issues of migration and climate change.

Linking the artist's childhood home to the history of the Great Migration, the deftly constructed canvas accumulations of McArthur Binion are included in group presentation by Kavi Gupta (C15), which examines how this kind of expansive, socially engaged content manifests within the seemingly minimalist work of Clare Rojas, Beverly Fishman, Manish Nai, and Patrick Chamberlain.

His works question any assumed differences between abstraction and representation, between modes of presentation... Welling's photographs are objects in themselves, beautiful compositions that also gloss and comprise a history of photographic practices.

It launches with a presentation of Julian Rosefeldt's critical investigatory film of Germany's history, Deep Gold (2013 - 14) and works by Austrian printmaker Kiki Kogelnik and Swiss sculptor Claudia Comte, among others.

The AGO's presentation, curated by AGO curator of modern and contemporary art David Moos, draws works from MoMA's wide - ranging presentation, with a focus on the masterworks that epitomize the pivotal moment in modern art history.

Two presentations in Washington, D.C., «The Card Series II: The Rounds,» a 54 - part installation in the visual art gallery of the new Smithsonian National Museum of African American History and Culture, and «Whitfield Lovell: The Kin Series and Related Works,» a traveling exhibition currently on view at the Phillips Collection, have brought new attention to his work.

The panels can easily tell a story similar to a history book, but a story Mokgosi wouldn't dictate out loud during the talk, instead he wanted the viewer to interpret their own story of it based on their ideas, and personal judgment.Other works on display throughout the School were part of the «Status Quo» group presentation.

2010 3 minute wonder series, Broadcast commission, Channel 4 (27,28,29,30 Sept; 18, 19, 20, 21 Oct) 06.2010 Persistence of Vision, FACT, Liverpool, UK 05.2010 Steps into the arcane, Kunstmuseum Thurgau, Switzerland 05.2010 It has to be this way ², National Gallery of Denmark, Copenhagen [commissioned solo show] 03.2010 Hands on, (curated by John Hilliard) Galerie Raum Mit Licht, Vienna, Austria 02.2010 Depatterrn, Galleri Erik Steen, Oslo, Norway 10.2009 Performance, Film Weekend: The Jarman Award at KunstHalle, Zurich, Switzerland 09.2009 Performance, Whitechapel Gallery, London, UK06.2009 Mostravideo, Itau Cultural Institute, Sao Paulo, Brazil 02.2009 Altermodern, Fourth Tate Triennial, Tate Britain, UK 01.2009 It has to be this way, Matt's Gallery, London [commissiond solo show] 12.2008 Performance, Event Horizon, Royal Academy of Art [commissioned solo show] 06.2008 Performance, Happy Hand, British Film Institute, London, UK 10.2007 Cinemart, The Auditorium, Rome, Italy 09.2007 Foreign Bodies, White Box, New York, USA 07.2007 Swallowing Black Maria, Smart Project Space, Amsterdam [commissioned solo show] 02.2007 The Believers, Touring show to five cities in Norway, with performances in Stavanger, Forde and Bergen 09.2006 The truth was always there, The Collection, Lincoln [commissioned solo show] 07.2006 UBS Opening, Tate Modern (with Laurie Simmons, Guerilla Girls etc), UK 05.2006 Performance, Human Camera, Mali Salon, Rijeka, Croatia (solo show) 05.2006 I can't tell you, Grundy Gallery, Blackpool [commissioned solo show] 04.2006 Metropolis Rise, CQL Design Centre, Shanghai; DIAF 2006 @ 798 Space, Beijing, China 04.2006 Performance, Inside, Great Eastern Hotel, Masonic Temple, London, UK 03.2006 Performance, Don't Look Through Me, Y Theatre, Leicester, UK 03.2006 Don't look through me, City Gallery Leicester [commissioned solo show] 03.2006 Performance, Screening at Witte de With / Tent, Rotterdam, Holland 03.2006 John Skies or Sally Swims, UKS Gallery, Oslo, Norway 02.2006 Wandering Rocks, Gimpel Fils Gallery, London 11.2005 Image in Me, Market Gallery, Glasgow (solo show) 10.2005 Eyes of Others, Gallery of Photography, Dublin [commissioned solo show] 10.2005 Wunderkammer, The Collection (curated by Edward Allington), Lincoln, UK 09.2005 I saw the light, Gasworks Gallery, London [commissioned solo show] 09.2004 Adam, Smart Projects, Amsterdam, Holland 11.2004 Mind the Gap, La Friche, Triangle, Marseille, France 08.2004 Shattered Love, Keith Talent Gallery, London 04.2004 Eating at Another's Table, Metropole Galleries, Folkestone (performance / exhibition) 04.2004 Tonight, Studio Voltaire, London (curated by Paul O'Neill) 03.2004 Performance, A Variety Night of Ventriloquism, FACT, Liverpool (with Ken Campbell, Aura Satz, Andrew Hubbard) 03.2004 Mesmer, Temporarycontemporary, London 02.2004 Haunted Media, Site Gallery, Sheffield (with Susan Hiller, Susan Collins, Scanner, Thompson / Craighead, S Mark Gubb) 09.2003 The Physical World, APT, London, (with Ian Dawson, Katie Pratt) 09.2003 Sphere, Presentation House Gallery, Vancouver, Canada (with Paul McCarthy, Bruce Nauman, Laurie Simmons and Allan McCollum) 09.2003 You said that without moving your lips, Limerick City Gallery, Ireland (solo show) 08.2003 Calidoscopio, Museo del Barro, Asuncion, Paraguay (solo show) 04.2003 A Taste for Sham, Studio 1.1, London (with Jo Bruton, Kirsten Glass) 01.2003 The Lost Collection of an Invisible Man, The Laing Art Gallery, Newcastle (curated by Brian Griffiths) 09.2002 History Revision, Plymouth Arts Centre (including Terry Atkinson) 06.2002 Nausea: encounters with ugliness, London Print Studio 04.2002 Dramatic Events, Kent Institute of Art and Design 03.2002 Photoscoptocus, Camden Lock / Henley - on - Thames (Public commission) 03.2002 Nausea, Djangoly Art Centre (with Dave Burrows, Beagles and Ramsay, Margarita Gluzberg, Mark Hutchinson) 08.2001 Trinity College, Zwemmer Gallery, London 05.2001 Black Bag, Old Operating Theatre Museum (+ monograph BBC programme, «Lindsay Seers, Artist's Eye», Rory Logsdail) 03.2001 For the dead travel fast, Worcester City Museum and Art Gallery [commissioned solo show] 02.2001 Molotov, Dilston Grove Gallery, London (with Kirsten Glass, Diann Bauer, Annie Whiles, Helen Paterson, Lisa Fielding Smith) 09.2000 Tow, Camden Lock, Millennium Commission Project (with Tim Head, Diana Edmunds, Janice Howard, Zoe Brown) 10.2000 Assembly, Stepney City, London 07.2000 A Shot In The Head, Lisson Gallery, London 07.2000 Unfound, Chisenhale Gallery, London 06.2000 City Projects, Artomatic, London (with Jemima Brown, Marcel Price) 05.2000 The Double, The Lowry Centre, Salford (with Thomas Ruff, James Reilly and Alice Maher) 05.2000 On the rock, APT Gallery, London (with Annie Whiles, Diann Bauer, Kirsten Glass, Helen Paterson) 09.1999 Nerve, ICA, London (with Jeremy Deller, Martin Creed, Dave Beech, John Isaacs, John Beagles, Dave Burrows, Clive Sall) 07.1999 Quotidian, Paper Bag Factory (curated by Julia Lancaster) 06.1999 Autocannibal, Laure Genillard Gallery, London (solo show) 04.1999 Cabin Fever, Gallery Herold Bremen, Germany, (with Caroline Macarthy and Mairead Maclean) 10.1998 Multiples, Temple Bar Gallery, Dublin 09.1998 Cannibal, Old Museum Art Centre, Belfast (solo show) 08.1997 Knock, Knock, Artists Work Programme, Irish Museum of Modern Art, Dublin 11.1996 Stick Your Hands Up, Acorn Storage, Hammersmith, London 10.1996 Ghost, ACAVA Open Studios, Denmark St, London 09.1996 Ad Hoc, London Artforms.

Inspired by WG Sebald, especially «On The Natural History of Destruction», it starts with Durer, incorporates the WW2 bombing of Germany and unseen work by Tacita Dean and Anselm Kiefer among others, and pivots on a cinematic presentation of Guido Van der Werve's hypnotic 54 minute film Number Twelve, Home, which starts on the hour and demands to be seen in full.

Art History 101: Introduction to Art September 17 — December 10, 2016 Presented in conjunction with Art 101, the introductory art history course offered at the University of Chicago, this display gathers diverse works relating to the theme of presentation and self - represenHistory 101: Introduction to Art September 17 — December 10, 2016 Presented in conjunction with Art 101, the introductory art history course offered at the University of Chicago, this display gathers diverse works relating to the theme of presentation and self - represenhistory course offered at the University of Chicago, this display gathers diverse works relating to the theme of presentation and self - representation.

The presentation of Robert's work is rooted in Visual AIDS» mission to ensure the legacy of visual artists with HIV and work to secure their place in art history.

At the same time, the presentation avoids triumphalism in its narrative of American history: with the new and welcome prominence given Native American and African - American artists, the installation frankly acknowledges that the rising fortunes of a new nation — reflected or celebrated in many of the collection's finest works — were predicated on oppression.

Each taking as their subjects the lives of a deceased creative individual and his personal belongings, their projects build meaningfully on the Whitney Biennial's recent history of both deceased artists and artist - curated «sub exhibitions,» notably from the 2012 edition the inclusion of George Kuchar (died, 2011); Robert Gober's presentation of work by Forrest Bess; Nick Mauss» curation of queer - oriented work culled from the museum collection; and also discursive contributions, such as Andrea Fraser's essay No Place Like Home.

Building upon the MCA's long history of working with artists and exemplifying the artist - activated, audience - engaged MCA vision, this yearlong creative residency is offered in conjunction with our May 2011 presentation of Bradford's major solo exhibition organized by the Wexner Center.

Robert Arndt's work suggests a manner of reading the object / subject under a diversiform of presentations, styles, subjectivity, and institutional structures through art and cinematic history.

The presentation comprises of works spanning 1970 to 1990, including notable photographs from the «Remodelling Photo History», «Libido Uprising» and «Photo Therapy» series.

In his sculptures, photographs, and films, the work of Swiss artist Shahryar Nashat often addresses the representation of the body in art history and the conventions of mediation and presentation.

Thomas, whose work was included in the Museum's 2013 presentation of «Posing Beauty in African American Culture» and 2009 exhibition «Undercover: Performing and Transforming Black Female Identities,» is inspired by a range of sources including art history, popular culture and feminist thought.

In their wall texts, Weber and Bishop forthrightly make the theme of the museum as active maker of art histories equal to that of the presentation of Park and his work.

Open within the grounds of the Giardini della Biennale, the presentation explores Alberto Giacometti's absence in the history of the Swiss Pavilion through a selection of new work by Carol Bove and Teresa Hubbard / Alexander Birchler.

In this museum it is possible to find, both in the permanent presentation of the Berardo Collection and in the vast array of temporary exhibitions, works by artists from diverse cultural backgrounds and contexts, who, through a multitude of expressions, built the art history of the last century.

Other works on view include a suite of watercolors by Guo Hongwei, combining his renderings of American iconography with his father's calligraphy of Chinese classical poems; Chen Wei's staged photographs in the traditions of Gregory Crewdson and Cindy Sherman; a thick - imexhibitionso floral - patterned diptych by Liang Yuanwei, exhibitionsly featured in the Chinese pavilion at the 54th Biennale di Venezia; Cheng Ran's romantically staged photos of the Hollywood sign, commenting on the role cinema has played in shaping the image of America in the psyche of younger Chinese generations; the American premiere of Sun Xun's 21 Grams, a four - year long animation project reflecting on history, social struggles and dystopia; and Hu Xiangqian's Art Museum, a video presentation of the «collection» of Western artworks that have inspired the artist's creative language but that he's never seen in person or fully understood.

His deep, long steeping in the history, technical procedures and culture of photo - making richly informs his images but does not turn up in his work in overt or intrusive ways, such as self - conscious quoting of photographic sources or studied fussiness in his presentation images.

An opening reception will be held from 5 — 7 p.m. on February 8 and Meredith Davis, an assistant professor of art history at the College, will give a talk at 6 p.m. Artists whose work is featured in the exhibit will also give presentations.

This exhibition promises to broaden our perspective on the artist's ambitious speculative histories, with a presentation of recent and newly made site - specific works, including Shatter, 2016, which makes its debut here.