Sentences with phrase «taught museum studies»

Ms. Haff has taught Museum Studies through the Art History Department at Stonehill College.

Not exact matches

The Canadian Museum of Nature has been very supportive of my research and promotional activities, enabling me to study benthic communities in many systems, teach marine biology on the Atlantic and Pacific Coasts, and popularize my findings through the media and museum exhMuseum of Nature has been very supportive of my research and promotional activities, enabling me to study benthic communities in many systems, teach marine biology on the Atlantic and Pacific Coasts, and popularize my findings through the media and museum exhmuseum exhibits.

The money will give pupils a range of cultural opportunities including training at the Royal Ballet School in London, film - making classes at the BFI Film Academy and free opportunities to study art and design at their local college or university; and visits to museums and galleries, using quality resources to support their classroom teaching.

in Teaching and Learning from HGSE, M.A. in Museum Studies from The George Washington University, and B.A. in Studio Art and Art Conservation from the University of Delaware.

An Example of a Peer Partner Day CT Master Teaching artists Leslie Johnson and Thomasina Levy led approximately 50 teachers, parents, and museum educators through a writing and music making process using the New Britain Museum of American Art exhibit as the anchor of museum educators through a writing and music making process using the New Britain Museum of American Art exhibit as the anchor of Museum of American Art exhibit as the anchor of study.

A veteran high school history teacher and university professor, Bain studies teaching and learning of history across a variety of instructional settings, including classrooms, museums, and with technology.

All Appsmashing Assessment Blogging Byod Capp Collaboration Community Cooperation Creativity Critical Friends Cross-curricular Connections Differentiation Digital Literacy Digital Storytelling Eportfolios #ETMOOC Field Study Genius Hour Hac Imovie Inquiry IPads Iste Media Literacy Mr. Rogers Museum Box Picture Books Place Based Learning Powerpoint Prezi Reflection Stations Teaching Technology The Genius Hour Guidebook Twitter Web 2.0 Web 2.0 Wifi Youtube

This fall, Lewis will teach a course titled Vision & Justice at Harvard, where she is a member of the art history and African - American studies departments, and she will organize a companion exhibition to her Aperture issue at the Harvard Art Museums.

«Painterly Pasted Pictures» an exhibition of 20th century painters of collage curated by E. A. Carmean Jr. @ Freedman Art, New York, NY 2013 «Color & Edge» with Lauren Olitski Poster and Ann Walsh @ Sideshow Gallery, Brooklyn, NY 2012 «Extreme Possibilities: New Modernist Paradigms» The Painting Center, NYC, NY curated by Karen Wilkin 2009 «Direct Sculpture: A Dialogue in Polymers», Student Union Gallery, Univ. of Massachusetts Amherst, Amherst, MA 2006 «Greenberg in Syracuse; Then and Now», Company Gallery, ThINC, Syracuse NY 2005 «Studies in Abstraction: Lauren Olitski, Susan Roth, and Ann Walsh», curated by Wendy S. Evans, Student Union Gallery, Univ. of Massachusetts, Amherst, 2005 «Rural Artists / Urban Sensibilities», C. W. White Gallery, Portland ME 2003 «The Clement Greenberg Collection», Joe & Emily Lowe Gallery, Syracuse, NY 2003 «Clement Greenberg, A Critic's Collection», Portland Art Museum, Portland, Oregon 2001 «The Mirvish Teaching Collection», Agnes Ethrington Gallery, Queens University, Kingston, Ont.

While the museum describes him as mostly self - taught, he studied at a rather conservative New York school, assisted Brancusi in Paris, and thrived on collaborations.

Visionary Agency: Grandma Moses, Agnes Pelton, Jay DeFeo and Twentieth - Century American Art Chair: Erika Doss, Ph.D., Professor American Studies, University of Notre Dame Speakers: Elizabeth Ferrell, Ph.D., Assistant Professor, Arcadia University and Katherine Jentleson, Ph.D., Merrie and Erika Doss, Ph.D., Professor American Studies, University of Notre Dame and Dan Boone Curator of Folk & Self - Taught Art, High Museum of Art, Atlanta

The first comprehensive museum exhibition in the United States about the experimental liberal arts college where influential artists such as Robert Rauschenberg, John Cage, Josef and Anni Albers, and Merce Cunningham studied and taught.

Thelma Appel was born in Tel Aviv Israel and studied art at Central St. Martin's School of Art & Hornsey College of Art in London before emigrating to the United States, where she settled in Vermont, teaching at Bennington College and Parsons School of Design and exhibiting in museums and galleries throughout the region.

Jennie Goldstein, a Joan Tisch Teaching Fellow at the Whitney Museum since 2011, is currently a Ph.D. candidate in art history at Stony Brook University where she studies late modern and contemporary art.

Lehigh University Art Galleries • Teaching Museum (LUAG) inspires, develops, and promotes visual literacy and cultural understanding through cross-disciplinary educational opportunities that supplement formal classroom study, as an educational laboratory to benefit students, faculty, and the community - at - large as part of the university learning experience.

February brought us Leap Before You Look: Black Mountain College 1933 - 1957, the first comprehensive museum exhibition in the United States about the experimental liberal arts college where influential artists such as Robert Rauschenberg, John Cage, Josef and Anni Albers, and Merce Cunningham studied and taught.

This text has been made publicly available for use in research, teaching, and private study by Dallas Museum of Art in partnership with The Portal to Texas History, a digital repository hosted by the University of North Texas Libraries.

SOLO EXHIBITIONS: Ceres Gallery, Ney York City NY Van Bovenkamp Gallery, New York City NY Lucien Labaudt Gallery, San Francisco CA Hollis Gallery, San Francisco CA Prism Gallery, San Francisco CA Ebert Gallery, San Francisco CA Pacific Design Center, Los Angeles CA Bingham Gallery, San Jose CA Bingham Gallery, Salt Lake City UT Voshan Gallery, Palo Alto CA Palm Springs Gallery, Palm Springs CA University of Oregon Art Museum, Eugene OR University of Montana Art Museum, Missoula MT Fresno Art Center, Fresno CA Atelier Gallery, Santa Cruz CA Romana Milutin - Fabris Gallery, Dubrovnik, Croatia Sesame Gallery, Dubrovnik, Croatia Studio Art 57, Dubrovnik, Croatia GROUP EXHIBITIONS: Elaine Benson Gallery, Bridgehampton, Long Island NY San Francisco Bay Area Painters, Palo Alto Cultural Center, Palo Alto CA Survivors, Henry Gallery, University of Washington, Seattle WA Artists of Oregon Annual, Portland Art Museum, Portland OR Artists of Oregon Invitational, Portland Art Museum, Portland OR Greenville Art Museum, Greenville, North Carolina San Jose Art League, San Jose CA Yerba Buena Art Center, San Francisco CA Voshan Gallery, Palo Alto CA Ebert Gallery, San Francisco CA Ceres Gallery, New York, NY Triton Museum, Santa Clara CA BIRTHPLACE: Boston, Massachusetts EDUCATION: Massachusetts School of Art, Boston, Bachelor of Art Degree, 1952 San Francisco Art Institute, Master of Art Degree, 1961; Graduate Study with Diebenkorn, Oliveira, Bischoff and Hedrick University of Oregon, Eugene, Master of Fine Arts (required to teach in Oregon) TEACHING EXPERIENCE: California State University, Fresno CA Fresno City College, Fresno CA Umpqua College, Roseburg, Oregon

This collection has been made publicly available for use in research, teaching, and private study by Dallas Museum of Art in partnership with The Portal to Texas History, a digital repository hosted by the University of North Texas Libraries.

Perspectives: Native American Art from the Hood Museum of Art's Collection, Perspective in Native Studies, NAS 8, Spring 2014, Vera Palmer, Teaching Exhibition, Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, March 24 - June 16, 2014.

In addition to being the director of the Jessica Park Project, Tony Gengarelly, Ph.D., is a professor emeritus of art history and museum studies at Massachusetts College of Liberal Arts where he taught for over forty years.

They facilitate use of the museum as a teaching resource and promote the study of art and artifacts in the museum's collection.

The Collection Teaching Gallery, where this material is presented, is a newly established teaching and viewing space in the Center for Curatorial Studies Bard Galleries created to foster diverse forms of engagement with a broader range of CCS Bard and Hessel Museum collection maTeaching Gallery, where this material is presented, is a newly established teaching and viewing space in the Center for Curatorial Studies Bard Galleries created to foster diverse forms of engagement with a broader range of CCS Bard and Hessel Museum collection mateaching and viewing space in the Center for Curatorial Studies Bard Galleries created to foster diverse forms of engagement with a broader range of CCS Bard and Hessel Museum collection materials.

Instructor: Jennie Goldstein, a Joan Tisch Teaching Fellow at the Whitney Museum since 2011, is currently a Ph.D. candidate in art history at Stony Brook University where she studies late modern and contemporary art.

Instructors: Jennie Goldstein, a Joan Tisch Teaching Fellow at the Whitney Museum since 2011, is currently a Ph.D. candidate in art history at Stony Brook University where she studies late modern and contemporary art.

Claudine teaches in the Museum and Exhibition Studies Program in the School of Art + Art History at the University of Illinois - Chicago, and is also a Lecturer in the Painting and Drawing department at the School of the Art Institute of Chicago.

Curatorial work at major art museums, as well as teaching art history at a college or university level both usually require further graduate study in art history.

The mission of the Ashmolean Museum is to make its collections of art and archaeology available to the widest possible audience, now and in the future, by exhibiting, preserving and interpreting its objects for study, enjoyment and inspiration, and to promote the understanding of them by teaching and research at the highest level.

It's fitting that the museums of the city where she studied and now teaches should be together committed to correcting this.

2014 Study from the Human Body, Stephen Friedman Gallery, London, England INSERT 2014: a cultural exploration of Delhi as a landscape for creativity and transformation, Indira Gandhi National Centre for the Arts, India Ruffneck Constructivists, ICA, Philadelphia, Pennsylvania, USA The Drawing Room, Magasin 3, Stockholm, Sweden Surfacing, Goodman Gallery, Cape Town, South Africa Slow Future, Centrum Sztuki Współczesnej Zamek, Poland Michelangelo e il Novecento, Galleria Civica di Modena, Italy The Disappearance of Fireflies, Prison Sainte Anne, Avignon, France And the Trees Set Forth to Seek for a King, Museum of the Seam, Jerusalem, Israel Pace Gems: Selections from the Linda Pace Foundation Permanent Collection, San Antonio, Texas, USA As I Run and Run, Happiness Comes Closer, Hotel Beauburn, Paris, France Paradigm Store, Howick Place, London, England What Marcel Duchamp Taught Me, The Fine Art Society Contemporary, London, England Odd Volumes, Book Art from the Allan Chasanoff Collection, Yale University Art Gallery, New Haven, USA Der Leone Have Sept Cabeças, CRAC, Switzerland One Shot!

Jennifer González is Professor in the History of Art and Visual Culture at the University of California, Santa Cruz, and also teaches at the Whitney Museum Independent Study Program, New York.

2011 - Present Workshop Instructor, Classical Drawing, Ellensburg, WA, Taught Classical Figure Drawing, Golden Mean and Visual Gravity (Spring 2011), Sight - Sizing / Classical Alterier (Summer 2011), Portraiture and Halftones (Fall 2011), Composition Visual Gravity & Asymmetric Balance (Fall 2011) 2006 - Present Affiliate Faculty, Drawing and Painting Program, Central Washington University 2009 - Present Affiliate Faculty, Art History Program, Central Washington University 2006 - Present Workshop Instructor, Eight Week Professional Practices, Foundational Drawing and Figure Drawing Workshops, Gallery One, Ellensburg, WA 2008 - Present Private Instructor, Drawing, Painting and Professional Practices for post graduate students, Ellensburg, WA 2008 - 2009 One Year replacement, Art Education Program, Central Washington University 2004 - 2005 Affiliate Faculty Metropolitan State University, St. Paul, MN, Taught Independent Study art students, Curatorial responsibilities in art gallery and Gallery / Museum Course 2000 - 2002 Affiliate Faculty, College of Visual Arts, St. Paul, MN, Foundational Drawing Class and Senior Thesis Committee 1998 - 1999 Affiliate Faculty, University of Minnesota, Undergraduate Beginning Drawing and Beginning Painting 1996 - 1997 Teaching Graduate Fellow University of Minnesota, Sole responsibility for class organization, lectures, demonstrations, discussions, and grading for Beginning Drawing (Fall 1996, Fall 1997 and Winter 1997), Advanced Drawing (Spring 1997), and Color (Winter 1997.

Graduate students within the MVS Curatorial Studies Program also have the opportunity to participate in courses and internships with the Art Museum staff, including Barbara Fischer, the Art Museum's Executive Director / Chief Curator, who is cross-appointed as Associate Professor Teaching Stream within MVS Curatorial Studies.

She has taught courses in curatorial and museum studies, senior studio thesis, drawing, 2 - D design, surveys in Western, Japanese, Chinese, and South Asian art history and popular visual culture.

Motherwell speaks of his relationship with his parents; attending prep school; studying philosophy at Stanford University and Harvard University; his theory of automatism; European and American painters in post-war New York; teaching at Black Mountain College; teaching at Hunter College; his retrospective at the Museum of Modern Art and other exhibitions; his collages with Gauloise cigarette packages; the photograph The Irascibles; his membership in American Abstract Artists; his marriage to Helen Frankenthaler; his use of color and light in his paintings; spending summers in Provincetown, MA; beginning printmaking; playing poker; working with the art dealers Kootz, Janis, and Frank Lloyd of Marlborough; his series Elegy for the Spanish Civil War, Je t «aime, Beside the Sea, Open, and Lyric Suite.

This book has been made publicly available for use in research, teaching, and private study by Dallas Museum of Art in partnership with The Portal to Texas History, a digital repository hosted by the University of North Texas Libraries.

This pamphlet has been made publicly available for use in research, teaching, and private study by Dallas Museum of Art in partnership with The Portal to Texas History, a digital repository hosted by the University of North Texas Libraries.

However, research into art and design in the twenty - first century does more than simply provide those subjects with an art historical and theoretical context, which is why Stedelijk Studies is also open to other, sometimes more practice - based forms of research that are conducted in the museum and the university (such as studies into the presentation, mediatization, commodification, and teaching of art and dStudies is also open to other, sometimes more practice - based forms of research that are conducted in the museum and the university (such as studies into the presentation, mediatization, commodification, and teaching of art and dstudies into the presentation, mediatization, commodification, and teaching of art and design).

Students gather in the gallery with Marshall N. Price, Nancy Hanks Curator of Modern and Contemporary Art, who has taught the undergraduate course History and Theory of Curatorial Practice, part of the new Concentration in Museum Theory and Practice, a collaboration between the Nasher Museum and Duke's Department of Art, Art History & Visual Studies.

Breitz, who also teaches Fine Art at the Braunschweig University of Art, studied Art History at Columbia University and the University of Chicago and completed the Whitney Independent Studio Program at the Whitney Museum in New York.

While studying for her PhD, Jentleson held positions at the American Folk Art Museum in New York City, where she managed content for the microsite of the traveling exhibition Self - Taught Genius and helped to organize a September 2013 symposium on Bill Traylor.

She has regularly guest curated exhibitions, including Circa 1958: Breaking Ground in American Art (Ackland Art Museum, University of North Carolina, Chapel Hill, 2008), and has taught at the University of Guelph in Ontario; University of Miami, Coral Gables; Museum of Modern Art, New York; New York University School of Continuing and Professional Studies; and University of California, Irvine.

Such prominent artists as Merritt T. Mauzey, Otis M. Dozier, Coreen M. Spellman, qqv Evaline C. Sellors, Octavio Medellín, Roger Winter, and David McManaway taught at the museum school until the mid-1960s, when the school was closed after a study committee determined that other institutions in Dallas were serving similar needs.

She's written art criticism for the Los Angeles Times, the Chicago Tribune, and Chicago Magazine, and teaches in the Museum and Exhibition Studies program at the University of Chicago - Illinois.

1959 Born in Castrop - Rauxel 1979 — 86 Studied art and geography at the University of Düsseldorf, training as a schoolteacher in these subjects; teaching practice in Krefeld 1987 — 89 Studied photography at University of Applied Sciences Cologne with Arno Jansen 1989 — 95 Studied photography at the Düsseldorf Academy of Art with Bernd Becher and Nan Hoover, master student of Nan Hoover 1993 — 96 Teaching posts at the University of Siegen 2000 Visiting artist at the University of Canada in Ottawa 2009 Scanning Electron Microscope Workshop at the Natural History Museum in Santa Barbara, California, USA 2009 Artist in resident at Fermynwoods Contemporary Art, Kettering, UK Currently lives and works in Werne teaching practice in Krefeld 1987 — 89 Studied photography at University of Applied Sciences Cologne with Arno Jansen 1989 — 95 Studied photography at the Düsseldorf Academy of Art with Bernd Becher and Nan Hoover, master student of Nan Hoover 1993 — 96 Teaching posts at the University of Siegen 2000 Visiting artist at the University of Canada in Ottawa 2009 Scanning Electron Microscope Workshop at the Natural History Museum in Santa Barbara, California, USA 2009 Artist in resident at Fermynwoods Contemporary Art, Kettering, UK Currently lives and works in Werne Teaching posts at the University of Siegen 2000 Visiting artist at the University of Canada in Ottawa 2009 Scanning Electron Microscope Workshop at the Natural History Museum in Santa Barbara, California, USA 2009 Artist in resident at Fermynwoods Contemporary Art, Kettering, UK Currently lives and works in Werne and Bonn

In fall 2011, Bomb magazine published a fascinating conversation between Adkins and Sanford Biggers, who also considered the late artist a mentor and followed a similar path — HBCU undergraduate study, residency at the Studio Museum in Harlem and PS1, and teaching at an Ivy League University.

Between 1927 and 1930 Barnet studied at the School of the Museum of Fine Arts in Boston, and in the mid 1930s he taught in New York at the Art Students League and the New School for Social Research.

Liebert was a Joan Tisch Teaching Fellow at the Whitney Museum of American Art (2008 — 11) and participated in the Whitney Independent Study Program (2009 — 10).

Viera also teaches museum and curatorial studies, the history of photography, visual thinking strategies and Latino art and culture.

Will studied in Italy, ran his own art gallery, taught in museums and schools, and now runs his own online art school, where he shares his professional secrets with aspiring artists.