DOCSLIB.ORG

Artist Chair Sculpture (.PDF)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Artist Chair Sculpture (.PDF) Artist Chair Sculpture NAME:____________ An art gallery has commissioned you to create an original chair sculpture reflecting a specific artist. The work must show clear evidence of the artistic style and art period/movement of the specific artist chosen. You will first create 3 different conceptual sketches, which will be evaluated. You will also submit a statement outlining the chosen artist, art period/movement and artistic style in your chair sculpture and the painting & sculpture techniques you used in creating it. Katie Lemont STEP ONE: RESEARCH THE WORK OF OTHERS: Select one of the artists below and research their artwork and style. What movement are they associated with? Print off samples of their work. Renaissance Artists Baroque & Rococo Artists Neoclassical Artists Realism Artists Botticelli Caravaggio Jacques Louis David Edouard Manet Michelangelo Bernini Jean Auguste Dominique Gustave Courbet Raphael Artemesia Gentileschi Ingres Winslow Homer Leonardo DaVinci Peter Paul Rubens Jean-Baptiste-Camille Corot Jan Van Eyck Rembrandt Honore Daumier Diego Velázquez Rosa Bonheur Albrecht Durer Vermeer Francisco Goya Romanticism Artists Canadian Japanese Artists Indian Artists Theodore Gericault Artists Katsusika Hokusai (See Art History Eugene Delacroix Tom Ando Hiroshige Booklet) Joseph Turner Thompson Bill Reid Torii Kiyonobu I J. Lemieux Thomas Gainsborough Lawren Harris Ken Danby William Blake Marguerite Alex Coville Chinese Artists Gerard Daphane Ojig Emil Carr Kuo His Norval Michael Snow Morrisseau Claude Breeze Chao Meng-Fu Joyce Wieland Joe Fafard STEP TWO: DRAW: In your sketchbook 3 different conceptual sketches of possible chair designs that you are interested in creating. • Consider the elements and principles of design. (Shape, Form, Texture, Balance): How does your chosen artist apply the elements & principles of design to create their own unique style? • Consider the artist style & movement: How will your reflect their sculpture/painting technique(s)? • Your finished work must show clear evidence of influence from contemporary or past works of art. STEP THREE: CREATE: Follow your approved conceptual sketch and begin creating your work using wire and plaster strips. WRITE your Artistic Statement Template to document your artistic process. REVIEW: the painting techniques in this handout. Don’t Plagiarize! Copyright applies to text and visual materials that are taken from both the internet and print sources. Plagiarism is defined as “using the work (or part of it) of another person and claiming it as your own.” STEP FOUR: REFLECT: Answer the following questions using the elements and principles of design and complete your Artistic Statement Template for formal evaluation. 1. What part of your finished project did you find most successful and why? 2. What part of your finished project did you find least successful and why? 3. If you had to do this project, what part would you change or improve on and why? Artistic Statement Template Name:____________ Artwork Title:______________________________________________ A) Artist Chosen:______________ Art Period/Movement:______________ How does the artist create his unique artistic style and how does his work reflect the specific art period/movement: B) Painting & sculpture techniques used in my work and how they reflect chosen artist style and artistic period/movement: Painting Techniques There are so many ways of painting with acrylic that no book can possibly do justice to them all. However there are certain basic techniques: Opaque Technique: The simplest way to work with acrylic is to squeeze the color directly from the container onto the palette, brush in just enough water to produce a creamy consistency, and then apply masses of solid colour to the painting surface. And the second layer of colour will hide the first. For obvious reasons, this is called the opaque technique. It’s a rapid, direct way to paint. Transparent Technique: If you add much more water to the colour, you’ll produce a pool of tinted water called a wash. You can see right through it to the surface of the your palette, and you’ll also see through the transparent colour when you brush it onto the painting surface. The dried paint is like a sheet of coloured glass. A second coat will modify the first coat, the two will mix in the viewer’s eye but one coat won’t conceal another. That’s why this is called the transparent technique. Scumbling: To create tonal gradations from dark to light, or shade one colour into another - its important to learn how to handle the brush. Scumbling is a kind of scrubbing motion that spreads a veil of colour across the surface. When scumbling, you want other colors to show thru each layer. Dry Brush: is a painting technique in which a paint brush that is relatively dry but still holds a paint load is applied to a dry support such as paper or primed canvas. The resulting brush strokes have a characteristic scratchy look that lacks the smooth appearance that washes or blended paint commonly has. Masking: can describe materials used to control the development of a work of art by protecting a desired area from change. Masking or painters tape can be used to cover a particular area from another paint layer. Usually used in painting to create a percise, sharp, hard or straight lines. Combining Techniques: Naturally, there are many ways of combining these techniques. In painting a portrait head, it’s common to paint the lighted areas opaquely and then paint the shadows in transparent colour. Scumbling might produce the soft transitions from light to shadow, at places such as the cheeks or the brow. As you spend more time working with acrylic you will find your own combinations. Artist Chair Sculpture Rubric Name:__________ Level 0 Level 1 Level 2 Level 3 Level 4 Knowledge/ Understanding Work does not Student Student demonstrates Student demonstrates Student meet demonstrates some connections considerable demonstrates Demonstrates assignments limited connections between artistic style connections between Superior understanding of expectations for between artistic & techniques and art artistic style & connections connections between this category. style & techniques period/movement in techniques and art between artistic /1 artistic style, art Incomplete. and art work. period/movement in style & techniques period/movement and period/movement 0.50 work. and art painting techniques. 0 in work. 0.75 period/movement 0.25 in work. Demonstrates 1 Work does not understanding of the Student Student demonstrates Student demonstrates Student elements & principles meet demonstrates some understanding considerable demonstrates assignments of design in the limited of the elements & understanding of the a high degree of /1 expectations for understanding of principles of design in elements & principles understanding of sculpture (e.g. form, this category. shape, colour, unity) the elements & the sculpture. of design in the the elements & Incomplete. principles of design 0.50 sculpture. principles of design in the sculpture. in the sculpture. 0 0.25 0.75 1 Thinking/ Work does not Concept and Concept and context Concept and context Concept and Inquiry meet context is unclear is slightly unclear is clear and valid. context is clear Concept: assignments and/or weak. and/or weak. Meaning or ideas and strong. expectations for Meaning or ideas Meaning or ideas conveyed are on par Meaning or ideas Artist Chair this category. conveyed are not conveyed are below with student’s grade conveyed are /1 sculpture Incomplete. on par with student expectations for level. above grade level. student’s grade level. expectations for 0 0.25 0.50 0.75 student’s grade level. 1 Communication Work does not Student discusses Student discusses Student discusses Student discusses Clarity: meet artistic style, artistic style, artistic style, artistic style, Discusses artistic assignments period/movement period/movement & period/movement & period/movement /1 expectations for & techniques in the techniques in the techniques in the & techniques in the style, this category. artistic statement artistic statement with artistic statement with artistic statement period/movement & Incomplete. with limited clarity. some clarity. considerable clarity. with a high degree techniques in the 0 0.25 0.50 0.75 of clarity. artistic statement 1 Explains use of Incomplete. Student explains Student explains use Student explains use Student explains /1 painting & sculpture 0 use of painting & of painting & of painting & use of painting & sculpture sculpture techniques sculpture techniques sculpture techniques in the techniques in the in the artistic in the artistic techniques in the artistic statement artistic statement statement with some statement with artistic statement with limited clarity. clarity. considerable clarity. with a high degree 0.25 0.50 0.75 of clarity. 1 Reflective Questions /1 Incomplete. Poor, yes/no Somewhat coherent Clear and substantial Superior and 0 answers/limited and somewhat answers. insightful answers. incomplete. complete. 0.50 0.75 1 0.25 Application Work does not Preliminary Preliminary sketches Preliminary sketches Preliminary Creative Process: meet sketches are are somewhat clear are mostly complete. sketches are Ability to solve a assignments poor/incomplete. and complete. Concepts are thorough and expectations for Concepts are Concepts are complete. Planning is complete. series of artistic this category. poor/incomplete. somewhat complete. evident & shows Concepts are fully /2 problems, showing Incomplete.
Load more

Recommended publications
  • The Capitol Dome
    THE CAPITOL DOME The Capitol in the Movies John Quincy Adams and Speakers of the House Irish Artists in the Capitol Complex Westward the Course of Empire Takes Its Way A MAGAZINE OF HISTORY PUBLISHED BY THE UNITED STATES CAPITOL HISTORICAL SOCIETYVOLUME 55, NUMBER 22018 From the Editor’s Desk Like the lantern shining within the Tholos Dr. Paula Murphy, like Peart, studies atop the Dome whenever either or both America from the British Isles. Her research chambers of Congress are in session, this into Irish and Irish-American contributions issue of The Capitol Dome sheds light in all to the Capitol complex confirms an import- directions. Two of the four articles deal pri- ant artistic legacy while revealing some sur- marily with art, one focuses on politics, and prising contributions from important but one is a fascinating exposé of how the two unsung artists. Her research on this side of can overlap. “the Pond” was supported by a USCHS In the first article, Michael Canning Capitol Fellowship. reveals how the Capitol, far from being only Another Capitol Fellow alumnus, John a palette for other artist’s creations, has been Busch, makes an ingenious case-study of an artist (actor) in its own right. Whether as the historical impact of steam navigation. a walk-on in a cameo role (as in Quiz Show), Throughout the nineteenth century, steam- or a featured performer sharing the marquee boats shared top billing with locomotives as (as in Mr. Smith Goes to Washington), the the most celebrated and recognizable motif of Capitol, Library of Congress, and other sites technological progress.
    [Show full text]
  • The Misunderstood Philosophy of Thomas Paine
    THE MISUNDERSTOOD PHILOSOPHY OF THOMAS PAINE A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of History Jason Kinsel December, 2015 THE MISUNDERSTOOD PHILOSOPHY OF THOMAS PAINE Jason Kinsel Thesis Approved: Accepted: ______________________________ _____________________________ Advisor Dean of the College Dr. Walter Hixson Dr. Chand Midha ______________________________ ______________________________ Faculty Reader Dean of the Graduate School Dr. Martino-Trutor Dr. Chand Midha ______________________________ ______________________________ Department Chair Date Dr. Martin Wainwright ii ABSTRACT The name Thomas Paine is often associated with his political pamphlet Common Sense. The importance of “Common Sense” in regards to the American Revolution has been researched and debated by historians, political scientists, and literary scholars. While they acknowledge that Paine’s ideas and writing style helped to popularize the idea of separation from Great Britain in 1776, a thorough analysis of the entirety of Paine’s philosophy has yet to be completed. Modern scholars have had great difficulty with categorizing works such as, The Rights of Man, Agrarian Justice, and Paine’s Dissertation on First Principles of Government. Ultimately, these scholars feel most comfortable with associating Paine with the English philosopher John Locke. This thesis will show that Paine developed a unique political philosophy that is not only different from Locke’s in style, but fundamentally opposed to the system of government designed by Locke in his Second Treatise of Government. Furthermore, I will provide evidence that Paine’s contemporary’s in the American Colonies and Great Britain vehemently denied that Paine’s ideas resembled those of Locke in any way.
    [Show full text]
  • ENGLISH OPINIONS on the FRENCH REVOLUTION by W. T. WAGONER Presented to the Faculty of the Graduate School of the University Of
    ENGLISH OPINIONS ON THE FRENCH REVOLUTION By W. T. WAGONER Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN HISTORY THE UNIVERSITY OF TEXAS AT ARLINGTON May 2009 Copyright © by W.T. Wagoner 2008 All Rights Reserved ACKNOWLEDGEMENTS I would like to thank the University of Texas at Arlington for employing the faculty and providing the facilities that made my education such a memorable experience. I would like to give a special note of appreciation to the professors of my committee, Dr. Reinhardt, Dr. Cawthon and Dr.Narrett who have shown extraordinary patience and kindness in helping me find my voice and confidence during this process. I appreciate my family and friends who tolerated both my mood swings and my forgetfulness as I thought about events hundreds of years ago. I would like to thank my mother. You encouraged me that there was more to life than flooring. To my wife, Rae, I want to thank you for loving me and keeping me centered. Finally, to my daughter Miranda, you are the reason I have undertaken this journey. December 20, 2008 iii ABSTRACT ENGLISH WORDS ON THE FRENCH REVOLUTION W.T. WAGONER, M.A. The University of Texas at Arlington, 2008 Supervising Professor: Steven Reinhardt Just as the French Revolution changed the French political landscape, it also affected other European countries such as England. Both pro-revolutionaries and anti-revolutionaries argued in the public forums the merits of the events in France.
    [Show full text]
  • Session A: Thursday, 3 March 2:00-3:15Pm
    Session A: Thursday, 3 March 2:00-3:15pm A-1. Shakespearean History and Tragedy Thursday 2:00-3:15 Lake Nokomis, L4 Moderator: Dave Wendelin, Director, National English Honor Society Chair: Serenity Dougherty, Northern Michigan University (MI) Margaret McLaughlin, Roger Williams University (RI): The Role of Women in Dramatic Sequencing Courtney Wark, Northern Michigan University (MI): Desire’s Handmaids: Politics of Sexuality in Titus Abigail Mitchell, Lee University (TN): Into a Thousand Parts: Morality in Henry V A-2. Exploring Marriage through the Centuries Thursday 2:00-3:15 Lake of the Isles, L4 Moderator: Barbara Seidman, Linfield College (OR) Chair: Angelia Saplan, Linfield College (OR) Candace Tibbetts, Springfield College (MA): Medieval Marriage: The Good and the Bad Keri Dixon, Linfield College (OR): Anne Finch: Sex and Power in Marriage Clarissa Courtney, Baker University (KS): The Transformative Powers of the Sea Jamie Hayes, Merrimack College (MA): Gender Norms in Williams' "The Young Housewife" A-3. Virgina Woolf Thursday 2:00-3:15 Greenway B, L2 Moderator: Jerry Gibbens, Williams Baptist College (AR) Chair: Dawson Shannon, Louisiana Tech University (LA) Alana Crump, Louisiana Tech University (LA): Women Writers in A Room of One's Own Rachel Burroughs, Louisiana Tech University (LA): Point of No Return Jared Harrison, Union University (TN): Notebooks of the Present; Masterpieces of the Future Jordan Miller, Baker University (KS): Women Writers on War: West and Woolf A-4. Women Writers Thursday 2:00-3:15 Greenway C, L2 Moderator: Diane Scholl, Luther College (IA) Chair: Elizabeth Benson, Chatham University (PA) Sean O'Rourke, College of the Holy Cross (MA): The Act of Conversing in Edgeworth's Ennui Rose Schaefer, Oklahoma Christian University (OK): Sarah Winnemucca: [Mis]leader of Her People Ben Burgess, Carnegie Mellon University (PA): Montagu, Wollstonecraft and the Protean Body Brittanie Maddock, Chatham University (PA): Representation of Race in Harry Potter A-5.
    [Show full text]
  • Edmund Burke's German Readers at the End of Enlightenment, 1790-1815 Jonathan Allen Green Trinity Hall, University of Cambridg
    Edmund Burke’s German Readers at the End of Enlightenment, 1790-1815 Jonathan Allen Green Trinity Hall, University of Cambridge September 2017 This dissertation is submitted for the degree of Doctor of Philosophy. Declaration This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaborations except as declared in the Declaration and specified in the text. All translations, unless otherwise noted or published in anthologies, are my own. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University of similar institution except as declared in the Declaration and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Declaration and specified in the text. It does not exceed the prescribed word limit for the Faculty of History Degree Committee (80,000 words). Statement of Word Count: This dissertation comprises 79,363 words. 1 Acknowledgements Writing this dissertation was a challenge, and I am immensely grateful to the many friends and colleagues who helped me see it to completion. Thanks first of all are due to William O’Reilly, who supervised the start of this research during my MPhil in Political Thought and Intellectual History (2012-2013), and Christopher Meckstroth, who subsequently oversaw my work on this thesis.
    [Show full text]
  • Revisionist Analysis of Edmund Burke's Political Ideology
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1991 Revisionist analysis of Edmund Burke's political ideology Raenelle Fisher The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Fisher, Raenelle, "Revisionist analysis of Edmund Burke's political ideology" (1991). Graduate Student Theses, Dissertations, & Professional Papers. 5247. https://scholarworks.umt.edu/etd/5247 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen and Mike MANSFIELD LIBRARY Copying allowed as provided under provisions of the Fair Use Section of the U.S. COPYRIGHT LAW, 1976. Any copying for commercial purposes or financial gain may be undertaken only with the author’s written consent. University of A REVISIONIST ANALYSIS OF EDMUND BURKE'S POLITICAL IDEOLOGY by Raenelie Fisher B. AO, University of Montana, 1989 Presented in partial fulfillment of the requirements for the degree of Master of Arts University of Montana 1991 Approved by Chairman, Board aminer Dean, Graduate School UMI Number: EP40711 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted.
    [Show full text]
  • Captain Pierce's Fight: an Investigation Into a King Philip's War Battle Nda Its Remembrance and Memorialization Lawrence K
    University of Massachusetts Boston ScholarWorks at UMass Boston Graduate Masters Theses Doctoral Dissertations and Masters Theses 12-2011 Captain Pierce's Fight: An Investigation Into a King Philip's War Battle nda its Remembrance and Memorialization Lawrence K. LaCroix University of Massachusetts Boston Follow this and additional works at: http://scholarworks.umb.edu/masters_theses Part of the Archaeological Anthropology Commons, Military History Commons, and the United States History Commons Recommended Citation LaCroix, Lawrence K., "Captain Pierce's Fight: An Investigation Into a King Philip's War Battle nda its Remembrance and Memorialization" (2011). Graduate Masters Theses. Paper 69. This Open Access Thesis is brought to you for free and open access by the Doctoral Dissertations and Masters Theses at ScholarWorks at UMass Boston. It has been accepted for inclusion in Graduate Masters Theses by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. CAPTAIN PIERCE’S FIGHT: AN INVESTIGATION INTO A KING PHILIP’S WAR BATTLE AND ITS REMEMBRANCE AND MEMORIALIZATION A Thesis Presented by LAWRENCE K. LaCROIX Submitted to the Office of Graduate Studies, University of Massachusetts Boston, in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2011 Historical Archaeology Program © 2011 by Lawrence K. LaCroix All rights reserved CAPTAIN PIERCE’S FIGHT: AN INVESTIGATION INTO A KING PHILIP’S WAR BATTLE AND ITS REMEMBRANCE AND MEMORIALIZATION A Thesis Presented by LAWRENCE K. LaCROIX Approved as to style and content by: _________________________________________ Stephen A. Mrozowski, Professor Chairperson of Committee _________________________________________ Judith Francis Zeitlin, Professor Member _________________________________________ Heather B.
    [Show full text]
  • National and International Modernism in Italian Sculpture from 1935-1959
    National and International Modernism in Italian Sculpture from 1935-1959 by Antje K. Gamble A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2015 Doctoral Committee: Professor Alexander D. Potts, Chair Associate Professor Giorgio Bertellini Professor Matthew N. Biro Sharon Hecker Associate Professor Claire A. Zimmerman Associate Professor Rebecca Zurier Copyright: Antje K. Gamble, 2015 © Acknowledgements As with any large project, this dissertation could not have been completed without the support and guidance of a large number of individuals and institutions. I am glad that I have the opportunity to acknowledge them here. There were a large number of funding sources that allowed me to study, travel, and conduct primary research that I want to thank: without them, I would not have been able to do the rich archival study that has, I think, made this dissertation an important contribution to the field. For travel funding to Italy, I thank the Horace R. Rackham Graduate School at the University of Michigan for its support with the Rackham International International Research Award and the Rackham Rackham Humanities Research Fellowship. For writing support and U.S.-based research funding, I thank the Department of History of Art at the University of Michigan, the Rackham Graduate School, the Andrew W. Mellon Foundation and the University of Michigan Museum of Art. For conference travel support, I thank the Horace R. Rackham Graduate School, the Department of History of Art, and the American Association of Italian Studies. While in Italy, I was fortunate enough to work with a great number of amazing scholars, archivists, librarians and museum staff who aided in my research efforts.
    [Show full text]
  • SELECTED SAMPLES of ARTS WRITING by MICOL HEBRON What Follows Are Selections from a Variety of My Publications from the Time
    SELECTED SAMPLES OF ARTS WRITING BY MICOL HEBRON What follows are selections from a variety of my publications from the time period between 2007 and 2012. I have included brief reviews, catalog essays, and critical essays that I authored and had published during this time. For a complete list of my publications, please refer to my Curriculum Vitae. Hebron, Micol “Putting the Words back into the F-Word, an interview with feminist artists Audrey Chan and Elana Mann”, Interview, ArtPulse, August, 2012 Print. http://artpulsemagazine.com/tag/elana-mann Putting the Words Back into the F-Word. An Interview with Audrey Chan and Elana Mann Audrey Chan and Elana Mann, organizers of Shares and Stakeholders: The Feminist Art Project Day of Panels at the 100th Annual College Association Conference, Museum of Contemporary Art, Los Angeles, 2012. Podium skirt designed by CamLab. Photo: Jean-Paul Leonard. Since 2005, Los Angeles-based artists Audrey Chan and Elana Mann have been revitalizing feminist practice with their collaborative projects that engage historic models of first- and second-wave feminist strategies fused with contemporary relational aesthetics and social engagement. Chan is an artist, writer and educator whose work addresses civic discourse, rhetoric and the feminist construct of “the personal is political.” Mann’s multidisciplinary artwork explores alternative economies, empathetic exchange, and the politics of resistance. Chan and Mann’s collaborative work asks important and honest questions about Micol Hebron, MFA, Assistant Professor Selected Publications 1 feminism, acknowledges the still prevalent influence of past feminists, and fuels the hope and action of current feminists. Through the production of significant conferences, symposia, and performative events around the country (and soon the world), the duo’s projects boast an inclusive and discursive interdisciplinarity that is substantially promoting and expanding the feminist dialogue.
    [Show full text]
  • My Capitol Discover Historic Treasures in Exhibition Hall and Explore the U.S
    My Capitol Discover Historic Treasures in Exhibition Hall and Explore the U.S. Capitol Grounds A GUIDE FOR YOUNG PEOPLE, GRADES 6 AND UP HOW TO USE THIS GUIDE • Exhibition Hall, located in the Visitor Center, begins on page 3. • The U.S. Capitol Grounds, outside of the building, begins on page 19. For each tour, you will find a map withnumbered stops. At each stop . • Read the background information in the guide. • Use the questions and activities to help you focus your looking, learning and thinking. You will find the answers to all of the questions beginning on page 25. • Talk with your group about what you see and learn. • Take notes to refresh your memory. Use the blank spaces on pages 18 and 23. The United States Capitol • Have fun. For Teachers and Parents Designed for children ages 11 and older, this guide is intended as a self-guided tour of Exhibition Hall and the Capitol Grounds. For each of the numbered stops, this guide provides historical background, directed-looking activities, and questions to encourage discussion during the tour or for follow-up at school or home. You will find the answers to all of the questions beginning on page 25. If your group is larger than 20 students, we suggest dividing it into smaller groups and staggering where each group begins its tour. Visitors view a scale model of the Capitol and Grounds in Exhibition Hall. 2 2 PART I U.S. CAPITOL VISITOR CENTER EXHIBITION HALL The exhibition is titled E Pluribus Unum—Out of Many, One.
    [Show full text]
  • 27Th International Sculpture Conference Intersections + Identities
    27th International Sculpture Conference Intersections + Identities October 25-28, 2017 / Kansas City, MO Presented by the International Sculpture Center. Collaborators & Sponsors: Architectural Building Systems, Belger Arts Center, Belger Crane Yard Studios, Charlotte Street Foundation, City of Lawrence, Bill & Christy Gautreaux, Kansas City Art Institute, The Kanter Family Foundation, KU School of the Arts, Lawrence Arts Center, Monarch Glass Studio, The Nelson-Atkins Museum of Art, Overland Park Arboretum & Botanical Gardens, Spencer Museum of Art, Studios Inc., University of Kansas, Visit KC, Wickerson Studios and Zahner. This program is made possible in part by funds from the New Jersey State Council on the Arts/ Department of State, a Partner Agency of the National Endowment for the Arts and by funds from the National Endowment for the Arts. 27th International Sculpture Conference Intersections + Identities October 25-28, 2017 / Kansas City, MO Presented by the International Sculpture Center. Collaborators & Sponsors: Architectural Building Systems, Belger Arts Center, Belger Crane Yard Studios, Charlotte Street Foundation, City of Lawrence, Bill & Christy Gautreaux, Kansas City Art Institute, The Kanter Family Foundation, KU School of the Arts, Lawrence Arts Center, Monarch Glass Studio, The Nelson-Atkins Museum of Art, Overland Park Arboretum & Botanical Garden, Spencer Museum of Art, Studios Inc., University of Kansas, Visit KC, Wickerson Studios and Zahner. This program is made possible in part by funds from the New Jersey State
    [Show full text]
  • Enjoy the November Issue of the West River Catholic
    WEST RIVER Informing Catholicsatholic in Western South Dakota since May 1973 CDiocese of Rapid City Volume 49 Number 5 November 2020 South Dakota www.rapidcitydiocese.org Evangelist Will Graham will lead family friendly celebration in September A three-day Black Hills Paha Sapa Cel- “Brett Eckert, director of Evangelization ‘There are so many ebration with Will Graham, to feature live and Catechesis at the cathedral, and I were of our neighbors who do music and inspirational messages is coming part of the Steering Committee that initi- not know Christ, so to Rapid City. ated the process of inviting Will Graham many hurting, Approximately 100 people from across and his Celebration here. As committed confused, and living in the region gathered Oct. 28, in Box Elder Catholics, faithful, intentional, and mis- darkness; we are to officially launch planning for the upcom- sionary disciples, we are working side by working together to ing Black Hills Paha Sapa Celebration with side with our brothers and sisters in Christ, Will Graham. The multi-day evangelistic those from other Christian denominations, bring them the Good outreach will be held Sept. 24-26, 2021, at to share the Gospel of Jesus Christ with our News of salvation,’ the Rushmore Plaza Civic Center. The community. There are so many of our — Fr. Brian celebration will be free of charge and will neighbors who do not know Christ, so Christensen feature music from award-winning Chris- many hurting, confused, and living in dark- tian artists and encouraging messages ness; we are working together to bring Pastor Moore is helping to lead the Pastor’s workshops and community gatherings.
    [Show full text]