Sentences with phrase «reflect on a poem»

Students read and reflect on a poem and on their experiences over the past year, and consider things they've learned or goals they want to set for the coming year.

In the collection's penultimate story, a conflicted husband reflects on a poem by A.R. Ammons (One can't / have it / both ways / and both / ways is / the only / way I / want it).

Journeys with «The Waste Land» explores how contemporary and historical art can enable us to reflect on the poem's shifting flow of diverse voices, references, characters and places.

Not exact matches

Indeed, this is the very example of Christ, reflected in another poem, who humbled himself to the point of death, even death on a cross — and Christ clearly did not relinquish his identity in order to display humility.

Regular pauses are taken to encourage participants to reflect on what is being read, on the thoughts or memories the book or poem has stirred, or on how the reading matter relates to their own lives.

Provide students with a template and let them create a pinwheel that reflects on one side their thoughts about war and peace, tolerance, bullying, living in harmony with others You might use this activity to incorporate one of your writing goals / standards for the year; for example, the writing might be a poem, prose, haiku, or an essay.

Poetry Is for Real People Like Me Kathleen Modenbach reflects on the day a student shared a personal poem about attempted suicide.

An assortment of war poems which include some from Iraqi and American poets and one from a 15 year old girl written on reflecting her visit to Auschwitz.

After sharing the poem with students and discussing it, you might challenge students to write in Hughes» style a blues stanza all their own, a stanza that reflects on some incident in their lives that gave them «the blues.»

This practice will also force each student to reflect on and think deeply about his or her poem's message and meaning.

Not trying to be contrary or contradictory, but I wonder: When something is created for one technology (a uniquely indented poem created for the inflexible, immutable printed page), what's the value of presenting it on another platform that doesn't honor or reflect that original intent?

The poet, for much of the 20th century, would have written the poem out by hand, then typed it up on a typewriter, which would be submitted to the publisher, who typesets it; which exact spacing, say, of an indent, reflects the real authorial intent — the first draft, the copy, or the finished book?

The poem, titled Residing in a Castle of Shed Tears, reflects Kusama's musings on love, life, and death, recurring themes in the artist's work.

The title for the exhibition is taken from American poet Frank O'Hara's poem «Why I Am Not a Painter,» which reflects on the elusiveness of the creative process, often resulting in a finished work that bears no resemblance to its initial inspiration.

The year 1922 was also marked the publication of T S Eliot's The Waste Land, the great poem reflecting on the modern era in the wake of the First World War.

Arabic script is handwritten in free hand on the prints, reflecting Saudi's response and emotional ties to Darwish's poems.

In his latest collection of poems, How To Be Drawn, Hayes, a visual artist as well, also reflects on identity via the act of drawing, the basic impulse to make an illustrative mark and the concept of being the subject of a drawing.

A «flower of industry» survives in the poem despite its abandonment in front of a tank factory, reflecting the effects of industry on its surrounding environment.

Students were asked to reflect on a story, novel or poem they had read, which created a strong visual impact.

In his epic poem, Dante reflected on theological, philosophical and moral matters that still bear relevance for the issues facing society, politics and the economy today, but also questions of faith.

ASTRO - POEMS AND VERTICAL GROUP EXERCISES: CONCRETE POETRY AT CSA Jun 13 - Jul 13, 2018 Private view Tue Jun 12 6 pm - 8.30 pm Curated by Chelsea College of Arts Librarian, Gustavo Grandal Montero, this exhibition reflects Montero's ongoing research into the evolution of concrete poetry and its influence on visual art in the period 1964 - 67 in Britain.

Each assemblage reflects on the unfinished fragmented poems «Pour un Tombeau d'Anatole» by Stephane Mallarmé (1879), «a tomb for Anatole» translated by Paul Auster (1983).

The title for the exhibition is borrowed from American poet Frank O'Hara's poem Why I Am Not a Painter, which reflects on the elusiveness of the creative process, often resulting in a finished work that bears no resemblance to its initial inspiration.

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.

The poem was published the following year, and proved to be a pivotal and influential modernist work, reflecting on the fractured world in the aftermath of the First World War as well as Eliot's own personal crisis.

Reflecting on the relationship between sound and image, he will introduce his 1973 film Pictures and Sound Rushes as a prelude to considering the use of Ottorino Respighi's symphonic tone poem Pines of Rome (1924) in Bruce Conner's classic experimental film A MOVIE and in Fisher's Another Movie, made some 60 years later.

/ / WRITING / / 2018 The Artist's Book as Third Mind, The Journal of Artist's Books, JAB43, Spring 2018, Essay by Marianne Dages, originally presented at the 2018 College Book Art Association Conference 2015 - 2017, Editor for the Napoleon Gallery Essay Series 2017 Reflect / Collect: An essay on the one's we know (w / Napoleon Gallery) 2016 Three Poems, Bowietry, The Found Poetry Review, Spring On Language and Scale, an essay for the exhibition catalog of Sarah Hulsey's Iterations, Walter Feldman Gallery, Boston, Ma 2015 Marianne Dages: The Form Review, The St. Claire, w / Daniel Olion the one's we know (w / Napoleon Gallery) 2016 Three Poems, Bowietry, The Found Poetry Review, Spring On Language and Scale, an essay for the exhibition catalog of Sarah Hulsey's Iterations, Walter Feldman Gallery, Boston, Ma 2015 Marianne Dages: The Form Review, The St. Claire, w / Daniel OliOn Language and Scale, an essay for the exhibition catalog of Sarah Hulsey's Iterations, Walter Feldman Gallery, Boston, Ma 2015 Marianne Dages: The Form Review, The St. Claire, w / Daniel Oliva

Kiefer in fact made a series of paintings based on the poems, all of which had straw embedded in the picture surface to represent Margarete's hair, while any tangled black lines reflect the presence of Shulamite.

Born 1982, Auckland, New Zealand Education 2009 Meisterschule, Städelschule HFBK, Frankfurt am Main 2005 BFA, Elam School of Fine Arts, University of Auckland Solo exhibitions 2018 «Games of Decentralized Life» Galerie Buchholz, Cologne 2018 «The Founder's Paradox», MOCA Museum of Contemporary Art, Cleveland 2017 «The Founder's Paradox», Michael Lett, Auckland 2017 «The Founder's Paradox», Michael Lett, Auckland 2017 «Shenzhen Entrepreneurial Form», Fine Arts, Sydney 2017 «FaaS — Feedback as a Service: Reflecting on messaging, debate and criticality inside a parliamentary discussion on internet governance», Bozar, Brussels 2017 «Simon Denny: Real Mass Entrepreneurship», C2 Space, OCT - LOFT, OCAT Shenzhen 2017 «Hammer Projects: Simon Denny», Hammer Museum, Los Angeles 2016 «Secret Power», Museum of New Zealand Te Papa Tongarewa, Wellington 2016 «Blockchain Future States», Petzel Gallery, New York 2016 «Business Insider», WIELS, Brussels 2015 «Products for Organising», Serpentine Sackler Gallery, London 2015 «Secret Power», New Zealand Pavilion, 56th Venice Biennale 2015 «The Innovator's Dilemma», MoMA PS1, New York 2014 «The Personal Effects of Kim Dotcom», Adam Art Gallery, Victoria University, Wellington 2014 «New Management», Portikus, Frankfurt am Main 2014 «The Personal Effects of Kim Dotcom», Firstsite, Colchester 2014 «TEDxVaduz redux», T293, Rome 2014 «Disruptive Berlin», Galerie Buchholz, Berlin 2013 «The Personal Effects of Kim Dotcom», mumok, Wien 2013 «All You Need is Data — The DLD 2012 Conference REDUX rerun», Petzel Gallery, New York 2013 «All You Need is Data — The DLD 2012 Conference REDUX», Kunstverein München 2012 «Full Participation», Aspen Art Museum, Aspen 2012 «Envisaging Vocational Rehabilitation» (with Joanna Fadyl), Westfälischer Kunstverein, Münster 2011 «Corporate Video Decisions», Friedrich Petzel Gallery 2011 «Corporate Video Decisions», Michael Lett, Auckland 2011 «Cruise Line», NAK Neuer Aachener Kunstverein, Aachen 2011 «Chronic Expectation: CFS / ME Documentary Restoration», T293, Rome 2011 «7 Unreachable Elevators», IMO, Copenhagen 2010 «Negative Headroom: the broadcast signal intrusion incident», Contemporary Art Museum, St. Louis 2010 «Negative Headroom: the broadcast signal intrusion incident», Halle Für Kunst, Lüneburg 2010 «Remote Tutorial: hate poems for travelers», Landings Project Space, Vestfossen 2010 «Introductory logic tutorial video», Artspace, Sydney 2009 «Celebrities» houses at night: a projection», Standard Oslo, Oslo 2009 «Starting from behind», Michael Lett, Auckland 2009 «Deep Sea Vaudeo», Galerie Daniel Buchholz, Cologne 2009 «Watching Videos Dry», T293, Naples 2009 «7 Drunken Videos `, Luettgenmeijer, Berlin 2008 «Aquarium Paintings (with Nick Austin)», Center, Berlin 2008 «Ruined by Sheer Confidence», Caribic Residency, Frankfurt am Main 2008 «Alexandra Bircken / Simon Denny», Ursula Blickle Stiftung, Kraichtal 2008 «Recent Haircuts», Uplands Gallery, Melbourne 2008 «Recent Haircuts», Gambia Castle, Auckland 2007 «Compression Club», Michael Lett, Auckland 2007 «Monthly Cowards», Gambia Castle, Auckland 2007 «Paltry Motion», Dunedin Pubic Art Gallery, Dunedin 2006 «Old Entertainment System», Window, Auckland 2006 «Scape», Art & Industry Biennial, Christchurch 2006 «Old Things», Michael Lett, Auckland 2005» Arranging Sympathies», Volume Series, The Physics Room, Christchurch

For example, a sandtray is reflected on by writing a poem or short story.

Samia Goudie, a Bundjalung woman and senior lecturer at the ANU Medical School — Aboriginal and Torres Strait Islander health, and Dr Vanessa Lee also both shared poems they had written ahead of the conference, reflecting on their personal experiences.

On page 65 of the magazine there is a poem by Yveane Fallon called «I am to be» which reflects the dangers if we continued such denial.