Program Information Academic Year 2013/14
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Austria As a 'Baroque Nation'. Institutional and Media Constructions
Austria as a ‘Baroque Nation’. Institutional and media constructions Andreas Nierhaus Paris, 1900 When Alfred Picard, General Commissioner of the World Exhibition in Paris 1900, declared that the national pavilions of the ‘Rue des Nations’ along the river Seine should be erected in each country’s ‘style notoire’, the idea of characterizing a ‘nation’ through the use of a specific historical architectural or artistic style had become a monumental global axiom. Italy was represented by a paraphrase of St. Mark’s Cathedral in Venice, Spain chose the look of the Renaissance Alcazar, the United States selected a triumphant beaux-arts architecture, Germany moved into a castle-like building – in the style of the "German Renaissance", of course – and the United Kingdom built a Tudor country house. However, there were considerable doubts about the seriousness and soundness of such a masquerade: ‘Anyone wanting to study national styles at the Quai d' Orsay would fail to come to any appreciable results – just as the archaeologist who wants to collect material for costume design in a mask wardrobe [would equally fail]. Apart from few exceptions, what we find is prettily arranged festive theatrical decoration (...).’1 Whereas the defenders of modernism must have regarded this juxtaposition of styles as symbolic of an eclecticism that had become almost meaningless, both the organizers and the general public seemed very comfortable with the resulting historical spectacle. It was no coincidence that the Austrian Pavilion was given the form of a Baroque castle. (Fig. 1) Its architect Ludwig Baumann assembled meaningful quotes from the buildings of Johann Bernhard and Joseph Emanuel Fischer von Erlach, Lucas von Hildebrandt and Jean Nicolas Jadot in order to combine them into a new neo-Baroque whole. -
Symphony Blue Danube
Bucknell University Alumni Association Symphony on the Blue Danube Prague Passau Melk Dürnstein Vienna Bratislava Budapest aboard the Exclusively Chartered Amadeus Queen September 16 to 25, 2019 Dear Bucknellian: Goethe once said, “Music is liquid architecture, [and] architecture is frozen music.” The Danube River and the resplendent cities of Prague and Vienna, which inspired classical music’s Great Masters, are a visual symphony of landscape and architecture— rolling hillsides and terraced vineyards are in concert with medieval cities and stone castles—inspiring centuries of artists and resonating with travelers. Join us for this comprehensive itinerary showcasing five countries in the heartland of central Europe. Our specially created itinerary features private performances from the musical heritage of Europe’s most accomplished composers, including Mozart and Beethoven; and opportunities to explore six UNESCO World Heritage sites, experience the rich history and dynamic legacies that contextualize the West’s art and architectural masterpieces. Enjoy three nights in the world‑class city of Prague, the “City of a Thousand Spires,” in a deluxe, centrally located hotel before cruising the celebrated Blue Danube from Passau, Germany, to Budapest, Hungary. Travel aboard the exclusively chartered Amadeus Queen—a deluxe river ship launched in 2018 that docks right in the heart of the cities we visit. High notes of your experience include a distinctive schedule of exclusive, specially arranged expert lectures, private classical music performances, guided excursions in Prague and in each port of call along the Danube River, and an overnight stay in the fin‑de‑siècle grandeur of Vienna, Austria’s extraordinary capital. This Symphony on the Blue Danube is a sublime composition that will strike a chord with virtuosos, art and architecture enthusiasts, historians and travelers of all interests. -
Marek Kvetan (SK)
MAREK KVETAN born: 14.4.1976 Bratislava lives and works: in Bratislava e-mail: [email protected] www.kvetan.net EDUCATION: 1999 – 2001 - Academy of Fine Arts and Design, Bratislava, Slovakia Department of Painting, Prof. D. Fischer 1999 - Technical University Brno - Faculty of Fine Arts, Czech Republic Department of Multimedia-Performance-Video, Prof. Keiko Sei 1995 - 1999 - Academy of Fine Arts and Design, Bratislava, Slovakia Department of Sculpture, Intermedia Studio of Free Creativity, Prof. J. Bartusz 1990 - 1994 - Secondary School of Applied Arts, Kremnica, Slovakia GRANTS: 2005 - Foundation - Center for Contemporary Arts, Bratislava, Slovakia 2004 - Foundation - Center for Contemporary Arts, Bratislava, Slovakia - MKSR, Bratislava, Slovakia 2002 - Foundation - Center for Contemporary Arts, Bratislava, Slovakia 2001 - Jana & Milan Jelinek - stiftung, Baar, Switzerland - FVU – graduate scholarship, Bratislava, Slovakia 2000 - Soros Center for Contemporary Arts, Bratislava, Slovakia 1998 - Jana & Milan Jelinek - stiftung, Baar, Switzerland - Soros Center for Contemporary Arts - Slovakia, Bratislava, Slovakia 1997 - Soros Center for Contemporary Arts - Slovakia, Bratislava, Slovakia AWARDS: 2007 - finalist - Prize NG 333, National Gallery Prague, Czech Republic 2003 - Grand prix - Contemporary Slovak Graphic Triennial, State Gallery in Banská Bystrica, Slovakia 2000 - finalist - TONAL - Slovak Visual Arts Prize, Bratislava, Slovakia 1998 - finalist - Slovak Young Visual Art Prize, Bratislava, Slovakia ART RESIDENCE: 2007 - FUTURA, Karlin Studios, Prague, Czech Republik 2000 - The Headlends Center for the Arts in Sausalito, California, USA REPRESENTED IN THE COLLECTIONS: - Academy of Fine Arts and Design, Bratislava, Slovakia - National Gallery Prague, Czech Republic - State Gallery, Banská Bystrica, Slovakia - Siemens, Wien, Austria - CBK, Dordrecht, Netherlands - GMB City Gallery Bratislava, Bratislava, Slovakia SOLO EXHIBITIONS: 2007 - Marek Kvetan & Marko Blazo, Siemnes ArtLAB, Wien, Austria 2005 - Monosti automatickch opráv (eng. -
Studio Art Major
COURSES: STUDIO ART MAJOR: 14 course units, including: ART 1024 Introduction to Visual Art ART 1044 Introduction to Sculpture ART ART 1424 Introduction to Drawing (should be taken by end of sophomore year) ART 4344 Advanced Studio Practices 3 art history courses, including: 1 of the following by the end of the junior year: ARTH 2144 Modern Art ARTH 3124 Women in Art ARTH 3164 Contemporary Art 1 course in non-Western art history 1 art history elective 6 studio art electives at the 2000-level or above Required of all majors during the winter term of senior year: Art 4444 Studio Art Senior Seminar: Theory, Methods and Exhibition STUDIO ART MINOR 6 course units, including: Art 1424 Introduction to Drawing 2 art history courses, including 1 of the following: ARTH 2144 Modern Art ARTH 3124 Women in Art ARTH 3164 Contemporary Art 3 additional studio art electives Office of Admissions 300 North Broadway Lexington, KY 40508 (800) 872-6798 transy.edu ADM1487-0816 ABOUT THE MAJOR: WHERE OUR GRADUATES STUDY: Rooted in a strong liberal arts curriculum, Transylvania’s American University art program encourages the interplay of ideas from a vari- Case Western Reserve University ety of disciplines. Students explore personal and global Polimoda Istituto Internazionale Fashion Design issues in their studio work and analyze these ideas in art Rochester Institute of Technology history and seminar classes. The program’s philosophy San Francisco Art Institute rests on the firm belief that the best art draws from both Savannah College of Art and Design broad social issues and aesthetic concerns. -
Racism and Cultural Diversity in the Mass Media
RACISM AND CULTURAL DIVERSITY IN THE MASS MEDIA An overview of research and examples of good practice in the EU Member States, 1995-2000 on behalf of the European Monitoring Centre on Racism and Xenophobia, Vienna (EUMC) by European Research Centre on Migration and Ethnic Relations (ERCOMER) Edited by Jessika ter Wal Vienna, February 2002 DISCLAIMER ------------------------------------------------------------------------------------ This Report has been carried out by the European Research Centre on Migration and Ethnic Relations (ERCOMER) on behalf of the European Monitoring Centre on Racism and Xenophobia (EUMC). The opinions expressed by the authors do not necessarily reflect the position of the EUMC. Reproduction is authorized, except for commercial purposes, provided the source is acknowledged and the attached text accompanies any reproduction: "This study has been carried out on behalf of the European Monitoring Centre on Racism and Xenophobia (EUMC). The opinions expressed by the authors do not necessarily reflect the position of the EUMC." 2 PREFACE The research interest in analysing the way mass media report on ethnic issues has increased in the Member States over the last decades. And for this reason the EUMC decided to bring together the major research reports and their findings over the last five years in this report "RACISM AND CULTURAL DIVERSITY IN THE MASS MEDIA - an overview of research and examples of good practice in the EU Member States, 1995- 2000". The project has been carried out by Dr Jessika ter Wal, at Ercomer, Utrecht University, the Netherlands. I would like to express my sincere gratitude to her for her excellent work. The report underlines the importance of media research in the area of racism and diversity. -
Cubo-Futurism
Notes Cubo-Futurism Slap in theFace of Public Taste 1 . These two paragraphs are a caustic attack on the Symbolist movement in general, a frequent target of the Futurists, and on two of its representatives in particular: Konstantin Bal'mont (1867-1943), a poetwho enjoyed enormouspopu larityin Russia during thefirst decade of this century, was subsequentlyforgo tten, and died as an emigrein Paris;Valerii Briusov(18 73-1924), poetand scholar,leader of the Symbolist movement, editor of the Salles and literary editor of Russum Thought, who after the Revolution joined the Communist party and worked at Narkompros. 2. Leonid Andreev (1871-1919), a writer of short stories and a playwright, started in a realistic vein following Chekhov and Gorkii; later he displayed an interest in metaphysicsand a leaning toward Symbolism. He is at his bestin a few stories written in a realistic manner; his Symbolist works are pretentious and unconvincing. The use of the plural here implies that, in the Futurists' eyes, Andreev is just one of the numerousepigones. 3. Several disparate poets and prose writers are randomly assembled here, which stresses the radical positionof the signatories ofthis manifesto, who reject indiscriminately aU the literaturewritt en before them. The useof the plural, as in the previous paragraphs, is demeaning. Maksim Gorkii (pseud. of Aleksei Pesh kov, 1�1936), Aleksandr Kuprin (1870-1938), and Ivan Bunin (1870-1953) are writers of realist orientation, although there are substantial differences in their philosophical outlook, realistic style, and literary value. Bunin was the first Rus sianwriter to wina NobelPrize, in 1933.AJeksandr Biok (1880-1921)is possiblythe best, and certainlythe most popular, Symbolist poet. -
Mga. Lucia Nimcová, Laborecká 7, 066 01 Humenné, Slovakia
mga. lucia nimcová, laborecká 7, 066 01 humenné, slovakia [email protected] www.luco.sk tel: ++ 421 905 899 186 born: 11/11/1977, humenné grants & awards: 2004 mio photo awards - kasahara michiko prize, osaka, japan joop swart masterclass / world press photo, amsterdam, netherlands künstlerhaus schloss wiepersdorf, germany – residency winner, fujifilm euro press photo awards, national round, bratislava, slovakia 2003 institute for public affairs, bratislava, slovakia - photo survey on state of the slovak society kulturkontakt, wien, austria - artist in residence 2002 winner, who is who, lidové noviny & who is who agency, prague, czech republic education: 1996 - 2003 institute of creative photography, silesian university, opava, czech republic 1992 - 1996 secondary school for applied arts, košice, slovakia 1984 - 1992 primary school with enhanced ukrainian language classes, humenné, slovakia books 2003 slovensko 003 / slovakia 003, fotofo / ivo, bratislava, isbn: 80 85739-36-4 catalogues: 2004 instant europe, villa manin - centro d'arte contemporanea, codroipo 2004 pride, joop swart masterclass, stichting world press photo, amsterdam, issn: 1568-6809 2004 young photographers 2004, foundation of visual education, łodz 2004 mio photo award 2004, osaka 2003 private women, fotofo, bratislava 2002 czech and slovak photography of the 1980s and 1990s, muzeum umění, olomouc, isbn: 80-85227-50-9 solo exhibitions: 2004 "slovakia 003", slovak institute, prague, czech republic "slovakia 003", gallery fiducia, ostrava, czech republic 2003 "slovakia 003", -
Dorota Sadovská CURRICULUM VITAE
Dorota Sadovská CURRICULUM VITAE Born in 1973, lives and works in Bratislava, Slovakia. www.sadovska.sk EDUCATION 2004 Doctor of Arts (ArtD.), Academy of Fine Arts and Design, Bratislava, Slovakia (D.Tóth, J.Olič, R Sikora) 1999 diploma DNSEP, École Nationale des Beaux Arts, Dijon, France (Orlan, Yan Pei-Ming, Pat Bruder) SOLO EXHIBITIONS (selected) 2013 Great Love, Small Story, R.Fecik Gallery, Bratislava, Slovakia 2011 In the Right Direction, OFF Festival Bratislava, Slovakia 2009 Chobot Gallery, Vienna, Austria Unbearable Tenderness, 5.patro Gallery, Prague, Czech Republic Emergency Entrance, 19th Month of Photography, House of Arts, Bratislava, Slovakia 2005 the 4th international festival of photography in Lodz, Poland 2004 Portraits, Chobot Gallery, Vienna, Austria Korporalits, MuseumsQuartiers 21, Vienna, Austria 2002 Yellow Soul, South Tipperary Arts Centre, Clonmel, Ireland Yellow Soul, Belltable Arts Centre, Limerick, Ireland San Francisco-Bruxelles-Bratislava, City Gallery of Bratislava, Slovakia 1998 L´examen du mur, Interface Gallery, Dijon, France GROUP EXHIBITIONS (selected) 2013 Niederösterreich Gesellschaft für Kunst und Kultur, Austria 2012 Blood, Slovak National Gallery, Bratislava, Slovakia Zéró évek, MODEM, Debrecen, Hungary 2011 Naujoji Slovakijos fotografija, Photogallery Vilnius, Lithuania 21th Month of Photography, House of Arts, Bratislava, Slovakia 2010 Painting after Painting, Slovak National Gallery, Slovakia XIV Bienal de Fotografía, Centro de la Imagen, Mexico 2009 Donumenta, Kunstforum, Regensburg, Germany -
Using Art Criticism to Engage Students in Writing
Using Art Criticism to Engage Students in Writing Allen Trent and Pete Moran University of Wyoming Abstract: This article describes using art criticism, a process the authors define as “viewing, thinking, talking, and writing about art,” to engage students in writing. The authors provide theoretical support for art criticism in education, describe the process, and share ways it can be used to address Common Core writing and other content area standards. They also share a sample art criticism lesson taught to fourth graders and include a summary of student learning data documenting student engagement and learning aligned with targeted standards. The article ends with suggestions for using art criticism, finding and using accessible art criticism resources, and integrating art criticism writing with other content areas. “I know what it is. Art criticism is writin’ bad stuff about people’s art!” This response was from a fourth grader, but we have heard similar responses from many students and teachers over the years. While logical, especially considering the common meaning of “criticism,” it is a misconception. Barrett, an art criticism theorist who has devoted his career to translating the process into educational contexts, explains that art criticism is a generally positive endeavor. Critics write about art “because they love it and see it as a valuable phenomenon in the world… Critics do not always agree with the art that is made, but they enjoy thinking about it” (Barrett, 2000, p. 2). Art criticism is the process of viewing, thinking, talking, and writing about art, and as teachers, we have found using the process to be a positive, effective way to engage students in meaningful conversations and writing. -
The Nature and Importance of Art Criticism and Its Educational Applications for K-12 Teachers
University of Central Florida STARS HIM 1990-2015 2015 The Nature and Importance of Art Criticism and Its Educational Applications for k-12 Teachers Tia Blackmon University of Central Florida, [email protected] Part of the Art Education Commons Find similar works at: https://stars.library.ucf.edu/honorstheses1990-2015 University of Central Florida Libraries http://library.ucf.edu This Open Access is brought to you for free and open access by STARS. It has been accepted for inclusion in HIM 1990-2015 by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation Blackmon, Tia, "The Nature and Importance of Art Criticism and Its Educational Applications for k-12 Teachers" (2015). HIM 1990-2015. 1856. https://stars.library.ucf.edu/honorstheses1990-2015/1856 THE NATURE OF AND IMPORTANCE OF ART CRITICISM AND ITS EDUCATIONAL APPLICATIONS FOR K-12 TEACHERS by TIA BLACKMON A thesis submitted in partial fulfillment of the requirements for the Honors in the Major Program in Art Education in the College of Education and Human Performance and in The Burnett Honors College at the University of Central Florida Orlando, Florida Fall Term 2015 Thesis Chair: Dr. Thomas Brewer Abstract This thesis will critically examine the importance, purpose, methods, and applications of art criticism. Initial background information on types of critical judgment will lay the foundation to understanding the different methods of art criticism. While the articles and journals read on criticism vary in style and method they all have the goal to become a basic framework for examining the form and content of works of art. -
Highlights from the William J. Glackens Collection in NSU Museum of Art Fort Lauderdale
Highlights from The William J. Glackens Collection in NSU Museum of Art Fort Lauderdale By: Elizabeth Thompson Colleary Introduction to the Collection Every time a group of paintings by William Glackens is shown one gets from them much of the sensuous joy that the artist must evidently have had when he painted them. His are no perfunctory productions of a manufacturer of paintings. They are fragments of his life, of the pleasures he has felt at being in the sun in certain delightful places and above all of the pleasure derived from just painting’ 1 Written by an art critic reviewing an exhibition of paintings in 1931 by William J. Glackens (1870–1938), this statement aptly describes the experience that awaits visitors to the Glackens Wing at the Museum of Art | Fort Lauderdale. As the largest repository of resplendent works by the artist, recently described as a “master of delight” and praised in his lifetime for “his genius for transforming his inner joyousness to canvas,” 2 the collection includes painting spanning the years 1891 to 1938, thus from the defining phases of Glackens’s career—from his early days as an artist-reporter and illustrator, through his recognition as an urban realist aligned with the famed painter and teacher Robert Henri, to his brilliant flowering when he came into his own, inspired by the vivid colors of the French Impressionists and his American modernist contemporaries. Among the holdings are examples of his finest works as an illustrator, among them The Night after San Juan (1898), which depicts the aftermath of a battle in the Spanish-American War, Far from the Fresh Air Farm (1911), and Christmas Shoppers, Madison Square (1912), the latter two bustling New York City street scenes replete with lively vignettes and abundant period detail. -
Andrea Geyer Cv
H A L E s ANDREA GEYER CV Born 1971, Freiburg, Germany. Lives and works in New York City, NY, USA. Education 1999 — 2000 Whitney Independent Study Program, New York City 1998 Diploma Fine Arts, Academy of Fine Arts, Braunschweig, Germany 1992 —1994 Photography/Film Design, Fachhochschule Bielefeld. 1991 — 1992 Basic study painting, Independent Art Academy, Stuttgart Selected Solo Exhibitions 2019 On this day, Hales New York, NY, USA 2018 When We, Irish Museum of Modern Art, Ireland Collective Weave: Andrea Geyer, Handwerker Gallery, Ithaca, NY, USA Truly Spun Never, Hales Project Room, New York, NY, USA If I Told Her, Hales Gallery, London, UK 2017 To Those Who Have Eyes to See, SFMOMA, San Francisco, CA, USA Gezeiten/Tides, Studiengalerie 1.357, Goethe Universität Frankfurt a. M., Frankfurt, Germany 2016 Truly Spun Never, Parque Galería, Mexico City, Mexico Travels on Slender Thread, The New Foundation, Seattle, WA, USA 2015 Time Fold, Galerie Thomas Zander, Cologne, Germany It’s Time, She Said, Installation. Commissioned for the Opening of the new Whitney Museum, New York, NY, USA Revolt, They Said, Museum of Modern Art, New York, NY, USA Insistence, as part of the series “Contesting Terrain”, Harn Museum of Art, University of Florida, Gainesville, FL, USA 2014 Three Chants Modern, Portland Institute for Contemporary Art, Portland, Oregon, OR, USA 2013 Sound Giving Will Feeling, presented by A Space Gallery and the Images Festival, A Space Gallery, Toronto, Canada London, 7 Bethnal Green Road, El 6LA. + 44 (0)20 7033 1938 New York, 547 West 20th Street, NY 10011. + 1 646 590 0776 www.halesgallery.com f )I l!ll @halesgallery H A L E s 2012 9 Scripts from a Nation at War (collaboration with Sharon Hayes, Ashley Hunt, Katya Sander and David Thorne).