Rethinking Education on Arts & Cultural Management
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Canton of Basel-Stadt
Canton of Basel-Stadt Welcome. VARIED CITY OF THE ARTS Basel’s innumerable historical buildings form a picturesque setting for its vibrant cultural scene, which is surprisingly rich for THRIVING BUSINESS LOCATION CENTRE OF EUROPE, TRINATIONAL such a small canton: around 40 museums, AND COSMOPOLITAN some of them world-renowned, such as the Basel is Switzerland’s most dynamic busi- Fondation Beyeler and the Kunstmuseum ness centre. The city built its success on There is a point in Basel, in the Swiss Rhine Basel, the Theater Basel, where opera, the global achievements of its pharmaceut- Ports, where the borders of Switzerland, drama and ballet are performed, as well as ical and chemical companies. Roche, No- France and Germany meet. Basel works 25 smaller theatres, a musical stage, and vartis, Syngenta, Lonza Group, Clariant and closely together with its neighbours Ger- countless galleries and cinemas. The city others have raised Basel’s profile around many and France in the fields of educa- ranks with the European elite in the field of the world. Thanks to the extensive logis- tion, culture, transport and the environment. fine arts, and hosts the world’s leading con- tics know-how that has been established Residents of Basel enjoy the superb recre- temporary art fair, Art Basel. In addition to over the centuries, a number of leading in- ational opportunities in French Alsace as its prominent classical orchestras and over ternational logistics service providers are well as in Germany’s Black Forest. And the 1000 concerts per year, numerous high- also based here. Basel is a successful ex- trinational EuroAirport Basel-Mulhouse- profile events make Basel a veritable city hibition and congress city, profiting from an Freiburg is a key transport hub, linking the of the arts. -
Trix/Minitrix New Items 2017 Brochure HERE
New Items 2017 Trix. The Fascination of the Original. New Items 2017 E E © Gebr. Märklin & Cie. GmbH – All rights reserved. © Gebr. Märklin & Cie. GmbH – All rights reserved. Dear Trix Fans, Welcome to the New Year for 2017! This year we are again presenting our new items brochure with many impressive models for Minitrix, Trix H0, and Trix Express. Through all of the eras, the railroad has provided transporta- tion for business and industry. It has also left its mark on the life of entire cities and regions over many generations. It is thus no wonder that we have given special importance to freight service as models. This year we are spreading the entire range across model railroad rails. Regardless of whether it is the impressive class 42 steam locomotive of the Fifties or the latest variations of the Vectron as the TRAXX family. We are bringing impressive, prototypical trains/train New Items for MiniTrix 2017 2 – 55 New Items for Trix H0 2017 56 – 105 runs to your model railroad scenery with car sets in all eras, some of them with new tooling. However, 2017 is also the year of the “TransEuropExpress”, which seven railroads started exactly 60 years ago with the ambitious plan to bring elegant, comfortable traveling to the rails. Come with us to explore this concept through the eras New Items for Trix Express 2017 106–109 of the history of long-distance passenger service. Now, give free rein to your personal operating and collector passion and discover your favorites on the following pages. Fulfill your wishes – your local specialty dealer is waiting for your visit! MiniTrix Club Model for 2017 6– 7 MHI Exclusiv 1/2017 4 – 8 Your Trix Team wishes you much fun exploring the new items H0 Trix Club Model for 2017 58 – 59 Museumcars 117 for 2017! Trix Club 110 Reparatur-Service 118 Registration Form 113 General References 118 Trix Club Cars for 2017 111 Important Service Information 118 Trix Club Anniversary Car 112 Explanation of Symbols 119 Index to the Item Numbers 120 1 © Gebr. -
Transalpine Pass Routes in the Swiss Central Alps and the Strategic Use of Topographic Resources
Preistoria Alpina, 42 (2007): 109-118 ISSN 09-0157 © Museo Tridentino di Scienze Naturali, Trento 2007 Transalpine pass routes in the Swiss Central Alps and the strategic use of topographic resources Philippe DELLA CASA Department of Pre-/Protohistory, University of Zurich, Karl-Schmid-Str. ���������������������������4, 8006 Zurich, Switzerland E-mail: [email protected] SUMMARY - Transalpine pass routes in the Swiss Central Alps and the strategic use of topographic resources - Using examples from the San Bernardino and the St. Gotthard passes in the Swiss Central Alps, this paper discusses how the existence of transalpine high altitude pass routes can be inferred, even though there is a lack physical evidence, from specific Bronze and Iron Age settlement patterns in access valleys. Particular attention is given to the effect of topography within the territorial and economic organizational area on transalpine tracks and traffic routes. A set of recurring patterns, such as strategic position, natural and/or artificial protection, presence of “foreign” materials, can help identifying (settlement) sites with particular functions as regards traffic and trade within the systems of territorial organization. Moreover, the paper also addresses socio-dynamic issues of the problem of transalpine pass routes. RIASSUNTO - Passi transalpini nelle Alpi Centrali Svizzere e uso strategico di risorse topografiche -Usando esempi dal Passo di San Bernardino e dal Passo del San Gottardo nelle Alpi Centrali Svizzere, il presente contributo discute come l’esistenza di vie di transito transalpine d’alta quota possa essere dedotta, anche mancando evidenze fisiche, da specifici modelli insediativi dell’età del Bronzo e del Ferro presenti nelle valli di accesso. -
Part I – Introduction and Context
Report on the state of cultural cooperation in Europe Final report For the European Commission Directorate-General for Education and Culture 3 october 2003 i list of contents Contents English summary ix Résumé en français xxi PART I – INTRODUCTION AND CONTEXT 1. Introduction 3 2. Methodology 5 2.1. General framework 5 2.2. Focus 5 2.2.1. Object of the study 5 2.2.2. Scope of sectors 7 2.3. Objectives 7 2.4. Other concepts 8 2.4.1. Cooperation and promotion 8 2.5. Research structure 9 2.5.1. National analysis 9 2.5.2. Sectorial analysis 11 2.5.3. Transversal analysis 13 2.5.4. Acknowledgements 15 2.5.5. Coordination 15 3. Intergovernmental cultural cooperation in Europe: The context 17 3.1. Historical overview: Hosts and guests 17 3.2. Aims and motivations 22 3.3. Notions of cooperation 23 3.4. Interdependence of domestic and international cultural policies and engagements 26 4. Intergovernmental cultural cooperation in Europe: The agents 29 4.1. The governmental context 29 4.2. Governments’ involvement in cultural events 30 4.2.1. Government-initiated events 30 4.2.2. Governmental participation in major cultural events 34 4.3. National cultural institutes 35 4.3.1. Overview 35 4.3.2. The landscape of national cultural institutes in Europe 36 4.3.3. Cooperation in action 38 4.3.4. Obstacles and issues 44 4.3.5. Trends and prospects 46 4.3.6. Conclusions 50 5. Intergovernmental cultural cooperation in Europe: Forms and areas 52 5.1. -
Download Welcome Brochure Basel
WELCOME Basel. Business, life, culture. MULTIFACETTED CITY OF THE ARTS Basel’s innumerable historical buildings form a picturesque setting for its vibrant cultural scene, which is surprisingly rich for such a small canton: around 40 mu- THRIVING BUSINESS LOCATION CENTRE OF EUROPE, TRINATIONAL seums, some of them world-renowned, such as the Fondation Beyeler and the Basel is Switzerland’s most dynamic busi- AND COSMOPOLITAN Kunstmuseum Basel, the Theater Basel, ness centre. The city built its success on There is a point in Basel, in the Swiss where opera, drama and ballet are per- the global achievements of its pharma- Rhine Ports, where the borders of Switzer- formed, as well as 25 smaller theatres, a ceutical and chemical companies. Roche, land, France and Germany meet. Basel theatre that stages musicals, and count- Novartis, Syngenta, Lonza Group, Clari- works closely together with its neigh- less galleries and cinemas. The city ranks ant and others have raised Basel’s pro- bours Germany and France in the fields of with the European elite in the field of fine file around the world. Thanks to the ex- education, culture, transport and the envi- arts, and hosts the world’s leading con- tensive logistics know-how that has been ronment. Residents of Basel enjoy the su- temporary-art fair, Art Basel. In addition established over the centuries, a number perb recreational opportunities in French to its prominent classical orchestras and of leading international logistics service Alsace as well as in Germany’s Black For- over 1,000 concerts per year, numerous providers are also based here. -
LITUANUS Cumulative Index 1954-2004 (PDF)
LITUANUS Cumulative Index 1954-2004 Art and Artists [Aleksa, Petras]. See Jautokas. 23:3 (1977) 59-65. [Algminas, Arvydas]. See Matranga. 31:2 (1985) 27-32. Anderson, Donald J. “Lithuanian Bookplates Ex Libris.” 26:4 (1980) 42-49. ——. “The Art of Algimantas Kezys.” 27:1 (1981) 49-62. ——. “Lithuanian Art: Exhibition 90 ‘My Religious Beliefs’.” 36:4 (1990) 16-26. ——. “Lithuanian Artists in North America.” 40:2 (1994) 43-57. Andriußyt∂, Rasa. “Rimvydas Jankauskas (Kampas).” 45:3 (1999) 48-56. Artists in Lithuania. “The Younger Generation of Graphic Artists in Lithuania: Eleven Reproductions.” 19:2 (1973) 55-66. [Augius, Paulius]. See Jurkus. 5:4 (1959) 118-120. See Kuraus- kas. 14:1 (1968) 40-64. Außrien∂, Nora. “Außrin∂ Marcinkeviçi∆t∂-Kerr.” 50:3 (2004) 33-34. Bagdonas, Juozas. “Profile of an Artist.” 29:4 (1983) 50-62. Bakßys Richardson, Milda. ”Juozas Jakßtas: A Lithuanian Carv- er Confronts the Venerable Oak.” 47:2 (2001) 4, 19-53. Baltrußaitis, Jurgis. “Arts and Crafts in the Lithuanian Home- stead.” 7:1 (1961) 18-21. ——. “Distinguishing Inner Marks of Roerich’s Painting.” Translated by W. Edward Brown. 20:1 (1974) 38-48. [Balukas, Vanda 1923–2004]. “The Canvas is the Message.” 28:3 (1982) 33-36. [Banys, Nijol∂]. See Kezys. 43:4 (1997) 55-61. [Barysait∂, DΩoja]. See Kuç∂nas-Foti. 44:4 (1998) 11-22. 13 ART AND ARTISTS [Bookplates and small art works]. Augusts, Gvido. 46:3 (2000) 20. Daukßait∂-Katinien∂, Irena. 26:4 (1980) 47. Eidrigeviçius, Stasys 26:4 (1980) 48. Indraßius, Algirdas. 44:1 (1998) 44. Ivanauskait∂, Jurga. 48:4 (2002) 39. -
Universities (17) Colleges (17) the National and Special Libraries
LITHUANIAN RESEARCH LIBRARY CONSORTIUM (LMBA) Universities (17) ................................................................................................................ 1 Colleges (17) ..................................................................................................................... 1 The National and special libraries (3) ............................................................................... 1 Research Institutes (6) ....................................................................................................... 2 County public libraries (5) ................................................................................................ 2 Universities (17) No. Institution 1. European Humanities University 2. General Jonas Žemaitis Military Academy of Lithuania 3. ISM University of Management and Economics 4. Kaunas University of Technology 5. Kazimieras Simonavičius University 6. Klaipėda University 7. LCC International University 8. Lithuanian Sports University 9. Lithuanian Music and Theatre Academy 10. Lithuanian University of Health Sciences 11. Mykolas Romeris University 12. Šiauliai University 13. Vilnius Academy of Arts 14. Vilnius Gediminas Technical University 15. Vilnius St. Joseph’s Seminary 16. Vilnius University 17. Vytautas Magnus University Colleges (17) No. Institution 18. Alytus College 19. Kaunas College 20. Kaunas University of Applied Engineering Sciences 21. Klaipėda State College 22. Kolping University of Applied Science 23. Lithuanian Maritime Academy 24. Marijampole College -
Artists' International Mobility Programs December 2004
D'Art number 17 Artists' International Mobility Programs December 2004 Prepared by Judith Staines for IFACCA D'Art aims to consolidate and maximise the expertise of the world's arts councils and culture agencies. For more information visit www.ifacca.org ISSN: 1832-3332 © Judith Staines and IFACCA 2004 This report may be used freely with acknowledgement. Suggested reference: Staines, J., 2004, ‘Artists' International Mobility Programs’, D’Art Topics in Arts Policy, no.17, International Federation of Arts Councils and Culture Agencies, Sydney, http://www.ifacca.org/ifacca2/en/organisation/page09_BrowseDart.asp. IFACCA is interested in hearing from anyone who cites this report. Disclaimer: This report has been written by Judith Staines in consultation with the IFACCA secretariat and IETM. Errors, omissions and opinions are the responsibility of the author and the Secretariat and cannot be attributed to the respondents listed in Appendix 1, nor to the Board or members of IFACCA. D’Art 17: Artists’ International Mobility Programs ‘The studio of the post-modern artist is the world. Migrating artists belong with the many transcultural messengers of a world whose keywords are nomadism and globalism. Michael Haerdter, founder member and first President, Res Artis Post-modern Nomadism (a talk given at Res Artis AGM), 1996 Every culture must be open to the universal and yet solidly anchored, in other words to have both wings and roots. Ministère de la Culture et des Communications, Québec, Culture Québec, a culture that travels the world Introduction This report summarises the outcome of IFACCA’s seventeenth D’Art question, which was sent by Mary Ann De Vlieg, Network Coordinator of the Informal European Theatre Meeting (IETM). -
Vilniaus Dailės Akademija Vilnius Academy of Arts
VILNIAUS DAILĖS AKADEMIJA VILNIUS ACADEMY OF ARTS Agnė Kuzmickaitė-Prūsaitienė Meno projektas KASDIENYBĖ KAIP KŪRYBOS INSPIRACIJA. DIZAINERIO SAVIREFLEKSIJA Art Project THE EVERYDAY AS A CREATIVE INSPIRATION : DESIGNER’S SELF- REFLECTION Meno doktorantūra, Meno sritis, Dizaino kryptis W200 (P02) Art Doctorate, Design W200 (P02) Vilnius, 2017 Meno projektas rengtas Vilniaus dailės akademijoje 2010–2017 metais KŪRYBINĖS DALIES VADOVĖ: Prof. Jolanta Talaikytė Vilnius dailės akademija, dizainas P02, kostiumo dizainas TIRIAMOSIOS DALIES VADOVAS: Doc. dr. Nerijus Milerius Vilniaus universitetas, humanitariniai mokslai, filosofija 01H Meno projektas ginamas Vilniaus dailės akademijoje Meno doktorantūros dizaino krypties gynimo taryboje: PIRMININKĖ: Doc. dr. Deima Katinaitė Vilniaus dailės akademija, dizainas P02 NARIAI: Prof. Audrius Klimas Vilniaus dailės akademija, dizainas P02, grafinis dizainas Gintaras Sodeika Lietuvos muzikos ir teatro akademija, muzika P03, kompozicija Doc. dr. Agnė Narušytė Vilniaus dailės akademija, humanitariniai mokslai, menotyra 03H Dr. Agnès Rocamora London College of Fashion, University of the Arts London, socialiniai mokslai, sociologija 05S Meno projektas ginamas viešame Meno doktorantūros dizaino krypties gynimo tarybos posėdyje 2017 m. spalio 27 d. 14 val. VDA parodų erdvėje „Titanikas“, Ia. (Maironio g. 3, Vilnius). Meno projektas ir jo santrauka išsiųsta 2017 m. rugsėjo 27 d. Su disertacija galima susipažinti Lietuvos nacionalinėje Martyno Mažvydo, Vilniaus dailės akademijos bibliotekose. © Agnė Kuzmickaitė 2017 ISBN 978-609-447-242-8 2 The Artistic Research Project was carried out at Vilnius Academy of Arts during the period of 2010–2017 ART PROJECT SUPERVISION: Prof. Jolanta Talaikytė Vilnius Academy of Arts, Design P02, Costume Design THESIS SUPERVISION: Doc. dr. Nerijus Milerius Vilnius University, Humanities, Philosophy 01H The Artistic Research Project will be defended in an oral examination before the Academic Board of Design at Vilnius Academy of Arts composed of the following members: CHAIRPERSON: Assoc. -
LARRY A. SILVER Curriculum Vitae Born
LARRY A. SILVER Curriculum Vitae Born: 14 October 1947. U. S. Citizen. married, two children. UNDERGRADUATE EDUCATION: University of Chicago, A. B., June 1969 Concentration: Art. Special Honors. General Honors GRADUATE EDUCATION Harvard University, Department of Fine Arts M. A., 1971; Ph. D., 1974 Dissertation: Quinten Massys (Director: Seymour Slive) ACADEMIC POSITIONS U. of California, Berkeley, 1974-1979 Lecturer in History of Art, 1974-1975 Assistant Professor of History of Art, 1975-1979 Northwestern University, 1979-1997 Associate Professor of Art History, 1979-1985 Professor of Art History, 1985-97 Chairman, Dept. of Art History, 1983-1986, 1997 Master, Chapin/Humanities Residential College, 1988-91, 1992-94, 1996-97 Martin J. and Patricia Koldyke Professor of Teaching Excellence, 1996-98 Smith College, Ruth and Clarence Kennedy Professor in the Renaissance, autumn 1994 Semester at Sea (University of Pittsburgh; University of Virginia; Colorado State) Fall 2001; Fall 2006; Summer 2008; Summer 2010; fall 2012; spring 2018 U. of Pennsylvania, 1997--2017 Farquhar Professor of the History of Art, emeritus 2017--present Chair of Graduate Group in History of Art, 1998-2000 Interim Chair, spring, 2005 Bogen Faculty Exchange Professor, The Hebrew University, fall 2007 Member, graduate group, German, 1999-- Member, graduate group, History, 2001— Director, University Scholars, 2010-17 President, Phi Beta Kappa, Delta Chapter, 2010-12 GRANTS and AWARDS: Woodrow Wilson Fellowship, 1969-1970 Danforth Graduate Fellowship, 1969-1974 Kress Foundation -
Open Access Version Via Utrecht University Repository
Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p. -
Dark Times: Art and Artists of Vilnius in 1939–1941
326 Dark Times: Art and Artists of Vilnius in 1939–1941 Giedrė Jankevičiūtė Vilnius Academy of Arts Maironio St. 6, LT-01124 Vilnius e-mail: [email protected] The aim of this paper is to discuss and reconstruct in general fe- atures the reality of the Vilnius artistic community from late autumn 1939 to June 1941. This period of less than two years significantly changed the configuration of the artistic community of the city, the system of institutions shaping the art scene as well as the artistic goals. It also brought forth new names and inspired new images. These changes were above all determined by political circumstances: the war that broke out in Poland on 1 September 1939; the ceding of Vilnius and the Vilnius region to Lithuania; two Soviet occupations: in the autumn of 1939 and June 1940, and the subsequent Nazi occupation a year later. The influence of politics on the art scene and the life of artists has been explored in institutional and other aspects by both Lithuanian and Polish art historians, but the big picture is not yet complete, and the general narrative is still under construction. A further aim of this paper is to highlight some elements that have not received sufficient atten- tion in historiography and that are necessary for the reconstruction of the whole. Some facts of cooperation or its absence among artists of various ethnicities are presented, and the question is raised on the extent to which these different groups were affected by Sovietisation, and what impact this fragmentation had on the city’s art scene.