Classroom Activity ART-BUYING PLAN
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28Th Annual FINE ARTS FESTIVAL
41st Annual FINE ARTS FESTIVAL Presented by the Arts Council of Moore County The Arts Council of Moore County (ACMC) created the Fine Arts Festival (FAF) in 1980 to provide incentive for local artists to improve their technique and a place to showcase and sell their artwork. Since then, the festival has grown into a major art exhibit featuring artwork by artists from all over the country. The artwork is also judged in seven categories and over $2,800 in cash prizes and ribbons are awarded. Sponsored by Doris & Pete Gulley Gulley’s Garden Center FINE ARTS FESTIVAL GUIDELINES EXHIBITION DATES: August 6–27, 2021 JUDGE: MOLLY BOARATI is the ART SALES & PRICING: ACMC prefers Assistant Curator at the Nasher all art be for sale. An additional $15 EXHIBIT LOCATION: Museum of Art; Master’s degree fee will be charged for any entry Campbell House Galleries from Boston University with a focus that is not for sale. To help in 482 E. Connecticut Avenue on Italian Renaissance art. pricing, art priced under $700 has a Southern Pines, NC better chance of selling. Prices may AWARDS: The following prizes are ELIGIBILITY & CATEGORIES: Any artist not change once the exhibit awarded at the judge’s discretion: (16+ years old) is invited to enter art opens. ACMC retains a 35% only in the following seven Sara Wilson Hodgkins commission on all sales. “Best in Show” ........................... $500 categories: Oil; Acrylic; Watercolor; ART REMOVAL: Art must remain on Drawing/Pastel; Photography; 1st Place (each category) ....... $125 exhibit through Aug. 26. The dates Mixed Media/Printmaking; 3-D. -
A National Study of Outdoor Arts Festivals
Livefrom Your Neighborhood VOLUME A National Study of Outdoor O Arts Festivals NE: SUMMARY R EPORT National Endowment for the Arts Research Report #51 Livefrom Your Neighborhood A National Study of Outdoor Arts Festivals VOLUME ONE: SUMMARY REPORT National Endowment for the Arts Research Report #51 Research Report #51 August 2010 National Endowment for the Arts 1100 Pennsylvania Avenue, NW Washington, DC 20506-0001 Telephone: 202-682-5400 Prepared for the Office of Research & Analysis by Bohne Silber, Silber & Associates and Carole Rosenstein, PhD, George Mason University Produced by the Office of Research & Analysis Sunil Iyengar, Director Sarah Sullivan, Senior Program Analyst Other NEA staff contributors: Mario Garcia Durham, Tom Bradshaw, Bonnie Nichols, Nona Milstead, Kelli Rogowski, Patricia Shaffer, and Ellen Grantham Editorial and publication assistance by Don Ball Designed by Beth Schlenoff Design The National Endowment for the Arts would like to thank the Association of Performing Arts Presenters for providing valuable advice and feedback throughout the course of the study. Thanks are also due to the following individuals who composed an informal working group for the study: Michael Alexander, Philip Horn, Steve Schmader, Robb Woulfe, Stephanie Hughley, Huong Vu, Ted Russell, Helen Sause, Claudia Norman, David Rivel, Jennifer Lena, and Angela Han. Finally, the NEA would like to thank the organizations that helped to generate the list of festival organizers surveyed for the national study and/or that helped to distribute the survey to festival organizers. See page 67 for details. Front Cover Photo: Latin sensation Julieta Venegas reaches out to a packed crowd at SummerStage in Central Park, New York City, NY. -
Edward M. Eyring
The Chemistry Department 1946-2000 Written by: Edward M. Eyring Assisted by: April K. Heiselt & Kelly Erickson Henry Eyring and the Birth of a Graduate Program In January 1946, Dr. A. Ray Olpin, a physicist, took command of the University of Utah. He recruited a number of senior people to his administration who also became faculty members in various academic departments. Two of these administrators were chemists: Henry Eyring, a professor at Princeton University, and Carl J. Christensen, a research scientist at Bell Laboratories. In the year 2000, the Chemistry Department attempts to hire a distinguished senior faculty member by inviting him or her to teach a short course for several weeks as a visiting professor. The distinguished visitor gets the opportunity to become acquainted with the department and some of the aspects of Utah (skiing, national parks, geodes, etc.) and the faculty discover whether the visitor is someone they can live with. The hiring of Henry Eyring did not fit this mold because he was sought first and foremost to beef up the graduate program for the entire University rather than just to be a faculty member in the Chemistry Department. Had the Chemistry Department refused to accept Henry Eyring as a full professor, he probably would have been accepted by the Metallurgy Department, where he had a courtesy faculty appointment for many years. Sometime in early 1946, President Olpin visited Princeton, NJ, and offered Henry a position as the Dean of the Graduate School at the University of Utah. Henry was in his scientific heyday having published two influential textbooks (Samuel Glasstone, Keith J. -
Glass Shards • Page 2
GlassNEWSLETTER OF THE NATIONAL Shards AMERICAN GLASS CLUB www.glassclub.org Founded 1933 A Non-Profit Organization Summer 2016 News Highlights from the 2016 Seminar in Norfolk There were many wonderful experi- Museum. After her lecture, we were historic glassblowing techniques, blew ences that the attendees of the 2016 divided into two small groups and re- one of his favorite styles, a pillar- Seminar shared during the three-day ceived the rare opportunity of visiting molded pitcher. Although we have all gathering but a few events were high- the Ceramic and Glass Vault. Attend- seen glassblowing demonstrations lights of the Seminar. After visiting ees sat around tables and objects from countless times, Art, who was assisted the incredible home of Carolyn and the collection were discussed, passed by a Studio staff member, had the Richard Barry, filled with the amazing around, and handled. group captivated by working and art and spectacular contemporary glass, Another highlight was the glass- discussing each step in the process. the attendees traveled to the DeWitt blowing demonstration by NAGC Amazingly, Art had not blown a piece Wallace Museum of Decorative Arts Second Vice President Art Reed. The of glass for four years since concen- at Colonial Williamsburg. Chrysler Museum of Art acquired an trating on his wooden glassblowing Suzanne Hood, Curator of Ceramics old bank across the street from the block and mold business. and Glass at the Colonial Williamsburg museum and renovated the building Both the visit to Colonial Williams- Foundation (CWF) gave us an informa- into a glass studio. The Studio has be- burg’s DeWitt Wallace Museum of tive lecture about the glass collection come one of the most popular venues Decorative Arts and the glassblowing and why the CWF acquired the pieces. -
Glassblowers of Venice Kept Their Art So Secret That It Almost Died out by Associated Press, Adapted by Newsela Staff on 02.11.16 Word Count 620
Glassblowers of Venice kept their art so secret that it almost died out By Associated Press, adapted by Newsela staff on 02.11.16 Word Count 620 Glassblower William Gudenrath puts enamel on a bowl with techniques used by Renaissance Venetians at the Corning Museum of Glass in Corning, New York, Jan. 22, 2016. Gudenrath spent decades researching how Renaissance glassmakers produced objects that are now considered works of art. Photo: AP/Mike Groll ALBANY, N.Y. — A modern-day glassblower believes he has unraveled the mysteries of Venetian glassmaking that was crafted during the Renaissance. The Renaissance was a cultural movement in Europe that lasted from the 1300s to the 1600s. During that period, glassmakers' secrets were closely guarded by the Venetian government. Anyone who spoke of them could be killed. Specially Skilled Craftsmen Today's glassblowers work with gas-fired furnaces and electric-powered ovens called kilns. Their studios are well lit and have proper air ventilation. The craftsmen of Murano, an island near Venice, Italy, did not have such technology. Yet they turned out pieces of art popular in museums today. The techniques, or the methods they used to make the objects, remained sought after for centuries. William Gudenrath spent years studying Venetian glass collections at American and European museums. He compared them with newer glasswork from Venice. He experimented on his own and traveled to Italy many times. Gudenrath combined all of his knowledge to produce an online guide. Guiding Modern Artists The guide is called "The Techniques of Renaissance Venetian Glassworking." It was recently posted on the website of the Corning Museum of Glass in New York. -
Calendar of Events
SEPTEMBER – OCTOBER, 2015 NEWSLETTER CALENDAR OF EVENTS CONFLUENCE Hired IRIS, PEONY AND UNIQUE The Master Plan Committee along with other interested stakeholders came together PLANT SALE over a four-month period and selected CONFLUENCE to provide master September 12 &13 plan services for the Arboretum. The committee reviewed fourteen proposals and interviewed three companies before selecting CONFLUENCE. Saturday & Sunday 9 a.m. – 4 p.m. CONFLUENCE was founded in Des Moines in 1998 and has since expanded throughout the Midwest, with additional offices in Cedar Find the best and brightest “stars” Rapids, Sioux Falls, Kansas City and Minneapolis. The company is for your garden. comprised of landscape architects and planners focused on bringing together people and ideas to create meaningful and memorable places within specific environments. PUMPKIN CARVING Thursday, October 15 Master planning is a collaborative process that consist of the evaluation 5 p.m. – 8:30 p.m. of current facilities, programs and services along with the long-term needs for facilities, programs and services. The finished product pulls Carve a pumpkin for displaying at together all of the elements desired for the Arboretum into a comprehensive the Arboretum’s Halloween events. plan. CONFLUENCE will also provide graphics to illustrate future Arboretum improvements. The master plan will be utilized to excite The Arboretum will provide dinner. and energize people about the Arboretum and be used as the road map for future development. AR “BOO” WEEN Committee Members: Dean Bowden, Don Draper, Donald Lewis, Saturday, October 17 Linda Grieve, Doug Gustafson, Wayne Koos, Kathy Law, Joe McNally, 1 p.m. -
Schedule of Events 2019 Pecan Grove Stages Crown Meadow Stages Holly Field Stages
Schedule of Events 2019 Pecan Grove Stages Crown Meadow Stages Holly Field Stages Idlewyld Revelers Joust Lady Hawke Falconry Glassblowing King's Roundabout Mountebank Gypsy Stage Whimsey Stage Taylor Lane Ivanhoe Stage Sea Hag Stage Crown Stage Fortune Stage Village Green Stage Stage Arena Stage Stage Booth # 111 Pavilion Stage Stage Prose & Poetry Middle School Art & Heraldry 9:30 Interpretation Drama Competition Displays Competition Competition Middle School Prose & Poetry High School Middle School High School Middle School High School Cirque du The London Rambling Zilch the Tory Art & Heraldry 10:00 Choir Interpretation Drama Improv Improv Drama Choir Sewer Broil Show Sailors Steller Competition Displays Competition Competition Competition Competition Competition Competition Competition Stewart & Middle School Prose & Poetry High School Middle School High School Middle School High School Glassblowing Pride of Arnold Knife Art & Heraldry 10:30 Wolgemut Joust Choir Interpretation Drama Improv Improv Drama Choir Demo Ireland Throwing Competition Displays Competition Competition Competition Competition Competition Competition Competition Show The Middle School Prose & Poetry High School Middle School High School Middle School High School Kamikaze Iron Hill Art & Heraldry 11:00 Gwendolyn Choir Interpretation Drama Improv Improv Drama Randal Piper Choir Fireflies Vagabonds Competition Displays Show Competition Competition Competition Competition Competition Competition Competition Middle School Prose & Poetry High School Middle School High -
Capturing, Preserving, and Sharing the Sounds of Glassmaking
arts Article Makers Marks: Capturing, Preserving, and Sharing the Sounds of Glassmaking Lisa Naas 1,* and David Faleris 2 1 School of Design, Edinburgh College of Art, University of Edinburgh, Edinburgh EH3 9DF, UK 2 Independent Composer, Glasgow G12 9SW, UK; [email protected] * Correspondence: [email protected] or [email protected] Received: 30 November 2018; Accepted: 24 January 2019; Published: 30 January 2019 Abstract: The Makers Marks Collaborative, an international team of glass artists, visual designers, composers, and engineers, embarked on a project together from 2015–2016 to use the glassmaking studio as a staging ground for interdisciplinary, collaborative making. The team aimed to capture and preserve the sounds of traditional studio glassmaking, and then to share them outside the workshop domain through digital technologies and glass art objects. The goal was also to fulfill a public engagement grant from the Royal Academy of Engineering to highlight the engineering through the art and the engineers’ vision within the art making. The team recorded and isolated the unique sounds of the glassblowing process and its studio environment, and then used the resulting digital sound collection as the foundation for developing artistic outputs: a virtual instrument library, a glass object-instrument of performance, a series of glass objects translating selected virtual instruments, and a music composition. They questioned the nature and materiality of glass through dialogue between media and conversation among team members, while exploring the practice-based research question: “How can we embed our recorded sounds of the glassmaking process back into the glass itself?” This paper focuses on the collaborative, interdisciplinary making process of the team, the project outputs, and the metaphorical language that was a key process facilitation tool. -
Download Carlow Arts Festival Artistic Director + CEO Job Pack
ARTISTIC DIRECTOR/CEO CANDIDATE INFORMATION PACK, MAY 2021 CONTENTS - Introduction - About Carlow Arts Festival - Organisational Structure - Job Description - Person Specification - Conditions of Employment - Appointment Process + How to Apply INTRODUCTION Dear Candidate, Thank you for your interest in the position of Artistic Director/CEO of Carlow Arts Festival (CAF). At Carlow Arts Festival we believe that the Arts are for everyone. This has been at the heart of our vision since the Festival was founded 42 years ago. The Festival aims to be extraordinary, and for a short period each summer, we engage with spaces, places and the people of Carlow through art, performance and spectacle. Over the past five years we've seen a period of growth and consolidation, creating a strong and sustainable position for the festival, including in the unexpected times all of us in the arts field find ourselves. We have become known locally and internationally for how we couple together audacious artists and their vision in a way that is truly accessible for all. The Artistic Director/CEO is a crucial role at the head of our organisation and in advocating for the importance of the Arts with and for the people of Carlow and beyond. We are looking for an ambitious and imaginative leader who will come to Carlow to build on everything achieved by our outgoing director Jo Mangan, and who will develop their own distinctive vision for the festival. We’re looking for someone who believes in the role of transformative art, diverse perspectives and inclusion, seeks out virtuosic artists to resonate, inspire and collaborate with the Carlow and national community, and who has strong organisational and entrepreneurial skills. -
Dale Chihuly | Chronology 1941 Born September 20 in Tacoma, Washington, to George Chihuly and Viola Magnuson Chihuly
Dale Chihuly | Chronology 1941 Born September 20 in Tacoma, Washington, to George Chihuly and Viola Magnuson Chihuly. 1957 Older brother and only sibling, George, dies in a navy flight-training accident in Pensacola, Florida. 1958 His father suffers a fatal heart attack at age fifty-one, and his mother has to go to work. 1959 Graduates from high school in Tacoma. Enrolls at College of Puget Sound (now University of Puget Sound) in his hometown. 1960 Transfers to University of Washington in Seattle, where he studies interior design and architecture. 1961 Joins Delta Kappa Epsilon fraternity and becomes rush chairman. Learns to melt and fuse glass. 1962 Interrupts his studies and travels to Florence to focus on art. Frustrated by his inability to speak Italian, he moves on to the Middle East. 1963 Works on a kibbutz in Negev desert, Israel. Reinspired, returns to University of Washington and studies interior design under Hope Foote and Warren Hill. In a weaving class with Doris Brockway, incorporates glass shards into woven tapestries. 1964 Returns to Europe, visiting Leningrad and making the first of many trips to Ireland. 1965 Receives BA in interior design from University of Washington. In his basement studio, blows his first glass bubble by melting stained glass and using a metal pipe. 1966 Earns money for graduate school as a commercial fisherman in Alaska. Enters University of Wisconsin at Madison on a full scholarship, to study glassblowing in the first glass program in the United States, taught by Harvey Littleton. 1967 After receiving MS in sculpture from University of Wisconsin, enrolls at Rhode Island School of Design (RISD) in Providence, where he begins exploration of environmental works using neon, argon, and blown glass. -
The Corning Museum of Glass Annual Report, 2006
The Corning Museum of Glass Annual Report 2006 Cover: Officers The Fellows of The Corning The Fellows of The Corning Museum of Glass Museum of Glass are among Peacock vase, blown; E. Marie McKee the world’s leading glass col- silver-gilt mount. U.S., President Carole Allaire lectors, scholars, dealers, and Corona, NY, Tiffany Gary E. Baker glassmakers. The objectives Amory Houghton Jr. Studios, 1898–1899. Renée E. Belfer of this organization are (1) Vice President H. 14.1 cm (2006.4.161). Robert A. Belfer to disseminate knowledge James R. Houghton Mike Belkin about the history and art of Vice President William W. Boeschenstein* glassmaking and (2) to sup- port the acquisitions program Alan L. Cameros Denise A. Hauselt of the Museum’s Rakow Secretary Lt. Gen. Christian Clausen, retired Research Library. Admission Thomas P. Dimitroff to the fellowship is intended James B. Flaws Jay R. Doros to recognize accomplishment, Treasurer David Dowler and is by invitation. Robert J. Grassi Max Erlacher Assistant Treasurer Christopher T. G. Fish Barbara U. Giesicke David B. Whitehouse William Gudenrath Executive Director Jirˇí Harcuba+ Douglas Heller Trustees A. C. Hubbard Jr. Roger G. Ackerman* Kenneth L. Jobe + Peter S. Aldridge Dorothy-Lee Jones Thomas S. Buechner Leo Kaplan Van C. Campbell* Helena Koenigsmarková + Dale Chihuly Michael Kovacek Patricia T. Dann Dwight P. Lanmon + Robert Duke Harvey K. Littleton James B. Flaws Louise Luther John P. Fox Jr. Kenneth W. Lyon Polly W. Guth Josef Marcolin Ben W. Heineman* John H. Martin + Amory Houghton Jr.* Gregory A. Merkel Arthur A. Houghton III Barbara H. -
CV 6084 Rue Waverly, Montréal, QC H2T2Y3 Canada Tel: 438-884 5387 [email protected]
Adam Basanta - CV 6084 rue Waverly, Montréal, QC H2T2Y3 Canada Tel: 438-884 5387 [email protected] www.adambasanta.com Selected Solo Exhibitions 2018 • ***Upcoming*** Title TBA. Klangraum Krems, Krems, Austria. • ***Upcoming*** All we’d ever need is one another. Ellephant Gallery, Montreal QC, Canada. • Variations on a Theme. Galerie Bon Accueil, Rennes, France. 2017 • Variations on a Theme. FOFA Gallery. Montreal, QC Canada. • Five Lines, Crossing. Galerija SC. Zagreb, Croatia. 2016 • A Room Listening to Itself. Gallery 1C03, Winnipeg MB Canada. • Inversion as literary device. Galeria Skolska28. Prague, CZ. • Systems of Listening, Systems for Listening. Nutting Gallery. West Liberty University, WV. • Principle of Distance. Museum of Transitory Art. Ljubliana, Slovenia. • Louder than a beating heart. Galeria Swinton and Grant. Madrid, Spain. 2015 • A Room Listening to Itself. Open Space Gallery. Victoria BC. • The sound of empty space. Carroll/Fletcher Gallery. London UK. • Louder than a beating heart. Titanik Galerie. Turku Finland. • A room listening to itself. Centre for Contemporary Arts - Santa Fe. NM, USA. • The sound of empty space. Galerie B-312, Montreal QC. 2012 • Room Dynamics. Artscape Wychwood Barns, Toronto, ON, Canada. October 26-Dec 15, 2012. • Room Dynamics. The Bridge Gallery, Charlotsville, VA, USA. September 21-30 2012. Selected Group Exhibitions 2018 • ***Upcoming*** Robot Love. Van Abbemuseum, Eindhoven, • ***Upcoming*** Exposition rétrospective 10 ans. Eastern Bloc, Montreal QC Canada. • ***Upcoming*** Data Dating. Galerie Charlotte, • ***Upcoming*** … move or be moved by something rather than oneself. Critical Distance, Toronto ON Canada. • ***Upcoming*** Festival Interstice. Caen, France. • Sonic Arts Series. HAVN. Hamilton, ON, Canada. • 36ème Rendez-vous Québec Cinéma. Cinematheque Quebecois, Montreal QC Canada.