Sentences with phrase «representation of your work history»

A short, concise representation of your work history, experience and education is most likely to be read.

If you are not sure how to set yourself apart on paper and you are not personally savvy at creating an impressive representation of your work history, employ the assistance of a professional resume strategist — who can extract the unique worth of your skill sets and effectively communicate your key messages.

Heather Monahan, a women's empowerment and business expert, mentor, and speaker told Ladders, «A resume should be professional and include specifics that highlight your successes throughout your career, and should always be an honest representation of your work history.»

While Monahan said, «You want an honest representation of your work history.

You can use the iron worker resume sample below to generate an accurate representation of your work history.

Not exact matches

While the COI may consider the relic as precious as a symbol of the cathedral's history, Roman Catholics see that heart as imbued with the grace of Christ himself and as an actual physical representation of God's work through that man.

Certain words and phrases bring to mind visual gags, which Oliver (Ewan McGregor), a graphic artist working on a representation of the history of sadness for an epic set CD liner notes, turns into sketches.

Resources provide opportunities to: - work to a brief as per industry standard - explore existing radio dramas - listen to radio drama with focus on The Archers - explore the history of radio dramas - explore symbolic codes - explore cultural codes - explore technical codes - explore conventions of radio drama - explore style and structure of radio drama - explore representation in radio drama

That theme of redefining mainstream narratives of history and representation holds throughout Figuring History, an exhibition of 26 works by three successive generations of African - American artists: Colescott, Kerry James Marshall and Mickalene history and representation holds throughout Figuring History, an exhibition of 26 works by three successive generations of African - American artists: Colescott, Kerry James Marshall and Mickalene History, an exhibition of 26 works by three successive generations of African - American artists: Colescott, Kerry James Marshall and Mickalene Thomas.

The exhibition explores the history of American modernist ballet and new representations of the body through a combination of contemporary works by Mauss and historical works from the 1930s and 1940s in ballet design, the visual arts, theater, and fashion.

The work calls on the history of graphic notation, physical comedy, and concrete poetry to create a visual representation of a brief moment across both space and time.

The exhibition, slated for Fall 2019 highlights the work of an artist devoted to reframing perspectives on difficult issues central to American history and the representation of race and the politics of visual culture.

Even so, his work is meaningfully, and indeed crucially, connected to important activities, movements, and genres of American artistic production — sculptural assemblage using found objects, appropriation of existing text and image, institutional critique, the politics of representation, performance — and, moreover, to the colonial history and political struggles of the country.

Bringing together some 250 works in a range of media, the exhibition includes more than 80 schooled and unschooled artists and argues for a more diverse and inclusive representation in cultural institutions and cultural history.

The exhibition slated for Portland in fall 2019 and traveling to additional US museums in 2020, highlights the work of an artist devoted to reframing perspectives on difficult issues central to American history and the representation of race and the politics of visual culture.

Colescott, Marshall, and Thomas marry appreciation of these traditional forms of representation to a deep understanding of contemporary American culture to create insightful works that disrupt historic narratives and read canonic art history against the grain.

Fallah's work has always integrated portraiture and representation of the history and narrative of objects we surround ourselves with.

In his work across media, Amir H. Fallah interrogates systems of portraiture and representation embedded in the history of Western art.

Firelei Báez, whose work has long been interested in the representation of women, particularly Afro - Caribbean / Afro - Latina women, reimagines important women of color in history in conversation through imaginative portraits.

The exhibition features a diverse selection of 22 artists working in London and engaging with topical concerns; from the rapidly changing urban context, the environment, technology, gender and race to queer representation, human relations, activism and post-colonial histories.

His epic works delve into racially charged narratives and natural disasters in American history, as well as the media's representation of these events.

Performance and the body are at the heart of Schneeman's practice, and this survey of important works from the eighties, nineties and present day explores the representation of the body in captivity and visualizations of repressed histories of control and confinement.

In this new body of work, the artist continues to advance the tradition of still life painting and more specifically, the rich history of representations of flora in art.

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.

The show is a celebration of the independence and eccentricity of this legendary artist, whose work spanned half a century of contemporary art history and anticipated debates on sexuality, gender, and representation.

Her work deals with ideas and notions of power structures, identity, memory, construction of history, architecture and how these are interlinked and interpreted culturally, spatially, and through representation.

«Carol Rama: Antibodies» celebrates the independence and eccentricity of this legendary artist whose work spanned half a century of contemporary art history and anticipated debates on sexuality, gender, and representation.

«Given the importance of the Till murder to the history of civil rights, and the absence of visual representations of the boy's suffering in the white press,» writes Berger, «analysis of the coverage of his death provides insights into the complex symbolic work that black children performed in the white imagination.»

He talked with curator Nicholas Cullinan about works in the National Portrait Gallery, how they've influenced his practice, and the «role of history, questions of representation, biography, masculinity, and portraiture in a broader sense» in his work.

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.

Maryam Jafri is an artist working in diverse media, with a specific interest in questioning the cultural and visual representation of history, politics, and economy.

The New York Times has compared Hahn's work to artists ranging from old masters like Edvard Munch to modern masters like Lisa Yuskavage, indicating that Hahn's primary subject matter is the representation of women across painting history, period.

Working with oil on canvas, Amy Bessone (b. 1970, New York City) explores themes of femininity and the representation of women in art history.

Vestigial representations of the occult were harnessed in «Cleromancy,» Nate Young's exhibition of six works from the past year that obliquely layered a range of personal and political histories, touching on subjects such as black jockeys, the Great Migration, divining, and family mythology.

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.

These works, along with more historical representations of war and strife, such as «El Mahdi» (1968 - 70) and «Pancho Villa» (1971), illustrate Colescott's attraction not only to his own American story, but also to the stories and histories of other cultures.

In popular representation, the works are understood as «priceless» because of their historical significance, while also inconceivably expensive as evidenced in public market sales; their destruction becomes a symbolic erasure of history, as well as an assertion of a new currency and world order.

Combining representation and abstraction, her work captures the frenetic pace of contemporary culture, broaching subjects as diverse as race, celebrity, religion, politics, sex, and art history.

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.»

A complex experiment in the realm of science fiction, the work weaves histories of imperialism, current day myths, and visions of the future with the philosophical and technological devices of their representation.

Interacting conceptually and aesthetically, the work in «Recent Histories» sought to deepen and expand the representation surrounding the discourse of African photography and video art, as well as dealing with the social and political tensions that occur worldwide.

The exhibition is organized around five selected themes from the complex history of the Second Wave, including the marginalization of women artists and their exclusion from the art historical canon, the female body and its representation, «women's work,» sexuality and gender, and race and ethnicity.

Over the course of almost three decades, Kerry James Marshall (born 1955) has produced a complex body of work exploring the representation of African Americans in society, culture and art history.

If these most recent works are, as Hume himself stresses, a form of history painting — representations of a series of «pregnant moments» connected to one of the great historical dramas of our time — Hume short - circuits this notion by rendering their historical scenes all but invisible, thus apparently declaring his disinterest in any narrative whatsoever.

The selection of works range from Frida Kahlo's confident self - representation to Gerhard Richter's blurred likeness; from Paul Cézanne's iconic tabletop arrangements to Jeff Koons» commodified objects; from Vincent van Gogh's roiling olive trees to Richard Long's land art, each demonstrating how modernism's radical new forms have continuously revitalized art history's conventional subjects.

In conjunction with her exhibition «Full Circle,» artist Summer Wheat shares the methods and cultural histories that guide her abstract - figurative work, from intuitive perception to ancient forms of representation and knowledge.

The work of Portuguese artist, Vasco Araújo, instead looks at the notion of representation and the canonization of history.

In total, they've gifted the museum at least forty works from their collection, which according to the institution, will help it to showcase LGBTQ culture and address the complex social and political history surrounding the representation of men.

My initial intent was to use the cave surfaces as a type of tabula rasa, where an infinite history of mark making could unfold, yet also work as references to sites that commonly hold a deep significance to the development of representation, tool - making, and consciousness.

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.