Using Educational Learning Models to Inform and Guide the Design of a Virtual
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Customized Book List Art & Design
ABCD springer.com Springer Customized Book List Art & Design FRANKFURT BOOKFAIR 2007 springer.com/booksellers Art & Design 1 H. Aardse, A.v. Baalen (Eds.) S. Aigner, Wien, Österreich (Ed.) S. Bächli Findings on Ice Emanzipation und Konfrontation / Lidschlag / How It Looks Emancipation and Confrontation / Emancipacija in konfrontacija The Pars Foundation was founded from the con- Silvia Bächli gehört zu den international beachteten viction that art and science are both essentially cre- Kunst aus Kärnten von 1945 bis heute. Architektur aus Schweizer Künstlerinnen ihrer Generation. Die ative processes. Artists begin with an idea that is ul- Kärnten seit 1945 und Kunst im öffentlichen Raum heute. in enger Zusammenarbeit mit der Künstlerin timately expressed in the form of music, images, or entstandene Publikation gibt erstmals einen words. Scientists begin with a hypothesis, sketch an repräsentativen Überblick über ihr Schaffen seit idea, and then test and describe it. Every year Pars „Emancipation and Confrontation" documents 1983. Silvia Bächli verunsichert mit ihrer Kunst, invites artists and scientists to make a contribution both the emergence of a new, postwar generation of die den Betrachter auf eine Gratwanderung schickt to creative thinking. The current topic, “Ice,” is situ- artists, and the way art has developed between then zwischen Banalität und gezielter Kontinuität. In ated in a wide variety of contexts: in connection with and now. In addition to painting, sculpture, photog- ihrer Kunst konzentriert sie sich stets auf das Mini- greenhouse effect, the rise in sea level, or a dancer’s raphy, video art and installtions have also gained in mum. Zu sehen sind einzelne Arme oder Gesichter muscles before making his first move. -
Kiki Kogelnik Josh Kline
OXFORD MODERN ART MODERN EXHIBITION NOTES KIKI KOGELNIK FLY ME FREEDOM TO THE JOSH KLINE JOSH MOON EXHIBITION NOTES EXHIBITION MODERN ART OXFORD CONTENTS Instagram: @mao_gallery Instagram: 1 What is the exhibition about? @mao_gallery Twitter: Facebook: Modern Art Oxford Art Modern Facebook: 2 Piper Gallery Map www.modernartoxford.org.uk 3 Middle Gallery Map Bundeskanzleramt Österreich. Bundeskanzleramt is supported by the Kiki Kogelnik Foundation, Austria and and Austria Foundation, Kogelnik Kiki the by supported is Moon the to Me Fly 4 Artist Interview Kogelnik: Kiki An extract from an interview between Josh Kline and Ryan Trecartin York. New Gallery, Subal Simone and Rinkhy Andrew London, Taneva from the Kiki Kogelnik Foundation, Elisabeth Koegler, Director, Austrian Cultural Forum Forum Cultural Austrian Director, Koegler, Elisabeth Foundation, Kogelnik Kiki the from Taneva 5 Extract from This is What The End of Racial Profiling Looks Like by Katya and Okresek Tatjana Schwarz, George Dr Schwarz-Kogelnik, Mono to thanks special With Tara Lai Quinian and Deborah Ramirez 6 - 7 Events helped to realise this exhibition. this realise to helped Modern Art Oxford is grateful to the many individuals, companies and organisations that have have that organisations and companies individuals, many the to grateful is Oxford Art Modern continue our work by making a donation before you leave. you before donation a making by work our continue If you have enjoyed your visit today and believe in free access to exhibitions, please help us to to us help please exhibitions, to access free in believe and today visit your enjoyed have you If This exhibition guide is available in a large print format. -
September 2007 Caa News
NEWSLETTER OF THE COLLEGE ART ASSOCIATION VOLUME 32 NUMBER 5 SEPTEMBER 2007 CAA NEWS Cultural Heritage in Iraq SEPTEMBER 2007 CAA NEWS 2 CONTENTS FEATURES 3 Donny George Is Dallas–Fort Worth Convocation Speaker FEATURES 4 Cultural Heritage in Iraq: A Conversation with Donny George 7 Exhibitions in Dallas and Fort Worth: Kimbell Art Museum 8 Assessment in Art History 13 Art-History Survey and Art- Appreciation Courses 13 Lucy Oakley Appointed caa.reviews Editor-in-Chief 17 The Bookshelf NEW IN THE NEWS 18 Closing of CAA Department Christopher Howard 19 National Career-Development Workshops for Artists FROM THE CAA NEWS EDITOR 19 MFA and PhD Fellowships Christopher Howard is editor of CAA News. 21 Mentors Needed for Career Fair 22 Participating in Mentoring Sessions With this issue, CAA begins the not-so-long road to the next 22 Projectionists and Room Monitors Needed Annual Conference, held February 20–23, 2008, in Dallas and 24 Exhibit Your Work at the Dallas–Fort Fort Worth, Texas. The annual Conference Registration and Worth Conference Information booklet, to be mailed to you later this month, 24 Annual Conference Update contains full registration details, information on special tours, workshops, and events at area museums, Career Fair instruc- CURRENTS tions, and much more. This publication, as well as additional 26 Publications updates, will be posted to http://conference.collegeart.org/ 27 Advocacy Update 2008 in early October. Be sure to bookmark that webpage! 27 Capwiz E-Advocacy This and forthcoming issues of CAA News will also con- tain crucial conference information. On the next page, we 28 CAA News announce Donny George as our Convocation speaker. -
From Its Inception in the Early 1960S, Pop Art Was a Boys' Club. Huge
BY RACHEL LEBOWITZ Dec 2, 2016 1:36 PM From its inception in the early 1960s, Pop Art was a boys’ club. Huge names like Andy Warhol and Tom Wesselmann perpetuated the myth of the (male) artist-as-genius. The movement emerged amid the post-World War II explosions of capitalist consumerism and mass media, as artists explored new modes of mechanical production, often by taking commonplace consumer goods and pop-cultural icons as their subject matter. Associated with an unemotional, distanced attitude toward artmaking, Pop Art’s codified characteristics are, in turn, stereotypically male. For female artists participating in the movement, cultivating a persona as a so-called serious artist seemed like the only way to succeed. An alternative strategy was to (often cheekily) critique Pop Art and its workings from the inside out. In many cases, though, these strategies were interpreted as playing by the rules rather than challenging them, and, more often than not, these routes failed to reward female artists with a lasting place in the mainstream. Now, however, with the nuances of their practices better understood, female artists from around the globe are gaining more recognition for their contributions and challenges to Pop Art. Associated with the Pop movement to varying extents, the following 11 women artists (by no means an exhaustive list) all engaged with its motivations and defining characteristics, some by expanding the genre through feminist inflection, others by working along its margins. Kiki Kogelnik Untitled (Woman's Lib), ca. 1971 Sunkist, 1981 Simone Subal RoGallery At first involved with Viennese gestural abstract painting, Austrian artist Kogelnik moved to the U.S. -
Remnant Romance-Weber and Robson Press Release
Aurora Robson Responds to Idelle Weber’s Photorealist Paintings with New Works In Exhibition that Features Both Artists’ Explorations of the Aesthetic and Material Qualities of Trash On View January 14 – February 20, 2021 Hollis Taggart is pleased to announce a two-person exhibition of work by Idelle Weber and Aurora Robson. Remnant Romance, Environmental Works: Idelle Weber and Aurora Robson will feature oil paintings and watercolors by Weber (1932-2020) alongside new multimedia sculptural work by Robson (b. 1972), who studied the late artist’s work while creating new pieces for the exhibition. Remnant Romance will create a dialogue between the artists, who, despite working in different media and being part of distinct generations, both draw inspiration from trash and seek to find beauty in the remnants of other peoples’ lives. Remnant Romance, Environmental Works: Idelle Weber and Aurora Robson will be on view at Hollis Taggart at 521 West 26th Street from January 14 through February 20, 2021. Idelle Weber is perhaps most well known for her contribution to Pop Art and her famous silhouette paintings, in which she depicted anonymous figures doing quotidian activities against nondescript backgrounds. In the late 1960s, continuing to find inspiration in the everyday but shifting in style to photorealism, Weber turned her attention to overlooked common daily sights in New York City such as fruit stands and street litter. The artist’s photorealist paintings were a continuation of the consumerism reflected in her Pop Art works, and were exhibited more widely. Over the past decade, however, Weber’s Pop Art has received more attention, largely due to curator Sid Sach’s inclusion of her silhouette paintings in his Beyond the Surface and Seductive Subversion exhibitions in 2010. -
Pop Culture and Art
Colorado Teacher-Authored Instructional Unit Sample Visual Arts 6th Grade Unit Title: Pop Culture and Art INSTRUCTIONAL UNIT AUTHORS Pueblo County School District Amie Holmberg Brenna Reedy Colorado State University Patrick Fahey, PhD BASED ON A CURRICULUM OVERVIEW SAMPLE AUTHORED BY Denver School District Capucine Chapman Fountain School District Sean Norman Colorado’s District Sample Curriculum Project This unit was authored by a team of Colorado educators. The template provided one example of unit design that enabled teacher- authors to organize possible learning experiences, resources, differentiation, and assessments. The unit is intended to support teachers, schools, and districts as they make their own local decisions around the best instructional plans and practices for all students. DATE POSTED: MARCH 31, 2014 Colorado Teacher-Authored Sample Instructional Unit Content Area Visual Arts Grade Level 6th Grade Course Name/Course Code Sixth Grade Visual Arts Standard Grade Level Expectations (GLE) GLE Code 1. Observe and Learn to 1. The characteristics and expressive features of art and design are used in unique ways to respond to two- and VA09-GR.6-S.1-GLE.1 Comprehend three-dimensional art 2. Art created across time and cultures can exhibit stylistic differences and commonalities VA09-GR.6-S.1-GLE.2 3. Specific art vocabulary is used to describe, analyze, and interpret works of art VA09-GR.6-S.1-GLE.3 2. Envision and Critique to 1. Visual symbols and metaphors can be used to create visual expression VA09-GR.6-S.2-GLE.1 Reflect 2. Key concepts, issues, and themes connect the visual arts to other disciplines such as the humanities, sciences, VA09-GR.6-S.2-GLE.1 mathematics, social studies, and technology 3. -
Like Other Mid-Century Pop Artists, Kiki Kogelnik Became a Brand. And
Kiki Kogelnik, Self Portrait, 1964. © Kiki Kogelnik Foundation. All rights reserved. Courtesy of the Kiki Kogelnik Foundation. Like other mid-century Pop artists, Kiki Kogelnik became a brand. And while the Austrian-born artist should primarily be remembered for her innovative “Hangings” series and her bold feminist motifs, history hasn’t been kind to her. In the United States, Kogelnik’s legacy unfairly rests more on her fashionable image and vibrant personality than on her work itself. Born in Bleiburg, Austria, in 1935, Kogelnik attended Vienna’s Academy of Fine Arts and began her career painting quiet abstractions. She moved to New York in 1961 at the suggestion of her friend, painter Sam Francis, and her work took a colorful turn. Influenced by the city’s commercialism and the burgeoning Pop movement, Kogelnik made science fiction-inflected paintings featuring floating bodies, polka dots, robot parts, and the cosmos. She worked out of Francis’s studio for a few years, mingling with the other artists who came through and easily integrated into the city’s cultural milieu. Her friends included major figures, from Andy Warhol to Larry Rivers. According to a pamphlet she preserved in a giant black scrapbook of personal ephemera (which she titled her “Ego Book”), composer Morton Feldman once said, “Kiki is the love goddess of pop art…her paintings continue the legacy of a ‘Marilyn Monroe.’” If Kogelnik relished the praise, it didn’t help her reputation as a serious artist. “She was kind of an outlier, even though she knew everyone,” Pilar Zevallos, the director of the Kiki Kogelnik Foundation, tells Artsy. -
Kiki Kogelnik Foundation
10/30/2018 Kiki Kogelnik - Archives of Women Artists, Research and Exhibitions A Archives W A of Women Artists R Kiki Kogelnik Research E & Exhibitions 1935 — BLEIBURG, AUSTRIA | 1997 — VIENNA, AUSTRIA Austrian, American based visual artist. In the 1960s, within a male-dominated arts scene, Austrian artist Kiki Kogelnik never ceased to question the body, aligning feminism with technology. Born in Bleiburg, Kiki Kogelnik studied art in Vienna between 1954 and 1958. She created abstract artworks alongside artists Maria Lassnig and Arnulf Rainer but felt somewhat out of phase with Abstract Expressionism. Notably following her acquaintance with Sam Francis, who advised her to move to the United States, she left in 1961 for Santa Monica and later, New York. There, she met some of the emblematic figures of American Pop Art: such as Roy Lichtenstein, Andy Warhol, Robert Rauschenberg, and Claes Oldenburg. Kogelnik tended towards figuration and created paintings, drawings, and installations in a pop aesthetic: using bright, shimmering colours, new materials, and industrial techniques. America represented an opposing force to what Kogelnik had heretofore experienced in Austria, which was still economically depressed due to World War II.” . New York was the emblem of mass consumerism, which gave rise to new media of distribution, the fertile terrain of the pop art movement. Fascinated by this disembodied consumer society, she questioned the social, political, and intimate body, capturing the contours of human bodies. Using her own body or that of male or female friends, she traced their outlines onto various materials (plastic, packaging paper, cardboard) that she cut out and reused in her artworks. -
CHANGING the EQUATION ARTTABLE CHANGING the EQUATION WOMEN’S LEADERSHIP in the VISUAL ARTS | 1980 – 2005 Contents
CHANGING THE EQUATION ARTTABLE CHANGING THE EQUATION WOMEN’S LEADERSHIP IN THE VISUAL ARTS | 1980 – 2005 Contents 6 Acknowledgments 7 Preface Linda Nochlin This publication is a project of the New York Communications Committee. 8 Statement Lila Harnett Copyright ©2005 by ArtTable, Inc. 9 Statement All rights reserved. No part of this publication may be reproduced or transmitted Diane B. Frankel by any means, electronic or mechanical, including photocopying, recording, or information retrieval system, without written permission from the publisher. 11 Setting the Stage Published by ArtTable, Inc. Judith K. Brodsky Barbara Cavaliere, Managing Editor Renée Skuba, Designer Paul J. Weinstein Quality Printing, Inc., NY, Printer 29 “Those Fantastic Visionaries” Eleanor Munro ArtTable, Inc. 37 Highlights: 1980–2005 270 Lafayette Street, Suite 608 New York, NY 10012 Tel: (212) 343-1430 [email protected] www.arttable.org 94 Selection of Books HE WOMEN OF ARTTABLE ARE CELEBRATING a joyous twenty-fifth anniversary Acknowledgments Preface together. Together, the members can look back on years of consistent progress HE INITIAL IMPETUS FOR THIS BOOK was ArtTable’s 25th Anniversary. The approaching milestone set T and achievement, gained through the cooperative efforts of all of them. The us to thinking about the organization’s history. Was there a story to tell beyond the mere fact of organization started with twelve members in 1980, after the Women’s Art Movement had Tsustaining a quarter of a century, a story beyond survival and self-congratulation? As we rifled already achieved certain successes, mainly in the realm of women artists, who were through old files and forgotten photographs, recalling the organization’s twenty-five years of professional showing more widely and effectively, and in that of feminist art historians, who had networking and the remarkable women involved in it, a larger picture emerged. -
SALTS Samuel Leuenberger & Elise Lammer Hauptstrasse 12 CH–4127
Press Release SOULLESS SKIN Sarah Margnetti starring Kiki Kogelnik 9 September - 21 October 2017 Opening Reception: Friday 8 September 2017, 6pm Receiving her BA from ECAL in Lausanne and her Masters from HEAD in SALTS Geneva, Sarah Margnetti (*1983 in Monthey, lives and works in Brussels and Samuel Leuenberger & Lausanne) went on to get a technical training at The Van der Kelen-Logelain Elise Lammer Institute in Brussels, one of the first schools dedicated to the study of decorative Hauptstrasse 12 painting. Founded in 1882, it’s also one of the few places where art education CH–4127 Birsfelden is not about free expression, but about learning one strict, ancient discipline. [email protected] Mastering the technique of trompe l’oeil, Margnetti has developed a virtuous +41 61 311 73 75 painting style that combines optical illusions and abstract motives. For SALTS, the artist filled the two exhibition spaces with intricate, painterly landscapes covering all the walls. In the context of this exhibition, Margnetti, together with the curators, selected some drawings, paintings and sculptures of the late Austrian Pop artist Kiki Kogelnik (1935-1997, lived and worked in New York and Vienna), with whom she shares a similar formal and conceptual vocabulary, despite the half century that separates them. Sarah Margnetti worked on a series of wall paintings, putting together an elusive narrative that explores the fragmentation of the human body and the sensorial and cultural potential of certain materials. Initially invited to realise the exhibition alone, it was later decided to grow the project into a conceptual and visual conversation between her and Kiki Kogelnik. -
Laura Castellis October 27, 2015 Review of Kiki Kogelnik: Fly Me to the Moon at Modern Art Oxford
Laura Castellis October 27, 2015 Review of Kiki Kogelnik: Fly Me to the Moon at Modern Art Oxford Kiki Kogelnik, Untitled (small hanging), 1968. Courtesy of Kiki Kogelnik Foundation Vienna, New York. Andy Warhol, Roy Lichtenstein, Claes Oldenberg, Robert Rauschenberg and Jasper Johns. The giants of post-war American art are being reviewed once again; their replacement of high art with kitsch, brushstroke with Ben-Day dot and abstract expressionism with advertising is eerily prophetic of the current state of affairs. During its first lifetime, pop was maligned for glorifying consumerism; it has now been revised to acknowledge the biting cynicism that bristled beneath the smiles of Hollywood goddesses and the shiny veneer of muscle cars. Regardless, the legacy of omission has continued unabated, as the largely unknown name Kiki Kogelnik (1935-1997) will attest. A contemporary of the aforementioned postmodern practitioners, the Austrian- born artist’s retrospective at Modern Art Oxford showed before several of her works go on display in The World Goes Pop exhibition opening at Tate Modern later this month. After having studied at the Vienna Academy of Fine Arts; the very Academy which had sought to contain a disaffected Egon Schiele and exclude a resentful Adolf Hitler; Kogelnik relocated to New York in 1961 and became immersed in post-war American culture, particularly enraptured by new industry and space exploration. However, the artist very much contested her association with pop, although this wish seems to remain widely ignored. Whilst the colours of Kogelnik’s works are decidedly pop; acid greens and neon yellows; the content is other. -
Video Transcript Kiki Kogelnik
Video Transcript: Stephen Hepworth, Director of Kiki Kogelnik Foundation, talks about the life and work of Kiki Kogelnik, and her exhibition 'Riot of Objects' at MOSTYN. Kiki Kogelnik was born on 22nd January 1935 in Southern Austria and grew up in the town of Bleiburg. Her father was an accountant, her mother was a schoolteacher. She was the middle of three children and was named originally Sigrid, Kiki was a nickname her elder brother Herwig gave her, and she later chose to adopt it, becoming Kiki Kogelnik. She initially studied at the Vienna Academy of the Applied Arts under the sculptor Hans Knesel, where she made the two early plaster sculptures included in this exhibition: Untitled Head and Untitled Figure in 1954. These iconic objects are reflective of a common post-war European sensibility, both figurative and reductively angular in form they evoke a melancholic pity and sadness. In 1956 she enrolled at the Vienna Academy of Fine Arts to study under the painters Albert Paris Gütersloh and Herbert Boeckl. Her work was firmly rooted in the traditions of modernism, her paintings made with a palette of sombre colours and flat painterly forms. In 1958 she was awarded a grant that enabled her to travel to Paris, London, Dublin, Rome and Norway and with this her work became more spontaneous with looser more gestural marks. While on a visit to Paris in 1959 she met the artists: Cesar, Joan Mitchell and Sam Francis who she became involved, and later visited New York with in 1960. Relocating there permanently in 1961 taking up residence in his studio at 940 Broadway at 23rd Street just two blocks away from the legendary Chelsea Hotel.