Tacoma Studio Tour October 17 & 18, 2015 11Am - 5Pm Tacoma Studio Tour
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Analysis on Chinese Traditional Cultural Elements in Modern Logo Design
International Conference on Arts, Design and Contemporary Education (ICADCE 2015) Analysis on Chinese Traditional Cultural Elements in Modern Logo Design Xiaowei Zhang Yantai Nanshan University Longkou, Shandong, China e-mail: [email protected] Abstract—A logo is a symbolic communication mark which designers rely excessively on and overuse the traditional employs simple and concise images for the expression of specific culture, the field of logo design is isolated and sluggish. It is connotation and the dissemination of specific information. Logo the basic criteria of modern logo design to introduce new design is widely used for company’s image advertising. Modern concepts and new methods, to follow the artistic rules of logo logo design is commonly inspired by Chinese traditional cultural design, to appropriately add Chinese traditional cultural elements and it incorporates them perfectly into the design elements, to seek creative tools and techniques of artistic subject to create designs with the charm of Chinese traditional expression of logo design in order to represent the overall culture. Modern logo design is critical both for the application of aesthetic feeling of modern logo design and to obtain the best traditional cultural elements and the dynamic integration of visual effect. traditional and modern design philosophies, so it is one of the important fields of research and investigation for modern logo The systematic research has clearly indicated that designers to have a correct understanding of the relationship enterprise’s core ideology, national cultural deposits and spirit between Chinese traditional cultural elements and modern logo of the time are mostly conveyed through the beauty in form of design so as to promote the extensive and in-depth application well-known logo design, so it has realistic significance for and transmission of Chinese traditional cultural elements in reference to gain inspiration from traditional culture and modern logo design. -
New Engines of Growth: Five Roles for Arts, Culture and Design
New Engines of Growth Five Roles for Arts, Culture and Design THE NATIONAL GOVERNORS ASSOCIATION (NGA), founded in 1908, is the instrument through which the nation’s governors collectively influence the development and implementation of national policy and apply creative leadership to state issues. Its members are the governors of the 55 states, three territories and two commonwealths. The NGA Center for Best Practices is the nation’s only dedicated consulting firm for governors and their key policy staff. The NGA Center’s mission is to develop and implement innovative solutions to public policy challenges. Through the staff of the NGA Center, governors and their policy advisors can: I Quickly learn about what works, what doesn’t and what lessons can be learned from other governors grappling with the same problems; I Obtain specialized assistance in designing and implementing new programs or improving the effectiveness of current programs; I Receive up-to-date, comprehensive information about what is happening in other state capitals and in Washington, D.C., so governors are aware of cutting-edge policies; and I Learn about emerging national trends and their implications for states, so governors can prepare to meet future demands. For more information about NGA and the Center for Best Practices, please visit www.nga.org. ACKNOWLEDGEMENTS This report was prepared by Erin Sparks and Mary Jo Waits at the NGA Center for Best Practices, in collaboration with Bill Fulton of Solomar Research Group. The National Assembly of State Arts Agencies contributed significant background research to this project. The NGA Center for Best Practices wishes to thank the National Endowment for the Arts (NEA) for its generous support of this report. -
[email protected]
Annie Farrar www.anniefarrar.com [email protected] Education 2009, MA, Museum Studies, George Washington University 2004, BFA, Painting, Maryland Institute College of Art Solo & Two-Person Exhibitions 2019 Apparitions, Hamilton Gallery, Baltimore, MD 2018 Wasted, The World Bank Art Program, Washington, DC Inner Labyrinths, Towle Hill Studios, Corinth, VT The Other Side of Existence, Georgetown College, Lexington, KY 2017 Haunted by Quiet Places, Margaret W. & Joseph L. Fisher Gallery, Alexandria, VA 2015 Vanitas, VisArts, Rockville, MD Annie Farrar & Mike Shaffer, 8000 Towers Crescent, Tysons Corner, VA 2014 Dark Matter, Charmed Life Gallery, Baltimore, MD 2013 Paint as Object, Hillyer Art Space, Washington, DC 2005 Annie Farrar, Creative Alliance, Baltimore, MD 2004 Gravity, Spirit Gallery, Frederick, MD Group Exhibitions 2022 Suspended Inter-Space, VisArts, Rockville, MD 2021 Fleeting, Fled, Glen Echo Galleries, Glen Echo, MD 2020 Out of Order, Maryland Art Place, Baltimore, MD Special Delivery, Ruby Projects, Fairfax, VA That Group Show Part I, Ruby Projects, Fairfax, VA International Women’s Day Exhibition, 5333 Connecticut, Washington, DC Perspective, Lowe House, Annapolis, MD 2019 Reflections of Self, Montpelier Art Center, Laurel, MD Hambidge Art Auction, Ballard Designs, Atlanta, GA Potluck, Georgetown College, Lexington, KY Notes of Color, The Athenaeum, Alexandria, VA Back Pay, The Lemon Collective, Washington, DC Sculpture Now 2019, Brentwood Arts Exchange, Brentwood, MD 2018 Prince George’s County Juried Exhibition, Harmony -
4. Organize a Studio Tour 5
Toolkits for the Arts TOOLKIT 4: ORGANIZE A STUDIO TOUR Studio tours offer a fun way to bring artists and the community together. By bringing the public into the studio, these events promote the local arts community and can offer an intimate and meaningful purchasing experience. This toolkit is designed to: • provide an overview of the logistics and benefits of studio tours, and • offer practical steps for organizing a studio tour and helping artists prepare and participate. OTHER TOOLKIT TOPICS This document is the fourth installment in a six-part series of toolkits published by the Tamarack Foundation for the Arts. Funded by an “Our Town” grant from the National Endowment for the Arts, this series provides straightforward guidance to help individuals, communities, arts councils, and other creative entities implement local initiatives for the visual arts. Other installments in this series include: 1. Create an arts organization 2. Form an artist cooperative 3. Host a pop-up art shop 4. Organize a studio tour 5. Arrange an art walk 6. Lead a public mural project About the Tamarack Foundation for the Arts The Tamarack Foundation for the Arts (TFA) is a nonprofit organization dedicated to cultivating an empowering ecosystem that provides artists, businesses, and communities the tools and support needed to learn, connect, and thrive. TFA convenes a range of initiatives and programming that aim to help West Virginia artists prosper from their creative practice and make meaningful contributions to the well-being of our communities. More information is available at tamarackfoundation.org. WHY ORGANIZE A STUDIO TOUR? A studio tour is a coordinated event in which local artists in a region open up their studios to the public. -
International Print Collectors' Societies Newsletter from the Editor
International Print Collectors’ Societies Newsletter Vol. XIV, No. 1 January 2017 From the Editor Those of you with eagle eyes may notice changes and a new addition to our roster. I am pleased to welcome The Print Club of Rochester as they join us here among the IPCS at the beginning of 2017. Heather Swenson will be providing their updates while also serving as the Vice President of their Club. I know I am happy to extend our reach and have them as part of our group. Coincidentally, in addition to Rochester, I was also recently contacted by another group in Iowa, so my hope is that we’ll have yet another addition before the year is up. I’d also like to welcome a new contributor on behalf of the Print Club of Cleveland, Samantha Mishe. With some new faces and perspectives, I am sure we can look forward to some good reading ahead. In this issue, I’d like to call out some encouraging community-building efforts with long- term impact. The Montreal Print Society has established a scholarship fund with Concordia University to give $1000 to a senior BFA student over the next five years. And the Washington Print Club has instituted a new initiative of gifting $1000 to a student enrolled in a printmaking program at one of the local institutions. This year the gift will go to a student at the Maryland College of Fine Art in Baltimore. Kudos to each of your groups for supporting up-and-coming printmakers in the next generation. Primarily I enjoy reading through the different gallery talks, studio visits, and other sorts of membership gatherings among the different societies. -
Max Ginsburg at the Salmagundi Club by RAYMOND J
Raleigh on Film; Bethune on Theatre; Behrens on Music; Seckel on the Cultural Scene; Critique: Max Ginsburg; Lille on René Blum; Wersal ‘Speaks Out’ on Art; Trevens on Dance Styles; New Art Books; Short Fiction & Poetry; Extensive Calendar of Events…and more! ART TIMES Vol. 28 No. 2 September/October 2011 Max Ginsburg at The Salmagundi Club By RAYMOND J. STEINER vening ‘social comment’ — “Caretak- JUST WHEN I begin to despair about ers”, for example, or “Theresa Study” the waning quality of American art, — mostly he chooses to depict them in along comes The Salmagundi Club extremities — “War Pieta”, “The Beg- to raise me out of my doldrums and gar”, “Blind Beggar”. His images have lighten my spirits with a spectacular an almost blinding clarity, a “there- retrospective showing of Max Gins- ness” that fairly overwhelms the burg’s paintings*. Sixty-plus works viewer. Whether it be a single visage — early as well as late, illustrations or a throng of humanity captured en as well as paintings — comprise the masse, Ginsburg penetrates into the show and one would be hard-pressed very essence of his subject matter — to find a single work unworthy of what the Germans refer to as the ding Ginsburg’s masterful skill at classical an sich, the very ur-ground of a thing representation. To be sure, the Sal- — to turn it “inside-out”, so to speak, magundi has a long history of exhib- so that there can be no mistaking his iting world-class art, but Ginsburg’s vision or intent. It is to a Ginsburg work is something a bit special. -
Wright State University Magazine, Fall 2019
Wright State University CORE Scholar Wright State University Magazine Office of Marketing Fall 2019 Wright State University Magazine, Fall 2019 Office of Marketing, Wright State University Wright Sate Alumni Association Wright State University Foundation Follow this and additional works at: https://corescholar.libraries.wright.edu/wsu_magazine Part of the Mass Communication Commons Repository Citation Office of Marketing, Wright State University , Wright Sate Alumni Association , & Wright State University Foundation (2019). Wright State University Magazine, Fall 2019. This Magazine is brought to you for free and open access by the Office of Marketing at CORE Scholar. It has been accepted for inclusion in Wright State University Magazine by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. WrightStateMAGAZINE Alumni are leading the charge in the resurgence of downtown Dayton A NETFLIX ORIGINAL: CHRIS TUNG ’12 WE ARE #WRIGHTSTATESTRONG WANT EDUCATION. WILL TRAVEL. FALL 2019 Dear Wright State Magazine reader, A DOWNTOWN REBORN As we were going to press for this issue, a horrifc and senseless tragedy struck the Dayton and Wright State communities in In 2008, the recession hit downtown Dayton hard. However, this presented an opportunity the early hours of August 4, 2019. Our hearts were immediately broken for the victims’ families and for our beloved city. Our for the city to reinvent itself. In 2009, a group of business and community leaders came campus community was devastated to receive the information that a Wright State student was among the victims. In addition, together to create a local, community-wide effort to build a real future for Dayton’s urban several other members of our Wright State community were seriously impacted by the events. -
SITAC IX Teoría Y Práctica De La Catástrofe Primera Edición / First Edition, 2013 D.R
SITAC IX Teoría y práctica de la catástrofe Primera edición / First edition, 2013 D.R. ® Patronato de Arte Contemporáneo A.C. Palmas 820 Piso 3. Lomas de Chapultepec México D.F., 11000 © De imágenes y textos: sus autores Todos los derechos reservados. Queda prohibida la reproducción parcial o total de esta obra por cualquier medio o procedimiento, comprendidos la reproducción y el tratamiento informático, fotoco- pia o grabación, sin previa autorización por escrito de los titulares de los derechos. All rights reserved. No part of this book may be reproduced or copied in any form or by any means —graphic, electronic or mechanical, in - cluding photocopyng, taping, or information storage and retrieval sys- tems— without the prior given authorization of the legal propietor of the rights of this publication. SITAC IX Teoría y práctica de la catástrofe ÍNDICE Teoría y práctica de la catástrofe 9 EDUARDO ABAROA DÍA 1. Muestrario provisional de eventos catastróficos 14 DÍA 2. Tecnociencia, desastre y panacea 84 Escuela de accidentes. “Favor de empujar: la puerta abre hacia dentro” 16 Eventos críticos 86 JUAN VILLORO MANUEL DELANDA Under Discussion (2005) 34 Real Remnants of Fictive Wars (2004) 93 JENNIFER ALLORA & GUILLERMO CALZADILLA CYPRIEN GAILLARD Respuesta al desastre por los medios, métodos y materiales necesarios 35 Superflex y Patrick Charpenel – Conversación 94 CONVERSACIÓN MEL CHIN Y CHRISTIAN VIVEROS-FAUNÉ Finales 103 A Map is not the Territory 48 PABLO VARGAS LUGO JOSÉ JIMÉNEZ ORTIZ Panel 2 Panel 1 SARINA BASTA, DR. AMY SARA CARROL & RICARDO DOMÍNGUEZ Y PAULA SIBLILA ANA MARÍA MILLÁN, WILSON DÍAZ, CLAUDIA PATRICIA SARRIA-MACÍAS MODERADOR: TOM VANDERBILT (HELENA PRODUCCIONES), GEORGE OSODI Y RUBÉN ORTIZ TORRES Oceanomanía. -
Thesis. Approved. F.Obrien
GROWTH AND EVOLUTION IN THREE PHILADELPHIA ARTIST COLLECTIVES: THE CLAY STUDIO, NEXUS/FOUNDATION FOR TODAY’S ART, VOX POPULI PRESENTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE MASTER OF SCIENCE IN ARTS ADMINISTRATION DREXEL UNIVERSITY BY FILIZ S. O’BRIEN, B.F.A., B.A. * * * * * DREXEL UNIVERSITY 2012 APPROVED BY _______________________________ THORA JACOBSON ADVISOR GRADUATE PROGRAM IN ARTS ADMINISTRATION Copyright by Filiz S. O’Brien 2012 ABSTRACT Three collectives located in Philadelphia, Pennsylvania are examined to uncover the critical issues affecting the success and direction of artist collectives. The purpose of this study is to better understand the Artist Cooperative movement as a visual art organizational model and to unveil the key aspects or components that allow the artist cooperative to grow and transform successfully throughout its life cycle. Through investigation of the histories of The Clay Studio, Nexus/Foundation for Today’s Art, and Vox Populi, critical issues and trends are discovered contributing to these collectives success, including the necessity of artists as stakeholders, artists involvement in governance, and the availability of long-term affordable physical space. ii ACKNOWLEDGEMENTS Thank you to the many people who supported me through this process: Amy Adams, Nick Cassway, Jimmy Clark, Suzanne Horvitz, Kathryn Narrow, and Amy Sarner Williams, for sharing their knowledge and personal memories of the collectives examined. My advisor, Thora Jacobson, for her patience and encouragement throughout. -
Civil Society and the State in Democratic East Asia
PROTEST AND SOCIAL MOVEMENTS Chiavacci, (eds) Grano & Obinger Civil Society and the State in Democratic East Asia East Democratic in State the and Society Civil Edited by David Chiavacci, Simona Grano, and Julia Obinger Civil Society and the State in Democratic East Asia Between Entanglement and Contention in Post High Growth Civil Society and the State in Democratic East Asia Protest and Social Movements Recent years have seen an explosion of protest movements around the world, and academic theories are racing to catch up with them. This series aims to further our understanding of the origins, dealings, decisions, and outcomes of social movements by fostering dialogue among many traditions of thought, across European nations and across continents. All theoretical perspectives are welcome. Books in the series typically combine theory with empirical research, dealing with various types of mobilization, from neighborhood groups to revolutions. We especially welcome work that synthesizes or compares different approaches to social movements, such as cultural and structural traditions, micro- and macro-social, economic and ideal, or qualitative and quantitative. Books in the series will be published in English. One goal is to encourage non- native speakers to introduce their work to Anglophone audiences. Another is to maximize accessibility: all books will be available in open access within a year after printed publication. Series Editors Jan Willem Duyvendak is professor of Sociology at the University of Amsterdam. James M. Jasper teaches at the Graduate Center of the City University of New York. Civil Society and the State in Democratic East Asia Between Entanglement and Contention in Post High Growth Edited by David Chiavacci, Simona Grano, and Julia Obinger Amsterdam University Press Published with the support of the Swiss National Science Foundation. -
Paper Cutting Part B
! ! ! ! ! ! ! ! ! ! ! ! Field Guide Of Chinese Paper cutting ! by Tiantian Li （Tina） AAD550 University of Oregon 2014 Fall term ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Overview! ! Introduction! ! Paper cutting refer to handicrafts made by cutting paper with scissors to form different patterns and pasting them on walls, windows, doors and ceilings. Paper cutting has evolved uniquely all over the world to adapt to different cultural styles. Paper cutting was first found in China since 6th century by the eighth or ninth century paper cutting appeared in West Asia and in Turkey in the 16th century. Within a century, paper cutting was being done in most of middle Europe. ! Chinese paper cutting originated in ancient ancestor worship activities such as pray the God which is rooted in profound traditional Chinese culture. Chinese paper cutting is Two thousand years old, it concentrates the transitional concept of Chinese culture which evolution in art and pottery, rock art and other art interwined , also deferred the human spirit and idea of the pulse of the ancient people. Paper cutting became an integral part of Chinese traditional culture, traditional belief’s and a microcosm of the Human moral, but also observe the folk culture of a nation’s heritage windows. Paper cutting has been very poplar among the ordinary people of China. ! ! History Context ! Chinese paper cutting has its own manual formation and development process. Chinese paper cutting was invented in 3rd century BC, the Spring and Autumn Period. In that Period, people used thin material, like leaves, silk and leather to carve hollowed patterns before the paper was invented. Han Dynasty invented the paper which is prompted emergence of paper cutting, development and popularization. -
Hickory Museum of Art Page 14 - Mouse House / Susan Lenz & One Eared Cow Glass Page 18 - Hickory Museum of Art Cont., Blue Moon Gallery & Asheville Gallery of Art
ABSOLUTELY FREE Vol. 23, No. 1 January 2019 You Can’t Buy It Happy New Year! Artwork, Buffoon, is by Luis Ardila and is part of the exhibit ARTE LATINO NOW 2019 on view at the Max L. Jackson Gallery, Watkins building, Queens University of Charlotte, Charlotte, NC. This is the eighth annual exhibition featuring the exciting cultural and artistic contributions of Latinos in the United States. A reception will be held on January 17, 2019 from 5:30 - 7:30pm. Article is on Page 17. ARTICLE INDEX Advertising Directory This index has active links, just click on the Page number and it will take you to that page. Listed in order in which they appear in the paper. Page 1 - Cover - Queens University of Charlotte - Luis Ardila Page 3 - Karen Burnette Garner & Wells Gallery at the Sanctuary Page 2 - Article Index, Advertising Directory, Contact Info, Links to blogs, and Carolina Arts site Page 4 - Halsey-McCallum Studio & Whimsy Joy by Roz Page 3 - City of North Charleston Page 5 - Emerge SC Page 4 - Editorial Commentary & City of North Charleston cont. Page 5 - Editorial Commentary cont. Page 6 - Avondale Therapy / Susan Irish Page 6 - Charleston Artist Guild & Gibbes Museum of Art Page 7 - Helena Fox Fine Art, Corrigan Gallery, Halsey-McCallum Studio, Rhett Thurman, Page 8 - Coastal Discovery Museum Page 9 - Art League of Hilton Head x 2 & University of SC - Upstate Anglin Smith Fine Art, Spencer Art Galleries, The Wells Gallery at the Sanctuary, Page 11 - University of SC - Upstate cont. & West Main Artists Co-op & Saul Alexander Foundation Gallery Page 12 - West Main Artists Co-op, Converse College & Page 8 - Art League of Hilton Head USC-Upstate / UPSTATE Gallery on Main Page 13 - USC-Upstate / UPSTATE Gallery on Main cont.