Making Self Portraits
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MIRROR MIRROR the Mind’S Mirror FILMS Seaglass 4 Restaurant 5 Outdoor Exhibits with Zarinah Agnew 7:30 P.M
AFTER DARK AFTER DARK SCHEDULE MAP PRESENTATIONS ACTIVITIES Upper Level Bay Observatory Gallery and Terrace 6 Observing Landscapes Mirrors in Technology and Art Through the Looking Glass Mirrors in Technology and Art With Sebastian Martin With the Explainers 6 With Sebastian Martin 6:30–8:30 p.m. | Bay Observatory Gallery 6:30–9:30 p.m. | Central Gallery 6:30–8:30 p.m. THURSDAY, OCTOBER 1, 2015 A Reflection on Mirrors Light Boxes and Anamorphic Mirrors The History of Mirrors 6:00—10:00 P.M. With Ron Hipschman With Explorables With Massimo Mazzotti 7:00 and 9:00 p.m. 7:00–10:00 p.m. | Central Gallery Main Level 8:30 p.m. Phyllis C. Wattis Webcast Studio BAR North Gallery MIRROR MIRROR The Mind’s Mirror FILMS SeaGlass 4 Restaurant 5 Outdoor Exhibits With Zarinah Agnew 7:30 p.m. | Kanbar Forum On Reflection East Gallery 9:00 p.m. | Kanbar Forum 4 Living Systems The History of Mirrors East With Massimo Mazzotti Corridor Contemplando la Ciudad (2005, 4 min.) Central Gallery 8:30 p.m. | Bay Observatory Gallery by Angela Reginato 5 3 Seeing & Listening Visions of a City (1978, 8 min.) by Lawrence Jordan A Reflection on Mirrors INSTALLATIONS BAR 3 With Ron Hipschman Suspended 2 (2005, 5 min.) by Amy Hicks Wattis 7:00 and 9:00 p.m. The Infinity Boxes Webcast Phyllis C. Wattis Webcast Studio Studio By Matt Elson Pier 15 (2013, 4 min.) by Michael Rudnick 6:00–10:00 p.m. | Central Gallery The Infinity Boxes By Matt Elson Visible Spectres 6:00–10:00 p.m. -
El Viaje a Italia De Luis Tristán. a Propósito De Una Crucifixión Firmada (16I Ismael Gutiérrez Pastor Universidad Autónoma De Madrid
El viaje a Italia de Luis Tristán. A propósito de una Crucifixión firmada (16i Ismael Gutiérrez Pastor Universidad Autónoma de Madrid Anuario del Depariaiuniiw ur; ruxuia y iaiiiauu ruir: RESUMEN SUMMARY Una Crucimón del pintor Luis Tristán, firmada y A "CrucijkG by Luis Ti nn VA fechada en Toledo en 1609, que muestra aún el estilo de and dated in Toleao in IOUY. rr srirl snows nrs masrers su maestro El Greco, permite fijar en los años 1610 y style, El Greco. The painting enables us tofu. his trip to 1611 su viaje a Italia y relacionar el cambio de estilo con Italy during 1610 and 1611. His style change can be rela- sus relaciones, tanto con Ribera documentodo por ted with !lis relarionships with Ribem (Documented by Jusepe Martínez- como con Orazio Borgianni, pintor Jusepe Manínezl i as wefl a3 with Ongzio Borgi anni. The que había estado en España en dos ocasiones y que hacia latter h 7 Spain tw,ice and about 1608 r rhifted his 1608 transformó su estilo adecuándolo al de Caravaggio. style al to Caravalrgio's one. clusión i las prime de su vid; cambi6 sus apeiiiaos:8.2- - en iov~,ai nrmar su aprenaizaje Elpintor que conocemos como Luis Tristán (c. 1590- con El Greco, lo hace como Luis Escamilla y así se man- Toledo, 1624) fue hijo de Domingo Rodríguez y de Ana tiene en otros varios documentos relativos a su maestro. de Escamilla. Hasta fechas muy avanzadas firmó como Pero en fecha inmediatamente posterior, la cual podemos Luis Escamilla, utilizando el apellido materno, mientras ahora acotar con la aparición de una CruciQkión firmada que otros hermanos suyos utilizaban el compuesto Rodrí- "LUYS TRISTAN FACIEBATI TOLETi 1609", comenzó guez de Escamilla (por ejemplo, Manuel o Agustina) y su a usar el apellido Tristán, siendo de especial importancia hermana Úrsula se hacía apellidar Tristán. -
2000 Stainless Steels: an Introduction to Their Metallurgy and Corrosion
Dairy, Food and Environmental Sanitation, Vol. 20, No. 7, Pages 506-517 Copyright© International Association for Food Protection, 6200 Aurora Ave., Suite 200W, Des Moines, IA 50322 Stainless Steels: An Introduction to Their Metallurgy and Corrosion Resistance Roger A. Covert and Arthur H. Tuthill* and why they sometimes do not. In most cases, selection of the proper stainless steel leads to satisfactory performance. COMPOSITION, NOMEN- CLATURE AND GENERAL PROPERTIES Most metals are mixtures of a primary metallic element and one or more intentionally added other ele- This article has been peer-reviewed by two professionals. ments. These mixtures of elements are called alloys. Stainless steels are alloys, as are brasses (copper + zinc), bronzes (copper + tin), the many alu- INTRODUCTION better understanding of stainless minum alloys, and many other me- Worldwide, in industry, in busi- steels, especially to the non-metal- tallic materials. In general, solid ness and in the home, metals called lurgist. metals and alloys consist of randomly stainless steels are used daily. It is Industries are concerned with oriented grains that have a well-de- important to understand what these integrity of equipment and product fined crystalline structure, or lattice, materials are and why they behave purity. To achieve these, stainless within the grains. In stainless steels, the way they do. This is especially steels are often the economical and the crystalline structures within the true because the word “stainless” is practical materials of choice for pro- grains have been given names such as itself somewhat of a misnomer; these cess equipment. However, before ferrite, austenite, martensite, or a materials can stain and can corrode intelligent decisions can be made mixture of two or more of these. -
The Smart Mirror Technology
THE SMART MIRROR TECHNOLOGY A STYLISH MIRROR - WITH UNIQUE EXTRA FEATURES • A COMPLETE DIGITAL SIGNAGE SOLUTION • HIGH BRIGHTNESS SCREEN COMBINED WITH MEDIA PLAYER & FULL FUNCTIONAL CONTENT MANAGEMENT SYSTEM • DECORATIVE AND INFORMATIVE • PROVIDING INFORMATION THROUGH A NON-DISTURBING WAY ADMIRING OURSELVES IN MIRRORS COMES AS NATURALLY TO US AS BREATHING. WHETHER WE BASK IN OUR MAGNIFICENCE, LOOK FOR FLAWS OR SIMPLY TRY TO MAKE OURSELVES AS PERFECT AS POSSIBLE WE SPEND A MUCH TIME LOOKING AT OUR REFLECTIONS. SO WHY NOT COMBINE THIS MOST MUNDANE HUMAN INSTINCT WITH THE REALM OF INFINITE POSSIBILITIES? IN THE WORLD OF COMMERCIALS, ALMOST EVERYONE HAS A SELECTIVE BLINDNESS FOR ORDINARY MARKETING TOOLS. PROVIDE YOUR CUSTOMERS WITH DESIRED INFORMATION AND TARGETABLE MESSAGES ON A SURFACE THEY WOULD NEVER EXPECT TO GET IT. LEAVE A LASTING IMPRESSION WITH THE DENSION SMART MIRROR TECHNOLOGY. CONTENT & DEVICE MANAGEMENT THE MIRROR IS AVAILABLE IN FIVE DIFFERENT SIZES: MINI, SMALL, MEDIUM, LARGE, X-LARGE. CUSTOMERS MAY CHOOSE THE EXACT SIZE OF THE GLASS WITH A GIVEN SURFACE MAXIMUM. CUSTOMIZED MIRROR AND SCREEN COMBINATIONS ARE ALSO AVAILABLE IN HIGHER VOLUMES, PLEASE GET IN TOUCH TO DISCUSS. [email protected] FRONT VIEW MINI SMALL MEDIUM LARGE X-LARGE Display size (inch) 10 32 42 46 55 Display resolution HD Full HD Full HD Full HD Full HD Max Mirror Surface 0,9 0,9 2 2 (sqm) UPPER SIDE VIEW Minimum Width 250 870 1 100 1 180 1 380 (mm) Minimum Height 150 570 690 740 850 (mm) Depth (mm) 30 45 45 45 45 45 ° ANGLE REAR VIEW Weight (kg) 2 18 25-30 35-38 -
The Toilet of Venus Circle of Veronese
THE TOILET OF VENUS CIRCLE OF VERONESE THE COURTAULD INSTITUTE OF ART RESEARCH FORUM: CONSERVATION AND ART HISTORICAL ANALYSIS WORKS FROM THE COURTAULD GALLERY By Sarah Bayliss and Alexandra Fliege 1 TABLE OF CONTENTS Table of Contents......................................................................................................................................... 2 Introduction................................................................................................................................................... 3 Iconography................................................................................................................................................... 3 Composition................................................................................................................................................... 6 Provenance..................................................................................................................................................... 9 Materials and Techniques........................................................................................................................ 10 Conclusion...................................................................................................................................................... 13 Bibliography.................................................................................................................................................. 15 Illustrations................................................................................................................................................... -
A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied -
Boston Symphony Orchestra Concert Programs, Summer, 2009
SUMMER 2009 • . BOSTON SYMPHONY ORCHESTRA JAMES LEVINE MUSIC DIRECTOR DALECHIHULY HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE 3 Elm Street, Stockbridge 413 -298-3044 www.holstengaIleries.com Olive Brown and Coral Pink Persian Set * for a Changing World They're Preparing to Change the 'I'Mi P i MISS HALL'S SCHOOL what girls have in mind 492 Holmes Road, Pittsfield, Massachusetts 01201 (413)499-1300 www.misshalls.org • e-mail: [email protected] m Final Weeks! TITIAN, TINTORETTO, VERONESE RIVALS IN RENAISSANCE VENICE " "Hot is the WOrdfor this show. —The New York Times Museum of Fine Arts, Boston March 15-August 16, 2009 Tickets: 800-440-6975 or www.mfa.ore BOSTON The exhibition is organized the Museum by The exhibition is PIONEER of Fine Arts, Boston and the Musee du sponsored £UniCredit Group by Investments* Louvre, and is supported by an indemnity from the Federal Council on the Arts and Titian, Venus with a Mirror (detail), about 1555. Oil on canvas. National Gallery of Art, Washington, Andrew the Humanities. W. Mellon Collection 1 937.1 .34. Image courtesy of the Board of Trustees, National Gallery of Art, Washington. James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 128th season, 2008-2009 Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman • Diddy Cullinane, Vice-Chairman • Robert P. O'Block, Vice-Chairman Stephen Kay, Vice-Chairman • Roger T. Servison, Vice-Chairman • Edmund Kelly, Vice-Chairman • Vincent M. O'Reilly, Treasurer • George D. Behrakis • Mark G. Borden • Alan Bressler • Jan Brett • Samuel B. Bruskin • Paul Buttenwieser • Eric D. -
Art in the Mirror: Reflection in the Work of Rauschenberg, Richter, Graham and Smithson
ART IN THE MIRROR: REFLECTION IN THE WORK OF RAUSCHENBERG, RICHTER, GRAHAM AND SMITHSON DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Eileen R. Doyle, M.A. ***** The Ohio State University 2004 Dissertation Committee: Approved by Professor Stephen Melville, Advisor Professor Lisa Florman ______________________________ Professor Myroslava Mudrak Advisor History of Art Graduate Program Copyright by Eileen Reilly Doyle 2004 ii ABSTRACT This dissertation considers the proliferation of mirrors and reflective materials in art since the sixties through four case studies. By analyzing the mirrored and reflective work of Robert Rauschenberg, Gerhard Richter, Dan Graham and Robert Smithson within the context of the artists' larger oeuvre and also the theoretical and self-reflective writing that surrounds each artist’s work, the relationship between the wide use of industrially-produced materials and the French theory that dominated artistic discourse for the past thirty years becomes clear. Chapter 2 examines the work of Robert Rauschenberg, noting his early interest in engaging the viewer’s body in his work—a practice that became standard with the rise of Minimalism and after. Additionally, the theoretical writing the French phenomenologist Maurice Merleau-Ponty provides insight into the link between art as a mirroring practice and a physically engaged viewer. Chapter 3 considers the questions of medium and genre as they arose in the wake of Minimalism, using the mirrors and photo-based paintings of Gerhard Richter as its focus. It also addresses the particular way that Richter weaves the motifs and concerns of traditional painting into a rhetoric of the death of painting which strongly implicates the mirror, ultimately opening up Richter’s career to a psychoanalytic reading drawing its force from Jacques Lacan’s writing on the formation of the subject. -
Boston Symphony Orchestra Concert Programs, Summer
SUMMER 2009 BOSTON SYM ON Y ORCH E RA JAMES LEVINE MUSIC DIRECTOR DALECHIHULY r ^ m I &£ V + i HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE 3 Elm Street, Stockbridge 413 -298-3044 www.holstenpalleries.com i photo: Icrcsa Nouri I O l \ e Broun and Coral Pink Persian Set They're Not Only Preparing ^ / for a Changing World They're Preparing to Change the World y M 1 what girls have in mind 'J'NZib-iS 492 Holmes Road, Pittsfield, Massachusetts 01201 (413)499-1300 www.misshalls.org • e-mail: [email protected] V Final Weeks! TITIAN, TINTORETTO, VERONESE RIVALS IN RENAISSANCE VENICE " 'Hot is the WOrdfor this show. —The New York T Museum of Fine Arts, Boston March 15- August 16, 2009 Tickets: 800-440-6975 or www.mfa.org BOSTON The exhibition is organized by the Museum The exhibition is PIONEER of Fine Arts, Boston and the Mus6e du fcUniCredit Group sponsored by Investments* Louvre, and is supported by an indemnity from the Federal Council on the Arts and Titian, Venus with a Mirror (detail), about 1555. Oil on canvas. National Gallery of Art, Washington, Andrew the Humanities. W. Mellon Collection 1 937. 1 .34. Image courtesy of the Board of Trustees, National Gallery of Art, Washington. James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 128th season, 2008-2009 *f=^y Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman • Diddy Cullinane, Vice-Chairman • Robert P. O'Block, Vice-Chairman Stephen Kay, Vice-Chairman • Roger T. Servison, Vice-Chairman • Edmund Kelly, Vice-Chairman • Vincent M. -
Public Art Program OVERVIEW
Public Art Program OVERVIEW Artwork has been a critical component of the Phoenix Convention Center since it originally opened in 1972. Building upon this civic commitment to the arts, the City, through the Phoenix Office of Arts and Culture Public Art Program, commissioned new artworks by local, regional and national artists to be incorporated into the expanded Phoenix Convention Center. These works offer a variety of perspectives on life in Phoenix, the United States, and the world in the 21 st century, and join several other pieces in the Convention Center’s extensive collection. Public Art Program Budget and Funding: The art projects are funded through the City's Public Art Program. The program, established in 1986, has involved artists in the design of every kind of city building and space, ranging from streetscapes, freeway overpasses and pedestrian bridges, to canal trails, parks and libraries. The Phoenix Public Art Program is managed by the Phoenix Office of Arts and Culture and has commissioned more than 120 public art projects in the past 20 years. The Phoenix Convention Center’s $3.2 million public art budget comes from three capital improvement program bonds: • Phoenix Convention Center (Civic Plaza) Capital Improvement Percent for Art Funds • Street Transportation Capital Improvement Percent for Art Funds • Water Department Capital Improvement Percent for Art Funds Artist Selection Process: A “call to artists ” process was issued by the Phoenix Office of Arts and Culture. A 10-member public art panel for the Phoenix Convention Center expansion project was assembled, including local artists and representatives from the Phoenix Arts and Culture Commission, the Phoenix Convention Center, and local cultural organizations. -
Memory and Privacy in the Entire History of You
Memory and Privacy in The Entire History of You Bianca Rodrigues Teixeira and Flavia Maria Santoro 1 Federal University of the State of Rio de Janeiro, Rio de Janeiro, RJ, Brazil {bianca.teixeira, flavia.santoro}@uniriotec.br Abstract. Privacy is a concerning issue today, with millions of people sharing their everyday lives on various social media platforms. Everything people share can be considered as part of their digital memory, which can be consisted of thoughts and feelings posted online. Memory is the focus of “The entire history of you”, third episode of British television series “Black Mirror”. The characters use a device that records and saves what their eyes see, and it's also possible to browse through all previous memories. The device contains most, if not all, of the user's life, which is undoubtedly useful in many daily events, like court cases, debates, reliving previous experiences, security checking, etc. However, it can be a huge problem if somebody tries to see memories that are supposed to be private. To try to combat that possibility, we defined an ontology for Digital Memory and specified our proposal of new features for the device regarding privacy using artificial intelligence. We believe that there is still room for improvement and for more discussion about video-memory and privacy, which is a topic that is not frequently debated. Keywords: memory, privacy, black mirror, ontology 1 Introduction In the past few years, technology has experienced some major advancements. British television series “Black Mirror” highlights several scenarios in which those said advancements could potentially lead to a dystopian society. -
Information to Users
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