Sentences with phrase «taught artist developed»

Teaching Artists Summer Summit helps teaching artists develop new approaches to curriculum and classroom management.

Not exact matches

Along with being an artist and journalist, he taught himself mathematics and physics and developed his own lenses, including one for a microscope that was used to photograph the first images of human eggs in an in vitro fertilization program.

The company works with professional educators, interactive designers, writers, artists, and parents to develop step - by - step learning systems that help teach children critical reading, math, and study skills.

Discover hundreds of step - by - step video tutorials designed to teach you how to develop your fundamentals & artistic style by Richmond artist Robert Joyner.

While I have thoroughly enjoyed my experience here, often times I found myself realizing that certain teaching and learning frameworks presented in class were the very same ones espoused and developed for teaching artists and community - based educators, especially those using culturally responsive arts in their practice in urban settings.

For three months, D. and eleven others at Camp Gonzalez met twice a week with volunteers and teaching artists from the Unusual Suspects to develop, write, and rehearse an original play.

While we continue to develop daring new live experiences for young audiences, we are working with artists to capture and offer «virtual performances» so students and teachers outside of NYC can watch BAM performances at their local cinema, on their computers or devices, participate in virtual workshops with BAM teaching artists, and access BAM's extensive archive and library of educational resources.

«Teaching artists» are matched with each school to develop the programs and provide mentoring to teachinTeaching artists» are matched with each school to develop the programs and provide mentoring to teachingteaching staff.

The Learning Through the Arts (LTTA) program aims to revitalize elementary education by increasing engagement of students through arts integrated curricula developed by professional teaching artists in collaboration with classroom teachers.

In order to evaluate their progress in meeting these outcomes, the research and evaluation team developed a survey instrument to assist teachers and teaching artists in self - assessing whether or not these elements are addressed in their classroom.

The HOT Schools Program professionally develops teaching artists in the HOT APPROACH to arts - integrated teaching practice so they may provide exceptional artistic experiences and authentically integrated curriculum to reinforce the role and power of the arts in a well - rounded education.

The HOT APPROACH is an innovative delivery system that provides teachers, teaching artists, administrators, parents, and arts organization educators vital professional development, resources, tools and strategies to develop, deepen and expand effective practices in standards based arts education, arts integration, school culture change and leadership development.

The Program has developed a Teaching Artist Professional Development Triad of experiences that begins with observation, leads to mentored experiential learning and concludes with coaching for understanding, documentation and assessment of the impact of the work of teaching Teaching Artist Professional Development Triad of experiences that begins with observation, leads to mentored experiential learning and concludes with coaching for understanding, documentation and assessment of the impact of the work of teaching teaching artists.

Developing collaborative partnerships between and among arts and non-arts teachers, teaching artists and community arts and cultural resources

Teachers, teaching artists and administrators take time to develop methods of collective inquiry; the kinds of conversations and processes that create collective responsibility for assessing and improving instructional practice and learning opportunities.

The HOT APPROACH is an innovative delivery system that provides teachers, teaching artists, administrators, parents, and arts organization educators vital professional development, resources, tools and strategies to develop, deepen and expand effective practices in arts education, arts integration, school culture change and leadership development.

The HOT Approach is an innovative delivery system that provides teachers, teaching artists, administrators, parents, and arts organization educators vital professional development, resources, tools and strategies to develop, deepen and expand effective practices in arts education, arts integration, school culture change and leadership development.

They also helped the next generation of artists — college students who served as instructors and mentors to young people — develop skills in teaching and in engaging audiences.

Come through YCA to develop your voice with the help of professional teaching artists and join the largest, most vibrant youth literary community in Chicago.

Discover hundreds of step - by - step video tutorials designed to teach you how to develop your fundamentals & artistic style by Richmond artist Robert Joyner.

I'm pulling together a group of artists Boulder County Colorado to plan and develop an urban - ish artists cohousing community with live / work spaces, a common house including community outreach / inreach such as gallery and performance space, teaching, etc..

They are thrilled that their year - long collaboration in developing the Summit creates new opportunities for teaching artists working in all disciplines throughout the city to come together for a day of inspiration, practical advice, and community building.

Inspired by The Education Center's studio - style courses and created by Master Teaching Artist Joy Suarez, learn how to creatively reuse items from the recycling bin and free supplies from Materials for the Arts to develop lesson plans.

At the fall ATC, Artist - Teachers were given the challenge of incorporating four of the eight dispositions from Studio Habits of Mind (SHoM), an arts - centered theory of teaching developed by Project Zero at Harvard's Graduate School of Education, into their fall curricula.

«This painless integration into the cultural status quo is, moreover, the implicit objective of leading M.F.A. programs,» she claims, «which rather than developing «old fashioned» manual skills, teach budding artists how to thrive within this system.

The Tang Teaching Museum develops exhibitions and programming dedicated to interdisciplinary thinking and presents the works of influential and emerging contemporary artists.

Young artists will develop a portfolio of artwork while building technical skills through weekly group instruction, led by teaching artists, that explore different mediums, techniques and tools for art making.

During this initial phase, artists will also spend time at CCS Bard teaching, lecturing, and developing projects with the graduate program and its students.

Topics such as documentation and preservation of artworks, connecting to galleries, thinking creatively about affordable studio space, and developing a teaching practice aid artists in adopting a holistic approach to their careers.

The VACP program is designed to help artists further their art practice while developing strengths in critiquing, teaching, presenting, and writing about art.

The Fellowship generously provides the opportunity for artists to teach at SFAI while having the time and financial support to develop creative new work at Headlands through a fully - sponsored residency with studio and living accommodations.

Today Carole spends a lot of her time teaching on courses and workshops and developing learning material for new and improving artists.

Fischl himself developed that particular faith as a young painter in the 1970s when he started to try to express himself on canvas, first at CalArts, the Disney - funded art college outside Los Angeles, and later in Nova Scotia, where he took a teaching job and met his wife, the celebrated landscape artist April Gornik, and finally in New York.

He later taught at the latter school as well as the University of California, Los Angeles, and developed the graduate program at the University of California, Irvine, where he taught a vital generation of artists that includes Larry Bell, Chris Burden and Vija Celmins.

While the strict, almost 19th - century style of formal figuration that has been taught at the Académie since its colonial - era founding allowed the artist to develop sophisticated painterly skills, ultimately, he found its program conceptually stifling, and abandoned his studies there, in 2011.

Guth had developed relationships with each of the artists over the years — save for Cincinnati's Amanda Curreri, who was recommended by Rosenberg — through her teaching, exhibitions she'd been in, or casual mentorships.

Supporting and developing the arts teaching workforce of classroom teachers, teaching artists, and arts education leaders.

Additionally, resident artists may have opportunities to develop their teaching practices through participation in Abrons» Engagement Program.

He is a self taught fine artist who developed his technique as he completed studies in Graphic Design and Advertising.

McNeil speaks of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paartists within the WPA; the American Abstract Artists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paArtists (A.A.A.); a group of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as abstract art; a grouping within the A.A.A. called the Concretionists; his memories of Léger; how he assesses the period of the 1930s; the importance of Cubism; what he thinks caused the decline of A.A.A.; how he assesses the period of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to paartists; the importance of The Club; the antipathy to the School of Paris after the war; how Impressionism was considered in the 40s and 50s; slides of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.

A self - taught artist, Khakhar developed a sophisticated pictorial language and vibrant palette which «was infused with his deep knowledge of art from South Asian and European sources.»

Additionally, resident artists have opportunities to develop their teaching practices through participation in Abrons» Engagement Program.

Largely a self - taught artist, Wesley developed the basis of his artistic practice while employed as an illustrator in the Production Engineering Department of Northrop Aircraft in the 1950s.

Octavio Medellín developed a powerful style inspired in part by the art of the Maya and Toltec Indians, and exerted considerable influence over young artists through his teaching posts at the Witte Museum, North Texas State Teachers College, Southern Methodist University, and the Dallas Museum of Fine Arts.

This minor provides the opportunity to develop a meaningful connection between your studio practice and teaching and prepares you for a teaching artist career.

Throughout history, artists have been found shedding the layers of all they have been taught, sometimes even color itself, in a quest to further understand and develop their own practice.

Munson - Williams - Proctor Arts Institute Artists - in - Residence Program Ithaca, NY Deadline: March 1, 2016 The program is designed for emerging artists and / or recent MFA graduates in the visual arts to gain teaching experience within the School of Art's non-credit program while developing their studio prArtists - in - Residence Program Ithaca, NY Deadline: March 1, 2016 The program is designed for emerging artists and / or recent MFA graduates in the visual arts to gain teaching experience within the School of Art's non-credit program while developing their studio prartists and / or recent MFA graduates in the visual arts to gain teaching experience within the School of Art's non-credit program while developing their studio practice.

Beginning in 1908, Matisse developed a large following among American artists as a result of their exposure to his work in public exhibitions and private collections and as a consequence of his teaching at his Académie Matisse in Paris (1908 — 11).

Usual work activities mentioned in a Teaching Artist resume include holding learning sessions during the school day, preparing learning materials, answering to student inquiries, using artwork to improve student skills, and encouraging students to develop their creativity.

Discover hundreds of step - by - step video tutorials designed to teach you how to develop your fundamentals & artistic style by Richmond artist Robert Joyner.