Geometric Forms in Art
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DISPLACED BOUNDARIES: GEOMETRIC ABSTRACTION from PICTURES to OBJECTS Monica Amor
REVIEW ARTICLE Downloaded from http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf by guest on 30 September 2021 DISPLACED BOUNDARIES: GEOMETRIC ABSTRACTION FROM PICTURES TO OBJECTS monica amor suárez, osbel. cold america: geometric abstraction in latin america (1934–1973). exhibition presented by the Fundación Juan march, madrid, Feb 11–may 15, 2011. crispiani, alejandro. Objetos para transformar el mundo: Trayectorias del arte concreto-invención, Argentina y Chile, 1940–1970 [Objects to Transform the World: Trajectories of Concrete-Invention Art, Argentina and Chile, 1940–1970]. buenos aires: universidad nacional de Quilmes, 2011. The literature on what is generally called Latin American Geometric Abstraction has grown so rapidly in the past few years, there is no doubt that the moment calls for some refl ection. The fi eld has been enriched by publications devoted to Geometric Abstraction in Uruguay (mainly on Joaquín Torres García and his School of the South), Argentina (Concrete Invention Association of Art and Madí), Brazil (Concretism and Neoconcretism), and Venezuela (Geometric Abstraction and Kinetic Art). The bulk of the writing on these movements, and on a cadre of well-established artists, has been published in exhibition catalogs and not in academic monographs, marking the coincidence of this trend with the consolidation of major private collections and the steady increase in auction house prices. Indeed, exhibitions of what we can broadly term Latin American © 2014 ARTMargins and the Massachusetts Institute -
The Origins and Meanings of Non-Objective Art by Adam Mccauley
The Origins and Meanings of Non-Objective Art The Origins and Meanings of Non-Objective Art Adam McCauley, Studio Art- Painting Pope Wright, MS, Department of Fine Arts ABSTRACT Through my research I wanted to find out the ideas and meanings that the originators of non- objective art had. In my research I also wanted to find out what were the artists’ meanings be it symbolic or geometric, ideas behind composition, and the reasons for such a dramatic break from the academic tradition in painting and the arts. Throughout the research I also looked into the resulting conflicts that this style of art had with critics, academia, and ultimately governments. Ultimately I wanted to understand if this style of art could be continued in the Post-Modern era and if it could continue its vitality in the arts today as it did in the past. Introduction Modern art has been characterized by upheavals, break-ups, rejection, acceptance, and innovations. During the 20th century the development and innovations of art could be compared to that of science. Science made huge leaps and bounds; so did art. The innovations in travel and flight, the finding of new cures for disease, and splitting the atom all affected the artists and their work. Innovative artists and their ideas spurred revolutionary art and followers. In Paris, Pablo Picasso had fragmented form with the Cubists. In Italy, there was Giacomo Balla and his Futurist movement. In Germany, Wassily Kandinsky was working with the group the Blue Rider (Der Blaue Reiter), and in Russia Kazimer Malevich was working in a style that he called Suprematism. -
Cartoon Network in EMEA
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CUBISM and ABSTRACTION Background
015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement. -
2020 PREMIUM BOOK 55Th ANNUAL
2020 PREMIUM BOOK 55th ANNUAL January 30 - February 6, 2020 Dixie National Junior Round-Up Mississippi Coliseum - State Fairgrounds JACKSON, MISSISSIPPI www.dixienational.org DIXIE NATIONAL JUNIOR ROUND-UP SHOW MANAGEMENT COMMITTEE Livestock Director Mississippi Fair Commission ..................................................................................................................... Greg Young General Co-Managers ........................................................................................................ .Jill Wagner (FFA) and Dr. Dean Jousan (4-H) Clinical Veterinarians ....................................................................................Dr. Jim Brett, Dr. David Christiansen, and Dr. Carla Huston Beef Cattle Superintendents ................................................................................................Shelby Bearden, Brad Jones and Ellen Russell Dairy Cattle Superintendents .........................................................................Dr. Amanda Stone, Richard Hay and Dr. Patrick Poindexter Goat Superintendents ....................................................................................... Lance Newman, Jennifer Williams, and Tracy Robertson Lamb Superintendents .......................................................................................................................... Brandon Alberson and Alex Shook Swine Superintendents. ........................................................................................... Bubba Vandevere, Alex Deason, and -
DOUGLAS COUNTY FAIR OFFICE Building 21 Phone (785) 841-6322 Web Address
DOUGLAS COUNTY FAIR OFFICE Building 21 Phone (785) 841-6322 web address - www.dgcountyfair.com DOUGLAS COUNTY FAIR BOARD Matthew Fishburn, President Shane Newell, Vice-President John Leslie, Secretary/Treasurer Sue Ashcraft Becky Bentley Myrna Hartford George Hunsinger Robyn Kelso Charlie Thomas Kate Welch 4-H/FFA Representatives Mike Kelso EXTENSION AGENTS Don Moler, Extension Director Marlin Bates, Horticulture Susan Johnson, Family & Consumer Sciences Kaitlyn Peine, 4-H & Youth Development Roberta Wycoff, Agriculture & Natural Resources RULES COMMITTEE Matthew Fishburn Myrna Hartford George Hunsinger John Leslie Shane Newell COUNTY COMMISSIONERS Mike Gaughan - District 1 Nancy Thellman - District 2 Jim Flory - District 3 1 Friday, July 24 Jackpot Barrel Racing 7:00 p.m. Community Building Contact Darby Zaremba, 785-766-0074 For further information Tuesday, July 28 Evening Entertainment by “ARNIE JOHNSON & THE MIDNIGHT SPECIAL” 7:00 p.m.-10:00 p.m., Stage Area Free Admission Wednesday, July 29 Naturally Nutritious Food Festival Entries accepted 6:00 - 7:00 p.m., Bldg. 21 7:00 p.m. Judging Begins (Public sampling immediately following judging) “TOUCH A TRUCK” 6:00 – 8:00 p.m., Rodeo Arena Evening Entertainment by “Loozin’ Sleep” 7:00 p.m.-10:00 p.m., Stage Area Free Admission Chef’s Challenge 5:00 – 7:30 p.m., Picnic Area Local chefs compete with local farm products. Public will get to sample recipes. Partners in this event are Douglas County Food Policy Council, K-State Research & Extension Master Food Volunteers and Master Gardeners. Thursday, July 30 DUNK for FOOD!!! 1:00 – 4:00 p.m., Black Top Area Join us on the blacktop area for the chance to “Dunk” your 4-H peers! Bring your friends and canned goods/non-perishable foods items if you would like to join in on the fun! Receive one throw per can/item or you can purchase throws with cash. -
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$5.00 US / $8.00 IN CANADA NOVEMBER 2011 • VOLUME 25 • NUMBER 9 www.professionalartistmag.com CONTENTS FEATURES 4 De-Clutter Your Life BY ELENA PARASHKO 5 Get in the Box BY JODI WALSH 6 Design Is Not a Dirty Word BY MATTHEW DAUB 10 Enhancing the Art Buying Experience How to Turn Buyers into Collectors BY ANNIE STRACK 14 Maximize the Value of Your Art BY RENÉE PHILLIPS, THE ARTREPRENEUR COACH 18 Perspective Technique Tutorial: Drawing Houses on a Steep Hill BY ABIGAIL DAKER 24 Understanding the Aesthetic Power of Geometric Abstraction 18 BY STEPHEN KNUDSEN 28 Nature Sublime: The Paintings of Susan Swartz BY LOUISE BUYO 30 Planning Your Art Business Part 2: A Hobby Versus a Business BY ROBERT REED, PH.D., CFP© COLUMNS 13 Coaching the Artist Within: Prove the Exception BY ERIC MAISEL, PH.D. 16 The Photo Guy: Photographing Artists at Work BY STEVE MELTZER 31 Heart to Heart: Happiness is an Inside Job BY JACK WHITE DEPARTMENTS 4 From the Editor BY KIM HALL 33 Calls to Artists Your best source for art opportunities. Find awards, galleries reviewing portfolios, grants, fellowships, juried shows, festivals, residencies, conferences and more. 40 ArtScuttlebutt.com Member Mark Mulholland BY LOUISE BUYO 40 www.professionalartistmag.com 3 Understanding The Aesthetic Power of Geometric Abstraction BY STEPHEN KNUDSEN THE RENOWNED ART CRITIC Henry Geld- Artists succeed in making effective how the work of artist Jason Hoelscher zahler often used aesthetic intuition as a and memorable work, not through a magic embodies these principles through simple, guiding principle when curating exhibitions formula, but by successfully synthesizing elegant design. -
Conflicting Visions of Modernity and the Post-War Modern
Socialism and Modernity Ljiljana Kolešnik 107 • • LjiLjana KoLešniK Conflicting Visions of Modernity and the Post-war Modern art Socialism and Modernity Ljiljana Kolešnik Conflicting Visions of Modernity and the Post-war Modern art 109 In the political and cultural sense, the period between the end of World War II and the early of the post-war Yugoslav society. In the mid-fifties this heroic role of the collective - seventies was undoubtedly one of the most dynamic and complex episodes in the recent as it was defined in the early post- war period - started to change and at the end of world history. Thanks to the general enthusiasm of the post-war modernisation and the decade it was openly challenged by re-evaluated notion of (creative) individuality. endless faith in science and technology, it generated the modern urban (post)industrial Heroism was now bestowed on the individual artistic gesture and a there emerged a society of the second half of the 20th century. Given the degree and scope of wartime completely different type of abstract art that which proved to be much closer to the destruction, positive impacts of the modernisation process, which truly began only after system of values of the consumer society. Almost mythical projection of individualism as Marshall’s plan was adopted in 1947, were most evident on the European continent. its mainstay and gestural abstraction offered the concept of art as an autonomous field of Due to hard work, creativity and readiness of all classes to contribute to building of reality framing the artist’s everyday 'struggle' to finding means of expression and design a new society in the early post-war period, the strenuous phase of reconstruction in methods that give the possibility of releasing profoundly unconscious, archetypal layers most European countries was over in the mid-fifties. -
CBS, Rural Sitcoms, and the Image of the South, 1957-1971 Sara K
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Rube tube : CBS, rural sitcoms, and the image of the south, 1957-1971 Sara K. Eskridge Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Eskridge, Sara K., "Rube tube : CBS, rural sitcoms, and the image of the south, 1957-1971" (2013). LSU Doctoral Dissertations. 3154. https://digitalcommons.lsu.edu/gradschool_dissertations/3154 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. RUBE TUBE: CBS, RURAL SITCOMS, AND THE IMAGE OF THE SOUTH, 1957-1971 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Sara K. Eskridge B.A., Mary Washington College, 2003 M.A., Virginia Commonwealth University, 2006 May 2013 Acknowledgements Many thanks to all of those who helped me envision, research, and complete this project. First of all, a thank you to the Middleton Library at Louisiana State University, where I found most of the secondary source materials for this dissertation, as well as some of the primary sources. I especially thank Joseph Nicholson, the LSU history subject librarian, who helped me with a number of specific inquiries. -
Courier Gazette
Issued^ Tuesday THursmy Saturday he ourier azette T Entered aa Second ClueC Mall Matte, -G THREE CENTS A COPY Established January, 1846. By The Courier-Uaiette, 465 Main Ht. (Rockland, Maine, Tuesday, August 22, 1939 Volum e 9 4 ................. .Number 100. The Courier-Gazette [EDITORIAL] THREL'-TIMES-A-WEEK IS WAR COMING? “The Black Cat” Editor The situation in Europe, relative to poor, harried Poland, WM. O. FILLER Rockland Honors New Red Jacket Associate Editor grows more ominous with each passing hour. Hitler's determi PRANK A WINSLOW nation to take ever that country is apparent to all who read, and there remains to consider only the method by which he “Red Jacket Day” has come and Hutwcrlptloni S3 00 mr T’ *r payable ; Fifteen Thousand See the Parade, and Five In advance; single copies three criMa will go about It. The restive spirit which exists in Germany gone, leaving bi its trail no con Advertising rates based upon clrcula found expression in the Associated Press despatches which flicting emotions. The committee lng north on Union street to Talbot1 Uon and very reasonable. avenue, down Talbot avenue to I Thousand Visit the Ships— Notable Address NEWSPAPER HISTORY appeared In the dally newspapers on both sides of the water. in charge may rest with the as The Rockland Uaeette was estab-, The phrase "der tag" (day cf reckoning) was being spoken surance that its work was well done; Main and down Main to the Public I llshcd In 1B4C In 1114 the Courier was the public is of the unanimous opin Landing where the reviewing stand ] By State Librarian 0. -
Acrylic Paint and Montreal Hard-Edge Painting Jessica Veevers a Thesis in the De
The Intersection of Materiality and Mattering: Acrylic Paint and Montreal Hard-Edge Painting Jessica Veevers A Thesis In the Department Of Art History Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Art History) at Concordia University Montreal, Quebec, Canada January 2020 ©Jessica Veevers, 2020 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Jessica Veevers Entitled: The Intersection of Materiality and Mattering: Acrylic Paint and Montreal Hard-Edge Painting and submitted in partial fulfillment of the requirements for the degree of Doctor Of Philosophy (Art History) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. Haidee Wasson External Examiner Dr. Mark Cheetham External to Program Dr. Mark Sussman Examiner Dr. Steven Stowell Examiner Dr. Edith-Anne Pageot Thesis Supervisor Dr. Anne Whitelaw Approved by Dr. Kristina Huneault, Graduate Program Director January 10, 2020 Dr. Rebecca Taylor Duclos, Dean Faculty of Fine Arts iii ABSTRACT The Intersection of Materiality and Mattering: Acrylic Paint and Montreal’s Hard-Edge Painting Jessica Veevers, Ph.D. Concordia University, 2020 Set in Montreal with the advent of Hard-Edge painting and the invention of acrylic paint, this thesis takes a critical look at the relationship between materiality and mattering. The Hard-Edge painters, Guido Molinari, Claude Tousignant and Yves Gaucher undertook a new medium to express their new way of seeing and encountering the world and they did so in a way that was unique from other contemporaneous abstract painters. -
II. Comprehension:8Pts A
First Term - Exam 1 Full Name: _____________________________ Class: _____________ Time: 55 Minutes October 17th, 2018 1. J. G. Quintel is thirty-six years old. He is an American voice actor, animator, television writer, producer and director. He is best known as the creator of the Cartoon Network series ‘Regular Show’, in which he also voiced the characters Mordecai and High Five Ghost. 2.My name is J.G. Quintel, and I’m the creator of ‘The Regular Show’. I grew up watching cartoons especially‘The Simpsons’, I didn’t miss an episode at all.‘The Simpsons’ was the one that my friends and I were quoting constantly. 3.I really liked drawing, and I liked art. For as long as I can remember, I never wanted to be anything else. When I found out that it’s actually something people do for a living, I decided that I wanted to do that. So I went to college, and now I’m doing it. 4.In school you had to make a film every year.So, I made a film that had Mordecai in itand Benson in it. And it really was like how we acted in school. All the “uuuh!” and “Hmm, hmm!Hmm!hmm!”, that is just me and my friends being idiots.Because of the animation, you can do anything. So, they could have been human but that would be kind of boring. All the characters from my films are not what they happen to be. If you get past the fact that Benson is a gumball machine, or that Pops is a lollipop, they are just normal people hanging out.