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Committee of Ministers Secretariat Du Comite Des Ministres
SECRETARIAT GENERAL SECRETARIAT OF THE COMMITTEE OF MINISTERS SECRETARIAT DU COMITE DES MINISTRES Contact: Clare Ovey Tel: 03 88 41 36 45 Date: 06/06/2017 DH-DD(2017)611 Documents distributed at the request of a Representative shall be under the sole responsibility of the said Representative, without prejudice to the legal or political position of the Committee of Ministers. Meeting: 1288th meeting (June 2017) (DH) Communication from the applicant’s representatives (01/06/2017) in the case of JEHOVAH'S WITNESSES OF MOSCOW AND OTHERS v. Russian Federation (Application No. 302/02) Information made available under Rule 9.1 of the Rules of the Committee of Ministers for the supervision of the execution of judgments and of the terms of friendly settlements. * * * * * * * * * * * Les documents distribués à la demande d’un/e Représentant/e le sont sous la seule responsabilité dudit/de ladite Représentant/e, sans préjuger de la position juridique ou politique du Comité des Ministres. Réunion : 1288e réunion (juin 2017) (DH) Communication des représentants du requérant (01/06/2017) dans l’affaire JEHOVAH'S WITNESSES OF MOSCOW ET AUTRES c. Fédération de Russie (Requête n° 302/02) [anglais uniquement] Informations mises à disposition en vertu de la Règle 9.1 des Règles du Comité des Ministres pour la surveillance de l’exécution des arrêts et des termes des règlements amiables. PO Box 40 13893 Highway 7 (courier) Georgetown ON L7G 4T1 905-873-4545 905-873-4522 John M. Burns, LL.B. DGI [email protected] Also of the Bar of British Columbia 01 JUIN 2017 SERVICE DE L’EXECUTION DES ARRETS DE LA CEDH 30 May 2017 Department for the Execution of Judgments of the ECHR DGI - Directorate General of Human Rights and Rule of Law Council of Europe F-67075 STRASBOURG CEDEX FRANCE Re: Application no. -
Pat Adams Selected Solo Exhibitions
PAT ADAMS Born: Stockton, California, July 8, 1928 Resides: Bennington, Vermont Education: 1949 University of California, Berkeley, BA, Painting, Phi Beta Kappa, Delta Epsilon 1945 California College of Arts and Crafts, summer session (Otis Oldfield and Lewis Miljarik) 1946 College of Pacific, summer session (Chiura Obata) 1948 Art Institute of Chicago, summer session (John Fabian and Elizabeth McKinnon) 1950 Brooklyn Museum Art School, summer session (Max Beckmann, Reuben Tam, John Ferren) SELECTED SOLO EXHIBITIONS 2017 Bennington Museum, Bennington, Vermont 2011 National Association of Women Artists, New York 2008 Zabriskie Gallery, New York 2005 Zabriskie Gallery, New York, 50th Anniversary Exhibition: 1954-2004 2004 Bennington Museum, Bennington, Vermont 2003 Zabriskie Gallery, New York, exhibited biennially since 1956 2001 Zabriskie Gallery, New York, Monotypes, exhibited in 1999, 1994, 1993 1999 Amy E. Tarrant Gallery, Flyn Performing Arts Center, Burlington, Vermont 1994 Jaffe/Friede/Strauss Gallery, Dartmouth College, Hanover, New Hampshire 1989 Anne Weber Gallery, Georgetown, Maine 1988 Berkshire Museum, Pittsfield, Massachusetts, Retrospective: 1968-1988 1988 Addison/Ripley Gallery, Washington, D.C. 1988 New York Academy of Sciences, New York 1988 American Association for the Advancement of Science, Washington, D.C. 1986 Haggin Museum, Stockton, California 1986 University of Virginia, Charlottesville, Virginia 1983 Image Gallery, Stockbridge, Massachusetts 1982 Columbia Museum of Art, University of South Carolina, Columbia, -
Portraiture: People & Places in Time Teaching Resource
Portraiture: People & Places in Time Teaching Resource Ages: 8+ (Grades 3–12) Essential Questions: • What is a portrait? What is a self-portrait? Materials needed: • What are some traditional portraiture • Paper techniques? What are some of the • Pencil, marker, crayon, or pen different artistic mediums that can be • Access to a mirror used to create portraits? • Ruler (optional) • How does an artist use colors and shapes • Materials for adding color to portrait when building a portrait? scenes (optional) • How does an artist use stance and expression to communicate a specific Duration: 1 hour (includes one 15-minute emotion or emotions in a work of activity and two 20-minute activities) portraiture? • What can a portrait of a person or group of people tell us about a specific time and place? Image: John White Alexander (American, 1856–1915). Azalea (Portrait of Helen Abbe Howson), 1885. Oil on canvas. Gift of Mrs. Gertrude Farnham Howson, 1974 (74.19.6). hrm.org/museum-from-home 1 Part 1: Introducing Portraiture Portrait painting, or figural painting, is a fine art genre in which the intent is to depict the visual appearance of the subject, typically a person (sometimes multiple people or even an animal). Portraits in different mediums and contexts help us understand the social history of different times. In addition to painting, portraits can also be made in other mediums such as woodcut, engraving, etching, lithography, sculpture, photography, video and digital media. Historically, portrait paintings were made primarily as memorials to and for the rich and powerful. Over time, portrait-making has become much easier for people to do on their own, and portrait commissions are much more accessible than they once were. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
SYLLABUS Printmaking III ARTS 4355-01 Lamar University, SPRING
SYLLABUS Printmaking III ARTS 4355-01 Lamar University, SPRING 2018 TR 2:20-5:15PM , Room # 101 Associate Professor Xenia Fedorchenko Office hours by appointment and: TR 10AM-11AM Office Room # 101A; Ext. 8914 e-mail: [email protected] COURSE DESCRIPTION This course is a continuation of Printmaking II with a focus in combining new and previously learnt techniques with individually selected content. COURSE CONTENT Students will continue to learn about Printmaking through assigned readings, demonstrations of techniques, hands-on experience, and self-directed research. Students will work on plates or stones incorporating both hand-drawn and basic photographic imagery. This course is designed to encourage experimentation with the processes covered. Understanding of presenting ones work to a group, writing a statement, safe studio practices, press characteristics and operation, various ink traits (water-based, intaglio and lithographic inks), comparative qualities of diverse papers and studio equipment (rollers, brayers, etc) as they relate to ones oeuvre will be gained. Further study will occur through a series of incrementally challenging projects outside of class. Students should allow for customization of the semester’s assignments to their own artistic inquiries. Further study will also occur in the form of time spent in the library or through gallery visits. At the end of the semester, students will have the skills and visual vocabulary necessary to create unique and editioned prints that coherently combine technique and content. STUDENT LEARNING OUTCOMES At the end of this course students should be able to: −Understand and utilize various intaglio, monoprinting and planographic matrix-producing techniques. −Gain an in-depth understanding of a chosen process within printmaking −Understand color mixing and color interactions in printmaking and apply these to various printing processes. -
Woodcuts to Wrapping Paper: Concepts of Originality in Contemporary Prints Alison Buinicky Dickinson College
Dickinson College Dickinson Scholar Student Scholarship & Creative Works By Year Student Scholarship & Creative Works 1-28-2005 Woodcuts to Wrapping Paper: Concepts of Originality in Contemporary Prints Alison Buinicky Dickinson College Sarah Rachel Burger Dickinson College Blair Hetherington Douglas Dickinson College Michelle Erika Garman Dickinson College Danielle Marie Gower Dickinson College See next page for additional authors Follow this and additional works at: http://scholar.dickinson.edu/student_work Part of the Contemporary Art Commons Recommended Citation Hirsh, Sharon, et al. Woodcuts to Wrapping Paper: Concepts of Originality in Contemporary Prints. Carlisle, Pa.: The rT out Gallery, Dickinson College, 2005. This Exhibition Catalog is brought to you for free and open access by the Student Scholarship & Creative Works at Dickinson Scholar. It has been accepted for inclusion in Student Scholarship & Creative Works By Year by an authorized administrator of Dickinson Scholar. For more information, please contact [email protected]. Authors Alison Buinicky, Sarah Rachel Burger, Blair Hetherington Douglas, Michelle Erika Garman, Danielle Marie Gower, Blair Lesley Harris, Laura Delong Heffelfinger, Saman Mohammad Khan, Ryan McNally, Erin Elizabeth Mounts, Nora Marisa Mueller, Alexandra Thayer, Heather Jean Tilton, Sharon L. Hirsh, and Trout Gallery This exhibition catalog is available at Dickinson Scholar: http://scholar.dickinson.edu/student_work/9 WOODCUTS TO Concepts of Originality in Contemporary Wrapping Paper Prints WOODCUTS TO Concepts of Originality in Contemporary Wrapping Paper Prints January 28 – March 5, 2005 Curated by: Alison Buinicky Sarah Burger Blair H. Douglas Michelle E. Garman Danielle M. Gower Blair L. Harris Laura D. Heffelfinger Saman Khan Ryan McNally Erin E. Mounts Nora M. -
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Advances in Economics, Business and Management Research, volume 139 International Conference on Economics, Management and Technologies 2020 (ICEMT 2020) Regional Differences in Income and Involvement in the Use of DFS as Factors of Influence on the Population Financial Literacy Elena Razumovskaya1,2,* Denis Razumovskiy1,2 1Department of Finance, Money Circulation and Credit, Ural Federal University named after B.N. Yeltsin, Yekaterinburg, Russia 2Department of Finance, Money Circulation and Credit, Ural State University of Economics, Yekaterinburg, Russia *Corresponding author. Email: [email protected] ABSTRACT The article attempts to analyze the impact of regional differences in income and activity of using digital financial services (DFS) on the financial literacy of the population. The authors proceeded from the hypothesis that the effect of concentration of financial activity in large federal centers of the Russian Federation on other territories, in particular, the Sverdlovsk region, is approximated. The main research hypothesis is that the regular and active use of digital financial services is more inherent with people living in large settlements and having a relatively higher income; these two factors have a decisive influence on the level of financial literacy. The use of constantly developing digital financial services in everyday life allows people to visualize the dynamics of their financial capabilities, analyze and adjust the structure of financial resources, which increases financial knowledge and strengthens -
Regional Features of the Financial Literacy the Population of the Sverdlovsk Region
E3S Web of Conferences 295, 01013 (2021) https://doi.org/10.1051/e3sconf/202129501013 WFSDI 2021 Regional Features of the Financial Literacy the Population of the Sverdlovsk Region Elena Razumovskaia1,2,*, Denis Razumovskiy1,3, Elena Ovsyannikova1 1Ural State Economics University, 620144 Yekaterinburg, Russia 2Ural Federal University, 620002 Yekaterinburg, Russia 3Russian Academy of National Economy and Public Administration under the President of the Russian Federation (UIU RANEPA), 620144 Yekaterinburg, Russia Abstract. The presented research is devoted to analysis of the principles and optimality criteria for the structure of household financial resources, formed on the basis of surveys of a sample of 5,842 respondents from the Sverdlovsk region based on the author’s methodology for assessing the level of financial literacy and the structure of citizens expenses. The initial hypothesis about the influence of the level of financial literacy of the population on the structure of household spending has been verified. Examples of author questionnaires are presented, developed taking into account the methodological support of the Central Bank of the Russian Federation and the NAFR Analytical Centre. The conclusion is substantiated that more financially literate people are inclined to plan income and expenses and are able to evaluate the structure of their expenses from the position of optimality. The study is supplemented by an analysis of an array of statistical information on indicators of the financial situation of the population of the cities of the Sverdlovsk region. The purpose of the study is to verify the relationship between the level of financial literacy of the population of the Sverdlovsk region and the structure of household spending based on a subjective assessment of optimality by respondents. -
John Richard Fudge B
John Richard Fudge b. 1940, Des Moines, IA d. 1999, Lakewood, CO Education 1966 MFA, University of Colorado, Boulder 1963 BFA, University of Colorado, Boulder Solo Exhibitions 2012 John Fudge Paintings and other Allegories, RULE Pop-up at the Pattern Shop Studio 1988 John Fudge: From Hell to Breakfast, Arvada Center for the Arts, Arvada, CO 1983 Twenty-Year Retrospective, Boulder Center for the Visual Arts, Boulder, CO 1978 Regis College, Denver, CO 1977 J. Magnin Gallery, Denver, CO 1974 Walker Street Gallery, New York 1974 Paintings, Wilamaro Gallery, Denver, CO 1972 Wilamaro Gallery, Denver, CO! 1970 Henderson Museum, University of Colorado, Boulder 1968 University of Arizona, Tucson! 1968 University of Colorado, Boulder Select Group Exhibitions 2017 Audacious, Denver Art Museum, Denver, CO 2016 Looking Back: 40 Years/40 Artists, Arvada Center for the Arts, Arvada, CO 2006 The Armory Group: 40 Years, Mizel Center for Arts and Culture, Denver, CO 1999 Using Your Faculties, University of Colorado, Denver, CO 1996 20/20 Vision, Arvada Center for the Arts and Humanities, Arvada, CO! 1995 The 32-Year Show, Emmanuel Gallery, University of Colorado, Denver, CO 1995 John Fudge: Recent Work, Rocky Mountain College of Art and Design, Denver,! CO 1994 Nature Morte, Rule Modern and Contemporary Art, Denver ! 1993 Preternatural Worlds, Center for Visual Arts, Metropolitan State College, Denver, CO 1992 John Fudge and Jim Hayes, Boulder Center for the Visual Arts, Boulder, CO 1990 Fat-Free Surrealism, Michael Leonard Gallery (curator, Red Grooms), -
EAP Task Force
EAP Task Force Document 5 Joint Meeting of the EU Water Initiative’s EECCA Working Group and the EAP Task Force Environmental Finance and Water Networks 29 March –1 April 2005, Chisinau, Moldova Overview of Domestic and International Private Companies Operating in the Water Utilities Sector in Russian Federation Participants are invited to take note of the document and to comment on it as appropriate. ACTION REQUIRED: For information, discussion, and endorsement. TABLE OF CONTENT: USED ABBREVIATIONS AND ACRONYMS..................................................................3 PREFACE........................................................................................................................4 ANALYTICAL SUMMARY...............................................................................................6 CHAPTER 1. GENERAL INFORMATION ABOUT DOMESTIC AND INTERNATIONAL PRIVATE COMPANIES OPERATING IN UTILITIES SECTOR IN RUSSIA..................................19 CHAPTER 2. EXPERIENCE OF DOMESTIC AND INTERNATIONAL PRIVATE COMPANIES IN IMPLEMENTING SPECIFIC PROJECTS......................................................................28 RUSSIAN UTILITY SYSTEMS....................................................................................................................29 ROSVODOKANAL......................................................................................................................................33 NEW URBAN INFRASTRUCTURE OF PRIKAMYE..................................................................................36 -
List of Companies
List of companies Ural pipe plant Production of electric turbines 18, Frontovykh Brigad Str., Ekaterinburg, 620017 Russia Phone: +7 (343) 339-42-11, fax: 334-79-65 Open joint stock company «Uralhydromash» Production of deep-well pumps, hydraulic turbines 2а, Karl Libknekht Str., Sysert, Sverdlovsk region, 624020 Russia Phone: +7 (34374) 2-17-76, fax: 2-17-28 E-mail: [email protected] www.uhm.chat.ru Ural plant of heavy mechanical engineering Production of metallurgical, oil and gas, mining, hoisting and transport equipment, equipment for power industry Square of First pyatiletka, Ekaterinburg, 620012 Russia Phone: +7 (343) 336-60-22, fax: 269-60-40 E-mail: [email protected] www.uralmash.ru Ural diesel engine plant Production of diesel engines 18, Frontovykh Brigad Str., Ekaterinburg, 620017 Russia Phone: +7 (343) 334-42-22 Fax: +7 (343) 334-05-37 Baranchinskiy electromechanical plant 2а, Lenin Str., Baranchinskiy settlement, Kushva, Sverdlovsk region, 624305 Russia Phone: +7 (343) 372-86-91, fax: 370-45-22 Uralelectrotyazhmash 22, Frontovykh Brigad Str., Ekaterinburg, 620017 Russia Phone: +7 (343) 216-75-00, fax: 216-75-24 Ural plant of chemical mechanical engineering Production of chemical equipment 31, per. Khibinogorskiy, Ekaterinburg, 620010 Russia Phone: +7 (343) 221-74-00, fax: 227-50-92 E-mail: [email protected] www.uralhimmash.ru Open joint stock company «Pneumostroymashina» Production of power hydraulics for road-construction and hoisting and transport equipment 1, Sibirskiy tract, Ekaterinburg, 620055 Russia Phone: +7 (343) -
Artist Bios Alex Katz Is the Author of Invented Symbols
Artist Bios Alex Katz is the author of Invented Symbols: An Art Autobiography. Current exhibitions include “Alex Katz: Selections from the Whitney Museum of American Art” at the Nassau County Museum of Art and “Alex Katz: Beneath the Surface” at the Middlesbrough Institute of Modern Art. Jan Henle grew up in St. Croix and now works in Puerto Rico. His film drawings are in the collections of The Metropolitan Museum of Art, New York, The Museum of Modern Art, New York, and The Modern Art Museum of Fort Worth. His collaborative film with Vivien Bittencourt, Con El Mismo Amor, was shown at the Gwang Ju Biennale in 2008 and is currently in the ikono On Air Festival. Juan Eduardo Gómez is an American painter born in Colombia in 1970. He came to New York to study art and graduated from the School of Visual Arts in 1998. His paintings are in the collections of the High Museum of Art, Atlanta, Museum of Fine Arts, Boston, and Bowdoin College Museum of Art, Brunswick. He was awarded The Richard and Hilda Rosenthal Foundation Award from American Academy of Arts and Letters in 2007. Rudy Burckhardt was born in Basel in 1914 and moved to New York in 1935. From then on he was at or near the center of New York’s intellectual life, counting among his collaborators Edwin Denby, Paul Bowles, John Ashbery, Frank O’Hara, Kenneth Koch, Alex Katz, Red Grooms, Mimi Gross, and many others. His work has been the subject of exhibitions at the Instituto Valenciano de Arte Moderno, the Museum of the City of New York, and, in 2013, at Museum der Moderne Salzburg.