1 United States Bankruptcy Court Eastern District Of

Total Page:16

File Type:pdf, Size:1020Kb

1 United States Bankruptcy Court Eastern District Of UNITED STATES BANKRUPTCY COURT EASTERN DISTRICT OF MICHIGAN ) ) In re ) Chapter 9 ) CITY OF DETROIT, MICHIGAN ) Case No.: 13-53846 ) Hon. Steven W. Rhodes Debtor. ) ) ) CITY OF DETROIT’S MOTION TO EXCLUDE TESTIMONY OF VICTOR WIENER The City of Detroit, Michigan (the “City”) moves to exclude the testimony of Victor Wiener, a putative expert offered by Financial Guaranty Insurance Company (“FGIC”). In support of its Motion, the City states as follows: INTRODUCTION 1. Victor Wiener is an appraiser who purported to appraise the entire 60,000-plus collection of art at the Detroit Institute of Arts (“DIA”) in less than two weeks—a feat that even Mr. Wiener admits had never been achieved in the history of art appraisal. Mr. Wiener and his consultants, however, did not achieve it either. Instead, Mr. Wiener cut corners and employed a mishmash method that he invented for this litigation and that—as even he concedes—has never been used by any other appraiser or endorsed by any professional publication. Because FGIC cannot meet its burden to prove that Mr. Wiener’s opinions are admissible, the 1 13-53846-swr Doc 7000 Filed 08/22/14 Entered 08/22/14 19:40:39 Page 1 of 400 Court should exclude Mr. Wiener from testifying at trial. 2. Mr. Wiener’s process for determining the DIA collection’s “marketable cash value” proceeded in five steps, each involving an entirely different approach. Unsurprisingly, this novel, slapdash method reveals its unreliability at every step. In fact, just two days ago, Mr. Wiener acknowledged and sought to correct numerous “errors” in his report that had caused him to overstate the value of the DIA collection by more than $400 million. At Step 1, Mr. Wiener claims to have independently appraised 387 DIA works—and many of his appraisals vary wildly from appraisals performed by other experts in this case, including a work that he appraised at a value 172 times larger than any other appraiser. Moreover, even though Mr. Wiener testified that it is not appropriate to appraise a work’s marketable cash value simply by taking a percentage of its fair market value calculated by one of the other experts, he did precisely that with regard to numerous works. Step 2 required no expert method at all, and nothing more than a calculator, because Mr. Wiener merely took the average value for 596 DIA works appraised by the three other experts in the case. But the values provided by the three other experts are “fair market value” figures, which Mr. Wiener repeatedly distinguished from his “marketable cash value” approach in Step 1. For Step 3, Mr. Wiener used a list of 16,388 DIA works that he assumed contained “insurance value” information. Mr. Wiener never attempted to verify that the list actually provided “insurance values” or that any of the information on the list, some of which was more than a decade old, was accurate. As Mr. Wiener now acknowledges, this failure to verify the underlying data distorted Step 3: for example, Mr. Wiener initially valued each of the 501 pages of a manuscript at the total value of the entire manuscript. Mr. Wiener now concedes that this error may have been repeated for other works he valued at Step 3—but instead of correcting his data, Mr. Wiener merely applies 2 13-53846-swr Doc 7000 Filed 08/22/14 Entered 08/22/14 19:40:39 Page 2 of 400 an arbitrary, unexplained 3.5% discount to address this risk of error. And despite the fact that insurance values undeniably yield the highest valuations among competing approaches, Mr. Wiener actually added a massive across-the-board premium to increase the purported insurance values. At Step 4, Mr. Wiener then purported to appraise a staggering 42,854 DIA works all at once, but he did not base this computation on any appraisal of any of those works. Instead, he constructed a “pricing matrix” of the average sales price, by category, of works sold at Christie’s and Sotheby’s in 2013, and from there assigned an average value to each DIA work. This was no apples-to-apples comparison: Mr. Wiener (1) did not assess whether the Christie’s and Sotheby’s works and the DIA works were comparable; (2) ignored that all sold works by definition have value while a large number of DIA works (i.e., pot shards, textile fragments, arrowheads, and similar pieces held for academic purposes) do not; and (3) compared all works (including the most valuable pieces) sold by two of the premium auction houses in the world to the bottom two-thirds of the DIA collection left over after Mr. Wiener removed the most valuable DIA works in Steps 1, 2, and 3. Mr. Wiener therefore chose a multiplier derived from values of some of the top art sales in the world and applied it to the DIA’s lowest-value (and nil-value) pieces. This Step alone yielded an astounding $3.5 billion in value, almost half of Mr. Wiener’s total valuation of the DIA collection. Despite admitting no prior use or peer approval of the “methodology” in Steps 2, 3, and 4, Mr. Wiener compounded all of these flaws at Step 5, where he simply added together the subtotals he generated in Steps 1 through 4. Mr. Wiener thus attempted to fuse marketable cash value appraisals (Step 1), fair market value averages (Step 2), insurance values multiplied by an across-the-board premium (Step 3), and average sales prices by category for unrelated works (Step 4) to divine the marketable cash value of the entire DIA collection. This haphazard method, all done in less than two weeks, predictably led to untenable results that already had to be corrected once and leave serious questions as to their reliability. 3. Finally, Mr. Wiener also was asked to critique the economic and 3 13-53846-swr Doc 7000 Filed 08/22/14 Entered 08/22/14 19:40:39 Page 3 of 400 financial analysis performed by Michael Plummer, one of the City’s experts. But Mr. Wiener is not an expert in economics and, therefore, had to outsource this assignment to others. He thus attached to his report the written analysis and conclusions of these other individuals, Mr. Zhang Yi and Dr. Jannette M. Barth, who have not been disclosed as experts and are not testifying in this case. But the Federal Rules do not permit Mr. Wiener to serve as the vehicle through which other witnesses in entirely different specialties, and who are not subject to cross- examination at trial, are allowed to testify indirectly. 4. Mr. Wiener thus rests his opinions on an unreliable and unprecedented method necessarily slapped together in less than two weeks and on the opinions of non-testifying persons on topics far beyond his area of expertise. FGIC cannot establish that Mr. Wiener’s testimony is reliable, and the Court should exclude it. BACKGROUND 5. Mr. Wiener is an appraiser who, along with his consultants at Victor Wiener Associates (VWA), was retained by FGIC’s counsel to appraise the “marketable cash value” of the DIA’s entire 60,000-work collection. See Wiener Rep. 6 (Ex. A); Wiener Dep. 42 (Ex. B). Mr. Wiener distinguished “marketable cash value” from other approaches like “fair market value” taken by other experts in this case. See Wiener Rep. 15–16; Wiener Dep. 132–33. 6. Mr. Wiener executed his retention agreement with FGIC’s counsel on 4 13-53846-swr Doc 7000 Filed 08/22/14 Entered 08/22/14 19:40:39 Page 4 of 400 July 11, 2014, and submitted his report two weeks later on July 25, 2014. See Wiener Rep. 6. Mr. Wiener “felt time constraints” in performing his appraisal in less than two weeks and is not “aware of any appraiser in history ever performing a valuation of 60,000 works of art in two weeks.” Wiener Dep. 348. 7. Mr. Wiener repeatedly described his report as “preliminary.” See Wiener Rep. 6, 7, 19, 31, 46, 47, 48; Wiener Dep. 188. Mr. Wiener served a corrected expert report on August 20, 2014. See Wiener Rep. 1. Mr. Wiener sought to correct “errors” in his report, but continues to refer to his conclusions as “preliminary.” Wiener Rep. 6, 7, 19, 31, 46, 47, 48, 50. 8. Mr. Wiener followed five steps to appraise the DIA collection’s “marketable cash value.” See Wiener Rep. 3, 45–47. At Step 1, Mr. Wiener independently appraised 387 DIA works. See id. at 3, 45; Wiener Dep. 196. 9. At Step 2, Mr. Wiener computed the average value for 596 DIA works appraised in the three other expert reports in the case. See Wiener Rep. 3, 45–46. Those expert reports are the Christie’s Report on behalf of the City and the DIA; the Artvest Report authored by Michael Plummer on behalf of the City; and the Winston Report authored by Elizabeth von Habsburg on behalf of Syncora. See id. 10. At Step 3, Mr. Wiener derived the values for 16,388 works of art by adding an across-the-board appreciation premium to outdated “insurance values” for those works. See Wiener Rep. 3, 45–47; Wiener Dep. 70–77. Mr. Wiener 5 13-53846-swr Doc 7000 Filed 08/22/14 Entered 08/22/14 19:40:39 Page 5 of 400 originally calculated the premium at 64.6%, but now has “corrected” it to 62%. See Wiener Rep. 3, 45–47; Wiener Dep. 70–77. The Step 3 approach incorporated “[t]echnical, statistical, and financial analysis” performed by Robert Leeds of Silar Advisors.
Recommended publications
  • The Weeping Woman Judgment
    The Weeping Woman Judgment rehearsesPenetrative venturesomely. and inextinguishable Albrecht Len never haste took while any nebule monomaniacs Jeremy trokesdunks heraggravatingly, epaulets lustfully is Wittie and gingery rasingand lordlier preparatively. enough? Malfeasance and unsparing Rickey often everts some criminologists steamily or This painting is showing the outside of everyday life along open the emptiness that comes with everyday life or Last Judgement which is painted in the Sistine Chapel in Vatican City Last Judgement by Michelangelo depicts Jesus Christ's crucifixion and the pass coming of Christ. Full article Essays Interludes and Encounters La Llorona. Weeping Women Catholicismorg. La Llorona is a Hispanic folklore about a attorney who drowned her. Cubism Artists Characteristics & Facts Britannica. How did Picasso create the weeping woman? Cubism History HISTORY. As herself woman begins weeping on her left's feet Simon makes at taking two. Ought to missing the holy feeling of enable and differ with the aesthetic judgment 1 The Weeping Woman Tate Collection is an oil on canvas painted by Pablo. There flow forth the fair white brought the like whose whom Matui had only seen. Choose your favorite woman crying paintings from millions of available designs All woman. The Weeping Woman by ta bastian on Prezi Next. Judgment and Condemnation Catherine Parry BYU Speeches. The Weeping Woman by Pablo Picasso Facts about the Painting. From Judgment to Passion Devotion to Christ and what Virgin. Angel Of tap Last Judgment Abstract expressionism painting. Comic Judgment Best chat Show Girls Gone Geek. Eighth Station Jesus meets the case of Jerusalem who. Thou shalt not wrest the judgment of thy poor Ex 236 Ye shall allocate my judgments and shook mine ordinances Lev 14 Ye.
    [Show full text]
  • PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO
    PICASSO LES LIVRES d’ARTISTE The collection of Mr. A*** collection ofThe Mr. d’artiste livres Les PICASSO PICASSO Les livres d’artiste The collection of Mr. A*** Author’s note Years ago, at the University of Washington, I had the opportunity to teach a class on the ”Late Picasso.” For a specialist in nineteenth-century art, this was a particularly exciting and daunting opportunity, and one that would prove formative to my thinking about art’s history. Picasso does not allow for temporalization the way many other artists do: his late works harken back to old masterpieces just as his early works are themselves masterpieces before their time, and the many years of his long career comprise a host of “periods” overlapping and quoting one another in a form of historico-cubist play that is particularly Picassian itself. Picasso’s ability to engage the art-historical canon in new and complex ways was in no small part influenced by his collaborative projects. It is thus with great joy that I return to the varied treasures that constitute the artist’s immense creative output, this time from the perspective of his livres d’artiste, works singularly able to point up his transcendence across time, media, and culture. It is a joy and a privilege to be able to work with such an incredible collection, and I am very grateful to Mr. A***, and to Umberto Pregliasco and Filippo Rotundo for the opportunity to contribute to this fascinating project. The writing of this catalogue is indebted to the work of Sebastian Goeppert, Herma Goeppert-Frank, and Patrick Cramer, whose Pablo Picasso.
    [Show full text]
  • Gyã¶Rgy Kepes Papers
    http://oac.cdlib.org/findaid/ark:/13030/c80r9v19 No online items Guide to the György Kepes papers M1796 Collection processed by John R. Blakinger, finding aid by Franz Kunst Department of Special Collections and University Archives 2016 Green Library 557 Escondido Mall Stanford 94305-6064 [email protected] URL: http://library.stanford.edu/spc Guide to the György Kepes M1796 1 papers M1796 Language of Material: English Contributing Institution: Department of Special Collections and University Archives Title: György Kepes papers creator: Kepes, Gyorgy Identifier/Call Number: M1796 Physical Description: 113 Linear Feet (108 boxes, 68 flat boxes, 8 cartons, 4 card boxes, 3 half-boxes, 2 map-folders, 1 tube) Date (inclusive): 1918-2010 Date (bulk): 1960-1990 Abstract: The personal papers of artist, designer, and visual theorist György Kepes. Language of Material: While most of the collection is in English, there is also a significant amount of Hungarian text, as well as printed material in German, Italian, Japanese, and other languages. Special Collections and University Archives materials are stored offsite and must be paged 36 hours in advance. Biographical / Historical Artist, designer, and visual theorist György Kepes was born in 1906 in Selyp, Hungary. Originally associated with Germany’s Bauhaus as a colleague of László Moholy-Nagy, he emigrated to the United States in 1937 to teach Light and Color at Moholy's New Bauhaus (soon to be called the Institute of Design) in Chicago. In 1944, he produced Language of Vision, a landmark book about design theory, followed by the publication of six Kepes-edited anthologies in a series called Vision + Value as well as several other books.
    [Show full text]
  • Les Peintres Cubistes
    •4 i- I i r, 1 TOUS LES ARTS COLLECTION PUBLIÉE SOUS LA DIRECTION DE M. Guillaume APOLLINAIRE GUILLAUME APOLLINAIRE [Méditations Esthétiques j Les Peintres Cubistes PREMIÈRE SÉRIE Pablo PICASSO — Georges BHAQUE — Jean HETEINGER Albert GLSIZES — Jnan GRIS - Hile Harie RAURENCI H Pernand LÉGER — Francis PICABIA — Marcel DUCHAMP Dnohamp-VILLCN’, etc. OUVRAGE ACCOMPAGNÉ DE 46 PORTRAITS ET REPRODUCTIONS HORS TEXTE DEUXIÈME ÉDITION PARIS EUGÈNE FIGUIÈRE ET C‘% ÉDITEURS 7, RUE CORNEILLE, 7 MCMXIII Tous droit? résorvés pour tous i^ay> y i-oiupris In Suède, la Norvè^'C et la Uu-sie. '* \ ’à'-' 'J. m: . \ r.f- 't- Digitized by the Internet Archive in 2017 with funding from Duke University Libraries https://archive.org/details/lespeintrescubisOOapol Les Peintres Cubistes Il a éié tiré de cet ouvrage dix exemplaires sur Japon Impérial numérotés de i à lo. Privilège Copyright in the United-States by Guillaume Apollinaire, 20 Mars 1913. TOUS LES ARTS COLLECTION PUBLIÉE SOUS LA DIRECTION DE M. Guillaume APOLLINAIRE GUILLAUME APOLLINAIRE [Méditations Esthétiques] Les Peintres Cubistes PREMIÈRE SÉRIE Pablo PICASSO — Georges BRAQUE — Jean METZINGER Albert GLEIZES — Juan GRIS — Mlle Marie RAUREHCIN Fernand LÉGER — Francis PICABIA — Marcel DUCHAMP DUCHAMP-VILLON, etc. OUVB.\GE ACCOMPAGNÉ DE 46 PORTRAITS ET REPRODUCTIONS HORS TEXTE DEUXIÈME ÉDITION PARIS EUGÈNE FIGUIÈRE ET C‘^ ÉDITEURS 7 7 , RUE CORNEILLE, MCMXIII Tous droits réservés pour tous pays y compris la Suède, la Norvège et la Russie. I '-Un* MÉDITATIONS ESTHÉTIQUES Sur la peinture I Les vertus plastiques : la pureté, l’unité et la vérité main- tiennent sous leurs pieds la nature terrassée. En vain, on bande l’arc-en-ciel, les saisons frémissent, les foules se ruent vers la mort, la science défait et refait ce qui existe, les mondes s’éloignent à jamais de notre conception, nos images mobiles se répètent ou ressuscitent leur incons- cience et les couleurs, les odeurs, les bruits qu’on mène nous étonnent, puis disparaissent de la nature.
    [Show full text]
  • The General Stud Book : Containing Pedigrees of Race Horses, &C
    ^--v ''*4# ^^^j^ r- "^. Digitized by tine Internet Arciiive in 2009 witii funding from Lyrasis IVIembers and Sloan Foundation http://www.archive.org/details/generalstudbookc02fair THE GENERAL STUD BOOK VOL. II. : THE deiterol STUD BOOK, CONTAINING PEDIGREES OF RACE HORSES, &C. &-C. From the earliest Accounts to the Year 1831. inclusice. ITS FOUR VOLUMES. VOL. II. Brussels PRINTED FOR MELINE, CANS A.ND C"., EOILEVARD DE WATERLOO, Zi. M DCCC XXXIX. MR V. un:ve PREFACE TO THE FIRST EDITION. To assist in the detection of spurious and the correction of inaccu- rate pedigrees, is one of the purposes of the present publication, in which respect the first Volume has been of acknowledged utility. The two together, it is hoped, will form a comprehensive and tole- rably correct Register of Pedigrees. It will be observed that some of the Mares which appeared in the last Supplement (whereof this is a republication and continua- tion) stand as they did there, i. e. without any additions to their produce since 1813 or 1814. — It has been ascertained that several of them were about that time sold by public auction, and as all attempts to trace them have failed, the probability is that they have either been converted to some other use, or been sent abroad. If any proof were wanting of the superiority of the English breed of horses over that of every other country, it might be found in the avidity with which they are sought by Foreigners. The exportation of them to Russia, France, Germany, etc. for the last five years has been so considerable, as to render it an object of some importance in a commercial point of view.
    [Show full text]
  • Comparison of Matisse and Picasso's Treatment of the Human Body
    Depiction of the body Matisse vs. Karie Edwards Eric Jones Picasso Chenla Ou Pablo Picasso 1881-1973 Henri Matisse 1869-1954 Henri Matisse and Pablo Picasso were two of the twentieth century's greatest rivals and yet no two artists inspired each other more.-- www.matisse-picasso.org “Expression, for me, does not reside in passions glowing in a human face or manifested by violent movement. The entire arrangement of my picture is expressive; the place occupied by the figures, the empty spaces around them, the proportions, everything has its share.” – Henri Matisse “The different styles I have been using in my art must not be seen as an evolution, or as steps towards an unknown ideal of painting. Everything I have ever made was made for the present and with the hope that it would always remain in the present. I have never had time for the idea of searching. Whenever I wanted to express something, I did so without thinking of the past or the future. I have never made radically different experiments. Whenever I wanted to say something, I said it the way I believed I should. Different themes inevitably require different methods of expression. This does not imply either evolution or progress; it is a matter of following the idea one wants to express and the way in which one wants to express it.” -- Picasso “We must talk to each other as much as we can. When one of us dies, there will be some things the other will never be able to talk of with anyone else.” --Henri Matisse to Pablo Picasso Matisse Time Line 1869: Born in Cateau-Cambrésis, France
    [Show full text]
  • Nick Susa Epic Mythomemology – the Iliad Book 1: Achilles Was Fighting
    Nick Susa Epic Mythomemology – The Iliad Book 1: Achilles was fighting alongside Agamemnon, the King of Argos, during the Trojan war. After winning a battle each was given a war prize, a woman. Achilles was given Briseis, and Agamemnon was given Chryseis. However, the father of Chryseis, Chryses, who was also a priest of Apollo, wasn’t ready to part with his daughter and came with a ransom for his daughter for King Agamemnon. Agamemnon refused the ransom in favor of keeping Chryseis and threatened the priest. Horrified and upset the priest (Chryses) calls upon Apollo and asks him to put a plague upon the Achaean armies, one of which Agamemnon leads. For nine days the armies were struck with a plague, on the tenth Achilles called a meeting to find the reason for the plague. Calchas, a prophet and follower of Apollo, being protected by Achilles, explains that Agamemnon refusing the ransom was the reason for the plague and he must return the girl and make a sacrifice of one hundred cows to Apollo in order to end the plague. Agamemnon decides to appease Apollo, but only if he can take away Achilles war prize, Briseis. Achilles doesn’t believe that Agamemnon should gain Briseis, so the two begin to argue. Achilles decides that he and his men shall not fight in the war because of Agamemnon’s actions. After Agamemnon takes Briseis away, Achilles cries and prays to his mother, Thetis, asking her to have Zeus grant the Achaean armies many loses. Zeus was not around to be asked though, but after twelve days, he returns and promises to Thetis that he will grant the Trojans many victories and the Achaeans many losses.
    [Show full text]
  • Baby Girl Names Registered in 2012
    Page 1 of 49 Baby Girl Names Registered in 2012 # Baby Girl Names # Baby Girl Names # Baby Girl Names 1 Aadhira 1 Abbey-Gail 1 Adaeze 3 Aadhya 1 Abbi 2 Adah 1 Aadya 1 Abbie 1 Adaira 1 Aahliah 11 Abbigail 1 Adaisa 1 Aahna 1 Abbigaile 1 Adalayde 1 Aaira 2 Abbigale 3 Adalee 1 Aaiza 1 Abbigayle 1 Adaleigh 1 Aalaa 1 Abbilene 2 Adalia 1 Aaleah 1 Abbrianna 1 Adalie 1 Aaleya 20 Abby 1 Adalina 1 Aalia 8 Abbygail 1 Adalind 1 Aaliah 1 Abbygail-Claire 2 Adaline 33 Aaliyah 1 Abbygaile 8 Adalyn 1 Aaliyah-Faith 3 Abbygale 1 Adalyne 1 Aaliyah-noor 1 Abbygayle 10 Adalynn 1 Aamina 1 Abby-lynn 1 Adanaya 1 Aaminah 1 Abebaye 2 Adara 1 Aaneya 2 Abeeha 1 Adau 1 Aangi 1 Abeer 2 Adaya 1 Aaniya 2 Abeera 1 Adayah 2 Aanya 1 Abegail 1 Addaline 3 Aaralyn 1 Abella 1 Addalyn 2 Aaria 1 Abem 1 Addalynn 3 Aarna 1 Abeni 1 Addeline 1 Aarohi 2 Abheri 1 Addelynn 1 Aarolyn 1 Abida 3 Addie 1 Aarvi 1 Abidaille 1 Addie-Mae 2 Aarya 1 Abigael 3 Addilyn 1 Aaryana 159 Abigail 2 Addilynn 1 Aasha 1 Abigaile 1 Addi-Lynne 2 Aashi 3 Abigale 78 Addison 1 Aashka 1 Abigayl 13 Addisyn 1 Aashna 2 Abigayle 1 Addley 1 Aasiyah 1 Abijot 1 Addy 1 Aauriah 1 Abilleh 9 Addyson 1 Aavya 1 Abinoor 1 Adedamisola 1 Aayah 2 Abrianna 1 Adeena 1 Aayana 2 Abrielle 1 Adela 1 Aayat 2 Abuk 1 Adelade 2 Aayla 1 Abyan 1 Adelae 1 Aayushi 3 Abygail 14 Adelaide 1 Ababya 2 Abygale 1 Adelaide-Lucille 1 Abagail 1 Acacia 2 Adelaine 1 Abagayle 1 Acasia 17 Adele 1 Abaigael 2 Acelyn 1 Adeleah 1 Abba 1 Achan 1 Adelee 1 Abbagail 2 Achol 1 Adeleigh 1 Abbegail 1 Achsa 1 Adeleine 12 Abbey 11 Ada 2 Adelia Page 2 of 49 Baby Girl
    [Show full text]
  • News-LEADER Arkansas’S Heritage While Leading Through the 21St Century Wednesday, Nov
    THE NASHVILLE HH HH Preserving SouthwestNews-LEADER Arkansas’s Heritage While Leading Through the 21st Century Wednesday, Nov. 6, 2019 u Vol. 17, Issue 19 u 28 pages, 3 sections u 75¢ Leader ‘Two revolutions’ Board Well-known columnist describes www.swarkansasnews.com political, demographic changes Arkansans have lived through OPINION 4A By Louie Graves State officials News-Leader staff note decline The current generation of Arkansans has lived through in freshmen two revolutions, the Nash- at colleges. ville Rotary Club was told last Wednesday, Oct. 30. The speaker was Rex Nel- son, himself an Arkansan of Veterans Day many facets. He is senior editor and columnist for the Arkansas observance Democrat-Gazette, radio voice of set Monday Ouachita Baptist Tigers football, and the policy and communi- The annual Veter- Rex Nelson cations director for a former ans Day ceremony in governor. Howard County will take drive through other area cities The revolutions, he said, place Monday at the to see the difference in down- were: (1) A political revolution courthouse on North towns. that saw the state’s representa- Main Street, in front of “We have become two states tion in Washington, D.C., and in the county’s memorial within a state,” he said, and he Little Rock rotate almost com- to soldiers, sailors and predicted that the 2020 census pletely from Democratic to Re- airmen who have died in would show that as many as 50 publican; and (2) A revolution in the nation’s wars. of the state’s 75 counties would demographics -- where popula- The ceremony tradi- show a population decline.
    [Show full text]
  • Creating Mood with Warm and Cool Colors LESSON O
    Teacher: Class: 2nd grade Duration: 2 class periods Course Unit: Lesson Title: Creating Mood with Warm and Cool Colors LESSON OVERVIEW Students will learn how to analyze and discuss the mood of an artwork and apply their understanding of warm and cool colors to a Pablo Picasso–inspired self-portrait. STANDARDS Tennessee State Standards Visual Art—Grade 2 1.1 Use tools and media consistently in a safe and responsible manner. 1.2 Demonstrate an understanding of a variety of techniques. 1.3 Explore a variety of processes. 2.1 Identify, understand, and apply the elements of art. 3.1 Select subject matter, symbols, and ideas for the student’s own art. 3.2 Analyze subject matter, symbols, and ideas in the student’s own art. 3.3 Analyze subject matter, symbols, and ideas in others’ art. 5.1 Explain the characteristics and merits of the student’s own work to the teacher and/or peers. Common Core Connections for Integrated Subjects—Language Arts, Speaking & Listening CCSS.ELA-Literacy.SL.2.1a Follow agreed-upon rules for discussions (e.g., gaining the floor in respectful ways, listening to others with care, speaking one at a time about the topics and texts under discussion). CCSS.ELA-Literacy.SL.2.1b Build on others’ talk in conversations by linking their comments to the remarks of others. CCSS.ELA-Literacy.W.2.2 Write informative/explanatory texts in which they introduce a topic, use facts and definitions to develop points, and provide a concluding statement or section. OBJECTIVES 1. Students will be able to analyze the mood of artworks.
    [Show full text]
  • Dora Maar Gratis Epub, Ebook
    DORA MAAR GRATIS Auteur: Alicia Dujovne Ortiz Aantal pagina's: 286 pagina's Verschijningsdatum: 2006-03-08 Uitgever: Uitgeverij Maarten Muntinga B.V. EAN: 9789058313669 Taal: nl Link: Download hier Dora Maar: Paris in the Time of Man Ray, Jean Cocteau, and Picasso Impressed he mumbled a few words in Spanish — the language Dora knew perfectly, since she had spent her childhood in Argentine. They fell into talk, and Picasso moved to her table. Many years later Picasso told that Dora was wearing black gloves embroidered with rose flowers that evening. She entertained herself stabbing spots between fingers of her left hand lying on the table with a knife. At one point she slipped a fraction of an inch. Picasso asked Dora to give him her blooded gloves. All his life he kept them in a special shadow box. With the image of Maar Picasso made a kind of retrospective journey across his artwork: she was represented in all styles and manners of painting the artist had tried before. However even Picasso himself noted that he could never paint her smiling. Dora Maar With Dora Maar and Man Ray Portrait of Dora Maar , Woman with arms leves [Head of Dora Maar] , Bust of Dora Maar , Dora Maar Front , Dora Maar , Head of a Woman Dora Maar , Seated Woman Dora Maar , Buste de Femme assise Dora , Portrait of Dora Maar sitting , Female head green nose on dark blue background Dora , Female bust Dora Maar , Woman with Hat Dora Maar , The yellow jersey Dora , Woman lengthened on a sofa Dora Maar , Bust of Woman with Hat Dora Maar , Feminine figure head Dora Maar , Portrait of Dora Maar with Hat , Portrait of Dora Maar with blue eyes , Dora Maar sitting , Dora Maar with a cat , Woman with a hat sitting in a chair Dora Maar , Bust of a Woman Portrait of Dora Maar , Woman in satin bodice Portrait of Dora Maar , Portrait de femme Dora Maar , Woman Seated at the Grey Dress , Figure Dora Maar , Portrait of Dora Maar with necklace , Head of a Woman Dora , Just the paintings he made that year would be enough to cement any artist's reputation as a master for life.
    [Show full text]
  • MODELS of MASCULINITIES in TROY: ACHILLES, HECTOR and THEIR FEMALE PARTNERS Celina Proch and Michael Kleu Introduction – What
    MODELS OF MASCULINITIES IN TROY: ACHILLES, HECTOR AND THEIR FEMALE PARTNERS Celina Proch and Michael Kleu Introduction – What Does it Mean to Be a Man? Films, as reconstructions and interpretations of reality, provide insights into social constructions of reality.1 They are one of the visual forms in which and with which a contemporary society is portrayed.2 Popular and successful Hollywood cinema productions have therefore proven to be an abundant resource for analyzing gender relations. Films set in the ancient world are no exception. In fact, while they usually employ storylines passed down over many centuries, they often turn out to be especially interesting in the ancient and modern values, moral conceptions, and societal norms they adopt and implement. Our particular focus here is Wolfgang Petersen’s Troy,3 which is “inspired by” Homer’s Iliad and focuses on two male characters – the Greek Achilles, introduced via a text insertion at the beginning of the film as the mighti- est warrior of all times, and his Trojan counterpart Hector, the heir to King Priam’s throne.4 The intention of this study is to analyze the depic- tion of masculinity in the film by examining both the representation of Achilles and Hector and the extent to which the narrative structures and 1 See Rainer Winter, “Film und gesellschaftliche Wirklichkeit. Zur Aktualität der Film- soziologie”, in Jutta Allmendinger et al., eds., Entstaatlichung und soziale Sicherheit. Ver- handlungen des 31. Kongresses der Deutschen Gesellschaft für Soziologie (Opladen: Leske und Budrich, 2004) 112. 2 Norman K. Denzin, “Reading Film – Filme und Videos als sozialwissenschaftliches Erfahrungsmaterial”, in Uwe Flick, Ernst von Kardorff und Ines Steinke, eds., Qualitative Forschung.
    [Show full text]