Issue 5 • Winter 2021 5 Winter 2021
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
(Chen Qiulin), 25F a Cheng, 94F a Xian, 276 a Zhen, 142F Abso
Index Note: “f ” with a page number indicates a figure. Anti–Spiritual Pollution Campaign, 81, 101, 102, 132, 271 Apartment (gongyu), 270 “......” (Chen Qiulin), 25f Apartment art, 7–10, 18, 269–271, 284, 305, 358 ending of, 276, 308 A Cheng, 94f internationalization of, 308 A Xian, 276 legacy of the guannian artists in, 29 A Zhen, 142f named by Gao Minglu, 7, 269–270 Absolute Principle (Shu Qun), 171, 172f, 197 in 1980s, 4–5, 271, 273 Absolution Series (Lei Hong), 349f privacy and, 7, 276, 308 Abstract art (chouxiang yishu), 10, 20–21, 81, 271, 311 space of, 305 Abstract expressionism, 22 temporary nature of, 305 “Academic Exchange Exhibition for Nationwide Young women’s art and, 24 Artists,” 145, 146f Apolitical art, 10, 66, 79–81, 90 Academicism, 78–84, 122, 202. See also New academicism Appearance of Cross Series (Ding Yi), 317f Academic realism, 54, 66–67 Apple and thinker metaphor, 175–176, 178, 180–182 Academic socialist realism, 54, 55 April Fifth Tian’anmen Demonstration (Li Xiaobin), 76f Adagio in the Opening of Second Movement, Symphony No. 5 April Photo Society, 75–76 (Wang Qiang), 108f exhibition, 74f, 75 Adam and Eve (Meng Luding), 28 Architectural models, 20 Aestheticism, 2, 6, 10–11, 37, 42, 80, 122, 200 Architectural preservation, 21 opposition to, 202, 204 Architectural sites, ritualized space in, 11–12, 14 Aesthetic principles, Chinese, 311 Art and Language group, 199 Aesthetic theory, traditional, 201–202 Art education system, 78–79, 85, 102, 105, 380n24 After Calamity (Yang Yushu), 91f Art field (yishuchang), 125 Agree -
The Creative Arts at Brandeis by Karen Klein
The Creative Arts at Brandeis by Karen Klein The University’s early, ardent, and exceptional support for the arts may be showing signs of a renaissance. If you drive onto the Brandeis campus humanities, social sciences, and in late March or April, you will see natural sciences. Brandeis’s brightly colored banners along the “significant deviation” was to add a peripheral road. Their white squiggle fourth area to its core: music, theater denotes the Creative Arts Festival, 10 arts, fine arts. The School of Music, days full of drama, comedy, dance, art Drama, and Fine Arts opened in 1949 exhibitions, poetry readings, and with one teacher, Erwin Bodky, a music, organized with blessed musician and an authority on Bach’s persistence by Elaine Wong, associate keyboard works. By 1952, several Leonard dean of arts and sciences. Most of the pioneering faculty had joined the Leonard Bernstein, 1952 work is by students, but some staff and School of Creative Arts, as it came to faculty also participate, as well as a be known, and concentrations were few outside artists: an expert in East available in the three areas. All Asian calligraphy running a workshop, students, however, were required to for example, or performances from take some creative arts and according MOMIX, a professional dance troupe. to Sachar, “we were one of the few The Wish-Water Cycle, brainchild of colleges to include this area in its Robin Dash, visiting scholar/artist in requirements. In most established the Humanities Interdisciplinary universities, the arts were still Program, transforms the Volen Plaza struggling to attain respectability as an into a rainbow of participants’ wishes academic discipline.” floating in bowls of colored water: “I wish poverty was a thing of the past,” But at newly founded Brandeis, the “wooden spoons and close friends for arts were central to its mission. -
722 Audrey Nicholls, Ed. This Special Issue of Studies Published Ten
722 Book Reviews Audrey Nicholls, ed. The Arts and Jesuit Influence in the Era of Catholic Reform. Special issue of Studies: An Irish Quarterly Review 104, no. 416 (Winter 2015/2016). Pp. 131. 10 euros. This special issue of Studies published ten papers originally given at a 2014 conference at the National Gallery of Ireland in conjunction with its paint- ing exhibition, Passion and Persuasion: Images of Baroque Saints. It is always difficult for anthology editors to devise a general title for their volume that is comprehensive, self-explanatory, and accurate. In this regard Nicholls’s title is not especially felicitous, specifically concerning the “Jesuit influence”: read- ers should be advised that of the ten essays, seven have nothing to do with Jesuit art, spirituality, or influence, and of those that do, the essay (by John W. O’Malley, S.J.) takes up the matter only in its second half. Nonetheless, even specialists in Jesuit studies will find this collection, on the whole, worthwhile reading: the essays here contained are brief but almost all of them deliver much by way of new data and new insight, both those written by eminent vet- eran scholars as well as those by younger ones. The first essay, “Counter Reformation Countenances: Catholic Art and Attitude from Caravaggio to Rubens” by John Gash covers an extremely broad range of topics (though chronologically narrowly focused) in just twelve pages. The essay defies summary in the space of a short review so I simply borrow his opening statement: “By Counter-Reformation counte- nances, I mean three things: the portraits […] both of the leading figures in the movement and of some of the artists who enunciated Counter-Ref- ormation dogma in paint or stone; the concrete face of that ideology in terms of the works of art produced to reinforce it; and the shifting con- tours of Catholic faith, as it navigated its responses to the Lutheran and Calvinist challenges” (373). -
National Endowment for the Arts Annual Report 1982
Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per The diversity of artistic activity in America is cent gain over state appropriations for FY 81. -
2 0 0 Jt COPYRIGHT This Is a Thesis Accepted for a Higher Degree of the University of London
REFERENCE ONLY UNIVERSITY OF LONDON THESIS Degree Year Name of Author 2 0 0 jT COPYRIGHT This is a thesis accepted for a Higher Degree of the University of London. It is an unpublished typescript and the copyright is held by the author. All persons consulting the thesis must read and abide by the Copyright Declaration below. COPYRIGHT DECLARATION I recognise that the copyright of the above-described thesis rests with the author and that no quotation from it or information derived from it may be published without the prior written consent of the author. LOAN Theses may not be lent to individuals, but the University Library may lend a copy to approved libraries within the United Kingdom, for consultation solely on the premises of those libraries. Application should be made to: The Theses Section, University of London Library, Senate House, Malet Street, London WC1E 7HU. REPRODUCTION University of London theses may not be reproduced without explicit written permission from the University of London Library. Enquiries should be addressed to the Theses Section of the Library. Regulations concerning reproduction vary according to the date of acceptance of the thesis and are listed below as guidelines. A. Before 1962. Permission granted only upon the prior written consent of the author. (The University Library will provide addresses where possible). B. 1962- 1974. In many cases the author has agreed to permit copying upon completion of a Copyright Declaration. C. 1975 - 1988. Most theses may be copied upon completion of a Copyright Declaration. D. 1989 onwards. Most theses may be copied. This thesis comes within category D. -
Giulio Cesare Procaccini (Bologna 1574 – Milan 1625)
THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com Giulio Cesare Procaccini (Bologna 1574 – Milan 1625) The Adoration of the Magi Signed “G.C.P” (lower right) Oil on canvas 84 ¼ x 56 ¾ in. (214 x 144 cm.) Provenance Commissioned by Pedro de Toledo Osorio, 5th Marquis of Villafranca del Bierzo (Naples, 6 September 1546 – 17 July 1627), and by direct decent until 2017. This present painting by Giulio Cesare Procaccini, one of the most important painters in seventeenth-century Lombardy, is a significant rediscovery and a major addition to his oeuvre. Amidst a sumptuous architectural background, the Virgin sits at the centre of the scene, tenderly holding Jesus in her arms. She offers the Child’s foot to the oldest of the Magi, so that he can kiss it. The kings attributes of power, the crown and sceptre, lay in the foreground on the right, with his entire attention turned to worshiping the baby. Simultaneously, he offers Jesus a precious golden urn. Next to Mary are several figures attending the event. On the right, a dark- skinned king leans towards the centre of the composition holding an urn with incense. On the opposite side, the third king holds a box containing myrrh and looks upwards to the sky. Thos Agnew & Sons Ltd, registered in England No 00267436 at 21 Bunhill Row, London EC1Y 8LP VAT Registration No 911 4479 34 THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. -
Art Market Trends Tendances Du Marché De L'art
Art market trends Tendances du marché de l'art THE WORLD LEADER IN ART MARKET INFORMATION Art market trends Tendances du marché de l'art 2005 $ 4.15 billion (€ 3.38 billion) 3.38 (€ billion 4.15 $ worldwide: auctions Art Fine at Turnover offer. on lots 320,000 of volume stable practically billion, vs. 3.6 $ billion the previous year, In despite 2005 the a turnover for record-breaking! Fine are gures Art sales fi The exceeded 4 $ well. so performed never has market art international The a million dollars, compared with compared in only 393 2004 dollars, a and million than more for hammer the under went lots 477 than less into of a rise sales 1 multiplication $ exceeding No million 19% the from translated ation on in recorded infl 2004. price This following already year, last 10.4%* of increase came on the of back a progression price incredible This Tendances du marché de l'art de marché du Tendances Art market trends trends market Art Artprice Global Index: Paris - New York - London (1994 - 2005) Base January 1994 = 100 - Quarterly data Artprice Indices are calculated with the Repeated Sales method (Econometric calculations on sales/resales of similar works) 10 000 $, 10 et 56% en deçà de 000 $.2 Ce segment est en 2005 en publiques ventes ont adjugés été moins de cette cette année, faisant suite aux d’affaires 19% mondial, de une hausse élévation déjà des A prix l’origine de de cette 10,4% incroyable progression du chiffre (3,38 d’euro) dollars de milliards milliards 4,15 : mondiales enchères Artaux Fine de ventes des Produit présentés. -
Cognitive Semiotics
COGNITIVE SEMIOTICS Multidisciplinary Journal on Meaning and Mind Issue 5 . Fall 2009 PETER LANG Bern · Berlin ' Bruxelles ' Frankfurt am Main · New York · Oxford · Wien COGNITIVE SEMIOTICS EDITORS-IN-CHIEF Per Aage Brandt and Todd Oakley CO-EOrTORS Ana Margarida Abrantes, Tim Adamson, Une Brandt, Riccardo Fusaroli, and Jes Vang EDITORIAL ASSISTANT (official address and address for unsolicited submissions) Larimee Cortnik Department of Cognitive Science Center for Cognition and Culture Case Western Reserve University College of Arts & Sciences Crawford Hall, 612D Cleveland, Ohio, 44106-7179 USA Phone: (+1) 216 368-6538 · Fax: (+1) 216 368-3821 [email protected] COORDINATING EDITOR (general address for solicited submissions and editorial contact) Jes Vang · [email protected] EDITORIAL ADVISORY BOARD Liliana Albertazzi, Bernard Baars, Enrique Bernárdez, Peer Bundgaard, Roberto Casati, Christopher Collins, Seana Coulson, Ian Cross, Terrence Deacon, Merlin Donald, Shaun Gallagher, Barend van Heusden, Robert Innis, Jana M. Iverson, Mark Johnson, Torben Fledelius Knap, Kalevi Kull, Ronald Langacker, Michael Leyton, Ricardo Maldonado, Juana Isabel Mann-Arrese, Erik Myin, Frederic Nef, Pierre Ouellet, Jean-Luc Petit, Jean Petitot, Martina Plümacher, Roberto Poli, Ernst Pöppel, Andreas Roepstorff, Bent Rosenbaum, Maxine Sheets-Johnstone, Chris Sinha, Linda B. Smith, Göran Sonesson, Frederik Stjernfelt, Eve Sweetser, Leonard Talmv, Evan Thompson, Colwyn Trevarthen, Reuven Tsur, Mark Turner, Patrizia Violi, Wolfgang Wildgen, Dan Zahavi, Lawrence Zbikowski, Jordan Zlatev, and Svend Ostergaard. MANUSCRIPT SUBMISSIONS For style guide and other directions for authors go to the journal's website: www.cogniavesemiotics.com PUBUSHING DETAILS © by Verlag Peter Lang AG, Hochfeldstrasse 32, CH-3012 Bern Tel. +41 31 306 17 17; Fax +41 31 306 17 27; E-Mail: [email protected]; Internet: www.peterlang.com All rights reserved. -
GIOTTO and MODERN ART* N OT Long Ago I Was Led to the Statement
GIOTTO AND MODERN ART* OT long ago I was led to the statement that we could N not understand modern art unless we understood Giotto-a statement that implied that the modern art move- ments have their sources in him. As a matter of fact, when we speak of the sources of any art movement, we are not on too solid ground. It is evident that there are powerfuI under- lying forces which influence and shape art forms, but to lo- cate the source of any style in a specific person means only to recognize the artistic criteria of the moment-standards which are as varied and changeable as that much desired quality which we caIl Beauty. Not too many years ago contemporary painting boasted free and virile brush strokes. This direct painting, then con- sidered the height of modernism, was shown as the direct descendant of Frans Hals and Velasquez. The imitative art of the 19th and 20th centuries looked for its sources in the illusionism of the Italian Renaissance and saw Masaccio as the father of modern painting. Then as subjective expression gradually replaced objective imitation, El Greco was rediscovered as the forefather of modern painting. With so many paternal ancestors already claimed, let us not fall into the error of putting still another father of modern art in the roots of the family tree. *This lecture was illustrated by lantern slides. In an attempt to clarify the allu- sions, the title and author of each illustration are printed in a marginal note at the point in the text that the illustration was used. -
Manager's Message David Quinn SECRETARY Gregory H
BOARD OF DIRECTORS PRESIDENT LEGAL COUNSEL John Fedderke Justice G. Johnson, Jr VICE PRESIDENT DIRECTORS Aaron Swiggum Jackie Barnes TREASURER Richard Hylant Mike Marciniak Rebecca Shope Manager's Message David Quinn SECRETARY Gregory H. Wagoner Brett Seymour Roger Parker, General Manager TOLEDO CLUB STAFF 419-254-2988 • [email protected] ADMINISTRATION Roger Parker, General Manager 419-254-2988 Nathalie Helm, Executive Assistant 419-254-2980 FOOD & BEVERAGE SERVICE Nancy La Fountaine, Catering Manager 419-254-2981 Debra Rutkowski, Catering Assistant Manager 419-254-2981 Michael Rosendaul, Executive Chef 419-243-2200 ext. 2964 Charlotte Hall Concierge and Member Relations Manager 419-243-2200 ext. 2161 FACILITY Mark Hoffman, Director MARCH MADNESS 419-254-2997 MEMBERSHIP Russ Wozniak, Membership Director 419-254-2997 ACCOUNTING Joe Monks, Finance Director 419-254-2970 Paula Martin, Accounting Analyst 419-254-2996 ATHLETIC The winter months at the Club featured John Seidel, Director/Squash Pro 419-254-2962 a very active social and athletic calendar. Charissa Marconi, Fitness and Aquatics Director 419-254-2990 The member and guest participation levels were extraordinary. SECURITY David Rainey, Operations Manager The Winter Squash League and tournaments were at capacity. 419-254-2967 The Main Dining Room had many busy meal periods and all the EDITORIAL STAFF Editor in Chief: social events were nearly sold out. Shirley Levy – [email protected] Copy Editor: With the oncoming of spring, the transition month of March has several Art Bronson activities planned that will allow our members to enjoy their membership. Design/Art Direction: Tony Barone Design – 419-866-4826 The Main Dining Room will be featuring several unique dining experiences, [email protected] the Tavern will be following all the sports action including the Contributing Writers: Karen Klein, Cindy Niggemyer, Katherine Decker, NCAA Basketball tournament. -
Reflections on Anonymity and Contemporaneity in Chinese Art Beatrice Leanza
PLACE UNDER THE LINE PLACE UNDER THE LINE : july / august 1 vol.9 no. 4 J U L Y / A U G U S T 2 0 1 0 VOLUME 9, NUMBER 4 INSIDE New Art in Guangzhou Reviews from London, Beijing, and San Artist Features: Gu Francisco Wenda, Lin Fengmian, Zhang Huan The Contemporary Art Academy of China Identity Politics and Cultural Capital in Contemporary Chinese Art US$12.00 NT$350.00 PRINTED IN TAIWAN 6 VOLUME 9, NUMBER 4, JULY/AUGUST 2010 CONTENTS 2 Editor’s Note 33 4 Contributors 6 The Guangzhou Art Scene: Today and Tomorrow Biljana Ciric 15 On Observation Society Anthony Yung Tsz Kin 20 A Conversation with Hu Xiangqian 46 Biljana Ciric, Li Mu, and Tang Dixin 33 An interview with Gu Wenda Claire Huot 43 China Park Gu Wenda 46 Cubism Revisited: The Late Work of Lin Fengmian Tianyue Jiang 63 63 The Cult of Origin: Identity Politics and Cultural Capital in Contemporary Chinese Art J. P. Park 73 Zhang Huan: Paradise Regained Benjamin Genocchio 84 Contemporary Art Academy of China: An Introduction Christina Yu 87 87 Of Jungle—In Praise of Distance: Reflections on Anonymity and Contemporaneity in Chinese Art Beatrice Leanza 97 Shanghai: Art of the City Micki McCoy 104 Zhang Enli Natasha Degan 97 111 Chinese Name Index Cover: Zhang Huan, Hehe Xiexie (detail), 2010, mirror-finished stainless steel, 600 x 420 x 390 cm. Courtesy of the artist. Vol.9 No.4 1 Editor’s Note YISHU: Journal of Contemporary Chinese Art president Katy Hsiu-chih Chien legal counsel Infoshare Tech Law Office, Mann C.C. -
Great Artist 003.Cdr
National Gallery of Modern Art, Bengaluru Ministry of Culture, Government of India presents a film festival on G r e a t rd 3 series ArtistS B i o g r a p h y at the Auditorium, National Gallery of Modern Art , # 49, Palace Road, Bengaluru - 560052 Telephone: 080 2234 2338, e-mail: [email protected] Saturday 15th February 2014 at 3.00 p.m. and Sunday 16th February 2014 at 11.00 a.m. | El Greco | Giotto Di Bondone | | Turner | Vincent Van Gogh | El Greco (1541-1614) The paintings of the artist El Greco are among the most distinctive works of the early modern period. His paintings marked a radical departure from the naturalism and careful modelling of the Renaissance, and as result were ignored for close to 300 years. Domenicos Theotocopolous, dubbed by the Spaniards ‘El Greco’, was born in the Greek Island of Crete and was trained to paint in the Byzantine style. After spending some time in Venice and Rome, El Greco adopted the Spanish city of Toledo as his home. Throughout the course of his artistic career El Greco’s style varied enormously. In Italy his paintings reflected the bright colouring and the loose brush strokes of the Venetian masters, such as Tintoretto, whilst in Spain the fervour of religious belief and lingering medieval sensibilities added an emotional intensity and deep sense of almost mystical spiritualism to his work. The result was a highly individualistic style of painting. Though criticised by many, El Greco’s dramatic style paved the way for the Baroque and later, in the 20th century, contributed to the development of Expressionism.