Sentences with phrase «reflected in my latest works»

Not exact matches

In fact, this is what is so singular about this work; again and again, beside many things that are «late,» that is, superficial, sophistic, and scholastic, we find in it much that is simple and straightforward, reflecting genuine sensitivitIn fact, this is what is so singular about this work; again and again, beside many things that are «late,» that is, superficial, sophistic, and scholastic, we find in it much that is simple and straightforward, reflecting genuine sensitivitin it much that is simple and straightforward, reflecting genuine sensitivity.

Later in life he reflected on his work:

In a short piece on novelist James Kelman's latest work, Giles Harvey reflects on the tension between consciousness and plot in the modern noveIn a short piece on novelist James Kelman's latest work, Giles Harvey reflects on the tension between consciousness and plot in the modern novein the modern novel.

In A Woman's Work, Britain's longest - serving female MP Harriet Harman offers a new memoir reflecting on her experience of high - level politics and the recent history of the Labour Party from the late 1970s to the present.

They were working from information the state Democratic Committee had given them, but that information failed to reflect that nearly all of those votes occurred over a brief stretch during which Mr. LaValle was visiting his gravely ill father in a Long Island hospital and later attending to the details of his funeral.

Although AAAS was given credit in the published thesis, Dr. Redden felt it did not reflect the approach or work of the AAAS Project of the Handicapped in Science (later renamed AAAS Project on Science, Technology and Disability) and thus it was never disseminated or otherwise promoted by AAAS.

A New York City film director, working on his latest movie in Los Angeles, begins to reflect the actions in his movie and real - life, especially when he begins an affair with the lead actress.

In a tradition ranging from the kitchen - sink realist films of the late»50s and early»60s to the contemporary works of Mike Leigh and Andrea Arnold, English movies set among the working classes have tended to have fatalistic trajectories and miserabilist aesthetics, underlining their drabness to reflect their characters» sense of hopelessness and to visually convey a lack of upward mobility.

BCRC's focus on non-tested skills reflects mounting evidence that both cognitive skills (e.g., processing speed, working memory, and fluid reasoning) and non-cognitive (or social - emotional) skills are critical to student success in school and later in life.

Later in the day, Faust reflected on the Ed School's founding in 1920 and how the founders grappled with the school's purpose as they constantly explored ways to find what works in education, how to improve the profession of teaching, and, ultimately how to change the world.

At university...... many years later in the late 2000's I had a wonderful lecturer who encouraged me to speak up and critically reflect as well as explore areas of education I had never previously considered...... we could have a laugh, get the serious study and research done and feel like a solid contributor to our field (I work in adult education in a not - for - profit RTO).

In our latest reader submission, two supervising teachers and two pre-service teachers who worked together in Semester One 2017 reflect on the elements that helped drive a positive practicum experience for everyone involveIn our latest reader submission, two supervising teachers and two pre-service teachers who worked together in Semester One 2017 reflect on the elements that helped drive a positive practicum experience for everyone involvein Semester One 2017 reflect on the elements that helped drive a positive practicum experience for everyone involved.

We are now in the process of updating the practice test, which was released last May, to reflect our latest work in test development.

Two years in the works, the AM37 reflects Aston Martin's legendary design and craftsmanship, while including some very innovative features and the latest in marine technology.

Woolsey later reflected that he would have preferred two - and - a-half months, and blames his rushed schedule on the prevailing attitude in Japan that games were children's toys rather than serious works.

The subtle interaction of human figures in her densely patterned tableaux reflects the work of Malick Sidibé, the great, late Malian photographer.

In his blog you find him reflecting on new pieces, as they emerge, while discussing his inspirations: late work by Frank Stella and early collages by Russian Constructivist Olga Rozanova.

Add to these the poignant last paintings currently on view in Tate Modern's Malevich exhibition, and we have an extraordinary opportunity to reflect on the phenomenon of late work in the visual arts.

The latest edition of this triennial summer exhibition offers a free, lively space to discover new work and reflect on a time of significant change in this global city.

He placed his work in the realm of the sacred, and his later works continued to reflect his pursuit of creating art that requires internal discovery both on the part of the artist and the viewer.

Kertész rounded things out with the pictures he had been taking in New York from the late 1930s on, brilliantly designed and thoughtful works that reflected well his sense of melancholy and isolation, a result of his subtle style having gone unappreciated for too long in America.

Peter Alexander has experimented with casting polyester resin in different formats since the late 1960s, creating works, which explore the material's ability to both contain and reflect light.

[4] In the late 1970s, she embarked on a series of collage works, Eleven Ways to Use the Words to See (1976 - 1977), «this time using the medium to reflect directly upon her past,» [5] by cutting up old drawings that she used as compositional elements in new paintings, in ways similar to what she had done in the 1950In the late 1970s, she embarked on a series of collage works, Eleven Ways to Use the Words to See (1976 - 1977), «this time using the medium to reflect directly upon her past,» [5] by cutting up old drawings that she used as compositional elements in new paintings, in ways similar to what she had done in the 1950in new paintings, in ways similar to what she had done in the 1950in ways similar to what she had done in the 1950in the 1950s.

In the late 90's, her most recognized and transformative work started, «Pees,» reflecting on female urination.

A contemporary of the Abstract Expressionists — whose influences are reflected in his work — Smith was an architect and painter before he shifted his attention to sculpture in the late 1950s.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greateIn 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its lesser relationship to the greater.

Insistently contemporary, Danilowicz's work nevertheless recalls the geometric abstraction of late modernism, and reflects the fractured psychologies that have arisen in the midst of our dystopian techno - isolation.

Later, in the 1950s and 1960s, artists created work that rejected the bravura gestures of the previous generation in favor of art that reflected an aesthetic based on contemporary values.

Gray's interest in Chinese painting and calligraphy is reflected in much of his later work.

Reflecting on her life as a designer, she chose motifs for the prints based on her work from particular years: two from the 1920s, when Albers was at the Bauhaus and met her life - long partner and later husband Josef; two from the 1940s, when the couple taught at the experimental Black Mountain College in North Carolina after having fled Nazi Germany; three from the late 1950s to the early «70s, after they resettled in Orange, Connecticut and Josef served as Yale University's Chair of the Department of Design; and two from the early 1980s, after Josef's death.

Here, Bas shares some of his source material, reveals works in progress and reflects on his time in the city and its influence on his latest body of work.

(An exception to this was John Waid's fascinating 2016 work 909,125 minutes later, an unrealised proposal to delay the Angelus, reflecting that Ireland used to have its own time zone, changed in 1916 by English parliamentary decree by twenty - five minutes and twenty - one seconds.)

Early and late works are displayed alongside one another, reflecting Jonas's practice of revisiting her own past, as can be seen in Juniper Tree an installation created in 1994 that evolved from performances staged in 1976 and 1978.

For both works, De St. Croix has sculpted segments of the Palisades in foam and painted them to reflect the colors of the rock face in late afternoon.

With roots in Mason's earliest forays into the expressive potential of clay, the latest series of works featured in albertz benda's booth reflect the artist's enduring interest in mathematics, structure, and aesthetics but present entirely new and distilled forms.

When Isaac Julien started working with multi-screen film installations in the late 90s, he was naturally drawn to reflect upon...

In this latest body of work, Wiley juxtaposes the sitter and the art historical references to reflect on the relationship between the island and the former colonial power.

While Capelight is a prime example of Tworkov's work at the height of Abstract Expressionism, Alternative X reflects the artist's minimalist approach in his later years.

The exhibition showcases the most outstanding and symbolic works from the late 1990s and 2000s which directly reflect the changing cultural and social environment and values of the Chinese people in a booming economy».

The circular red ribs that make up the urn - like form of Cherubini's «Morning Star» reflect the looping vase handles and linear flowers in Nichols's still lifes; the figure / field spatial disparity in Bischof's «Omi im Bregenzer Wald» is also found in Trudy Benson's «Yes, and...» from 2014 (evidently a play on Yes, but..., Dore Ashton's classic study of Philip Guston's late work, published in 1976), where beads of yellow paint resembling wads of chewed - up chewing gum seem to drift above a receding gray and green field, which is bordered in peach - and - gray shards intersecting with black - and - white stripes.

Also on view are sculptures Edwards has made in Senegal over the past decade, as well as a selection of maquettes and prototypes reflecting his long career in public sculpture, and rarely exhibited works on paper, including sketchbooks and collaborations with the artist's late wife, the celebrated poet and performer Jayne Cortez.

In the late «80s and «90s, Lichtenstein's work reflected an increasing influence of cubism and surrealism, often taking the form of abstract geometrical figures.

Marsden Hartley's admiration for the folk paintings he encountered in the American Southwest comes across in portraits that pay homage to their style, but the unvarnished directness and formal flatness of these late - career works also reflect artists he may not have been aware of, such as Horace Pippin and the immigrant John Kane, born in Scotland to Irish parents.

While the early examples draw from American history (from civil rights to Vietnam), many of his later Lynch Fragments reflect his experiences of traveling in Africa and working with African metalsmiths and artists.

This exhibition will feature Nieto's latest in an ongoing endeavor into «comic abstractions», a phrase coined by the artist to reflect both the subject matter and the process involved in creating the works.

Many of Pape's works were created in response to rampant political repression in Brazil in the late 1960s, and reflected the artist's strongly critical views of the government's social and political hierarchies.

Noémie Goudal's (b. 1984) latest series of work, entitled Southern Light Stations, reflects the artist's interest in man - made interventions in the natural world.

Reflecting on his difficult upbringing and the challenges he faced in his young life - losing his mother at a very young age and later being abandoned by his father and brothers - every work is a conscious endeavour to free his mind from excessive introspection.

Although he got his start as an artist later in life, Conrad's body of work reflects a clear vision, imagination, and devotion to his practice.

The selection of works reflect Painlevé's constant explorations of new ways to engage with the audience, from his early portraits and close - ups of marine animals, his iconic film The Seahorse to later works such as the 1978 Phase Transition in Liquid Crystals.