Dr. Rheanna Rutledge
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CHINA RESEARCH MONOGRAPH 51 F M" INSTITUTE OF EAST ASIAN STUDIES ~ '-J UNIVERSITY OF CALIFORNIA • BERKELEY c::<::s CENTER FOR CHINESE STUDIES Cross-Cultural Readings of Chineseness Narratives, Images, and Interpretations of the 1990s EDITED BY Wen-hsin Yeh A publication of the Institute of East Asian Studies, University of Califor nia, Berkeley. Although the Institute of East Asian Studies is responsible for the selection and acceptance of manuscripts in this series, responsibil ity for the opinions expressed and for the accuracy of statements rests with their authors. Correspondence and manuscripts may be sent to: Ms. Joanne Sandstrom, Managing Editor Institute of East Asian Studies University of California Berkeley, California 94720-2318 E-mail: [email protected] The China Research Monograph series is one of several publications series sponsored by the Institute of East Asian Studies in conjunction with its constituent units. The others include the Japan Research Monograph series, the Korea Research Monograph series, and the Research Papers and Policy Studies series. A list of recent publications appears at the back of the book. Library of Congress Cataloging-in-Publication Data Cross-cultural readings of Chineseness : narratives, images, and interpretations of the 1990s I edited by Wen-hsin Yeh. p. em. - (China research monograph; 51) Collection of papers presented at the conference "Theoretical Issues in Modern Chinese Literary and Cultural Studies". Includes bibliographical references ISBN 1-55729-064-4 1. Chinese literature-20th century-History and criticism Congresses. 2. Arts, Chinese-20th century Congresses. 3. Motion picture-History and criticism Congresses. 4. Postmodernism-China Congresses. I. Yeh, Wen-hsin. -
DECEMBER 2005 WINTER ISSUE Special Feature on Hong Kong By
DECEMBER 2005 WINTER ISSUE INSIDE Special Feature on Hong Kong by Tobias Berger, John Millichap, Lee Weng Choy, Eliza Patten, Norman Ford, Sean Chen Monumentality and Anti—Monumentality in Gu Wenda’s Forest of Stone Steles-A Retranslation and Rewriting of Tang Poetry Zhang Dali: The Face of China A Visual Koan: Xu Bing's Dynamic Desktop Interviews with Oscar Ho, Uli Sigg, Xu Bing About the Chinese Presentation at the 2005 Yokohama Triennale US$12.00 NT$350.00 US$10.00 NT$350.00 Art & Collection Editor’s Note Contributors Hong Kong SAR: Special Art Region Tobias Berger p. 16 The Problem with Politics: An Interview with Oscar Ho John Millichap Tomorrow’s Local Library: The Asia Art Archive in Context Lee Weng Choy 24 Report on “Re: Wanchai—Hong Kong International Artists’ Workshop” Eliza Patten Do “(Hong Kong) Chinese” Artists Dream of Electric Sheep? p. 29 Norman Ford When Art Clashes in the Public Sphere— Pan Xing Lei’s Strike of Freedom Knocking on the Door of Democracy in Hong Kong Shieh-wen Chen Monumentality and Anti-Monumentality in Gu Wenda’s Forest of Stone Steles—A Retranslation and Rewriting of Tang Poetry Wu Hung From Glittering “Stars” to Shining El Dorado, or, the p. 54 “adequate attitude of art would be that with closed eyes and clenched teeth” Martina Köppel-Yang Zhang Dali: The Face of China Patricia Eichenbaum Karetzky Collecting Elsewhere: An Interview with Uli Sigg Biljana Ciric A Dialogue on Contemporary Chinese Art: The One-Day Workshop “Meaning, Image, and Word” Tsao Hsingyuan p. -
The Relationship of PSAT/NMSQT Scores and AP Examination Grades
Research Notes Office of Research and Development RN-02, November 1997 The Relationship of PSAT/NMSQT Scores and AP® Examination Grades he PSAT/NMSQT, which measures devel- Recent analyses have shown that student per- oped verbal and quantitative reasoning, as formance on the PSAT/NMSQT can be useful in Twell as writing skills generally associated identifying additional students who may be suc- with academic achievement in college, is adminis- cessful in AP courses. PSAT/NMSQT scores can tered each October to nearly two million students, identify students who may not have been initially the vast majority of whom are high school juniors considered for an AP course through teacher or and sophomores. PSAT/NMSQT information has self-nomination or other local procedures. For been used by high school counselors to assist in many AP courses, students with moderate scores advising students in college planning, high school on the PSAT/NMSQT have a high probability of suc- course selection, and for scholarship awards. In- cess on the examinations. For example, a majority formation from the PSAT/NMSQT can also be very of students with PSAT/NMSQT verbal scores of useful for high schools in identifying additional 46–50 received grades of 3 or above on nearly all of students who may be successful in Advanced the 29 AP Examinations studied, while over one- Placement courses, and assisting schools in deter- third of students with scores of 41–45 achieved mining whether to offer additional Advanced grades of 3 or above on five AP Examinations. Placement courses. There are substantial variations across AP subjects that must be considered. -
Artist: Period/Style: Patron: Material/Technique: Form
TITLE:Vietnam Veterans Memorial LOCATION: Washington, D.C., U.S. DATE: . 1982 C.E. ARTIST: Maya Lin PERIOD/STYLE: Minimalism PATRON: The Commision of Fine Arts MATERIAL/TECHNIQUE: Granite FORM: Highly reflective black granite with incised names of 58,000 names ofVietnam Veterans who sacrificed their lives during the conflict. The name is an abstraction that means more to the family and friends than a pictorial representation. The two walls start very short and get progressively taller until they meet at an oblique angle at the monument’s center. One wall points towards the Washington Monument; the other points to the Lincoln Memorial. FUNCTION: It functions as a memorial to the soldiers that died during the Vietnam War. It is an ideal place for people to come and spend quiet time reflecting on the names and perhaps leaving mementos to the deceased. CONTENT: The walls are made of a dark igneous rock called gabbro, a type of granite, which is highly reflective when polished.The surface of the monument is etched with the 58,195 names of the Americans who died or remained missing in action in the Vietnam War. The names are listed in the order in which they were reported killed or missing in action. This makes the names harder to find, and re- quires a listing and numeric system of organization for visitors. CONTEXT: There were 1400 anonymous entries for this commission. There was a real backlash once her identity was known because of latent racism in the post Vietnam era. She defended her design in front of the United States Congress, who eventually reached a compro- mise: A group of more “traditional” sculptures, called “The Three Soldiers,” was erected near the monument. -
Raja Ravi Varma 145
viii PREFACE Preface i When Was Modernism ii PREFACE Preface iii When Was Modernism Essays on Contemporary Cultural Practice in India Geeta Kapur iv PREFACE Published by Tulika 35 A/1 (third floor), Shahpur Jat, New Delhi 110 049, India © Geeta Kapur First published in India (hardback) 2000 First reprint (paperback) 2001 Second reprint 2007 ISBN: 81-89487-24-8 Designed by Alpana Khare, typeset in Sabon and Univers Condensed at Tulika Print Communication Services, processed at Cirrus Repro, and printed at Pauls Press Preface v For Vivan vi PREFACE Preface vii Contents Preface ix Artists and ArtWork 1 Body as Gesture: Women Artists at Work 3 Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990 61 Mid-Century Ironies: K.G. Subramanyan 87 Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi Varma 145 Film/Narratives 179 Articulating the Self in History: Ghatak’s Jukti Takko ar Gappo 181 Sovereign Subject: Ray’s Apu 201 Revelation and Doubt in Sant Tukaram and Devi 233 Frames of Reference 265 Detours from the Contemporary 267 National/Modern: Preliminaries 283 When Was Modernism in Indian Art? 297 New Internationalism 325 Globalization: Navigating the Void 339 Dismantled Norms: Apropos an Indian/Asian Avantgarde 365 List of Illustrations 415 Index 430 viii PREFACE Preface ix Preface The core of this book of essays was formed while I held a fellowship at the Nehru Memorial Museum and Library at Teen Murti, New Delhi. The project for the fellowship began with a set of essays on Indian cinema that marked a depar- ture in my own interpretative work on contemporary art. -
The Chief Turning Point in the Long Course
C H A P T E R 4 T R L he chief turning point in the long course At the same time his social reforms, aimed chie y at of Roman history came in 31 BCE , with the the upper classes, were intended to return his subjects nal collapse of the Roman Republic, and to traditional family values. Laws provided tax breaks its replacement by an Imperial system of for large families and penalized couples who did not Tgovernment. Augustus, the rst emperor, was faced produce children and those who remained unmar- with the task of restoring peace. During his long reign, ried. Adultery became a crime against the state. the spread of economic prosperity produced a hard- Yet despite the success of Augustus’s political and working middle class, loyal to the central government. economic policies, it is doubtful if his moral reform- ing zeal met with more than polite attention. His own daughter and granddaughter, both named Julia, were notorious for their scandalous affairs. To make matters worse, one of the lovers of his daughter Julia was a son of the Emperor’s old enemy, Mark Antony, whose defeat and suicide in 31 BCE had brought the Republic crashing down. Whatever his personal feel- ings, duty compelled Augustus to banish Julia to a remote Mediterranean island. A few years later he had to nd another distant location for the banishment of his granddaughter. He hushed up the details of both scandals, but there was much gossip. Augustus himself created a personal image of ancient Roman frugality and morality, although on his death-bed he gave a clue as to his own more com- plex view of his life. -
Impeded Language in EE Cummings' Poetry and Xu
Western Washington University Western CEDAR WWU Honors Program Senior Projects WWU Graduate and Undergraduate Scholarship Spring 1995 Extraordinary Language: Impeded Language in E.E. Cummings’ Poetry and Xu Bing’s Book from the Sky Anna Neher Western Washington University Follow this and additional works at: https://cedar.wwu.edu/wwu_honors Part of the Arts and Humanities Commons Recommended Citation Neher, Anna, "Extraordinary Language: Impeded Language in E.E. Cummings’ Poetry and Xu Bing’s Book from the Sky" (1995). WWU Honors Program Senior Projects. 262. https://cedar.wwu.edu/wwu_honors/262 This Project is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Honors Program Senior Projects by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. WESTERN WASHINGTON UNIVERSITY An equal opportunity university Honors■ Program HONORS THESIS In presenting this Honors paper in partial requirements for a bachelor ’s degree at Western Washington University, 1 agree that the Library shall make its copies freely available for inspection. I further agree that extensive copying of this thesis is allowable only for scholarly purposes. It is understood that any publication of this thesis for commercial purposes or for financial 2 ain shall not be allowed without mv written permission. Signature Date G- Anna Neher 1 Anna Neher Dr. Melissa Walt Honors Senior Project June 10, 2005 Extraordinary Language: Impeded Language in E.E. Cummings’ Poetry and Xu Bing’s Book from the Sky ”In the twentieth century as never before, form calls attention to itself.. -
1 APAH Daily Calendar 2020 21
APAH CALENDAR 2020 - 21 AP ART HISTORY *subject to constant change CALENDAR & OVERVIEW SUGGESTED SUMMER WORK: KHAN ACADEMY APAH250 IMAGES - APAH WEBSITE LINKS www.pinerichland.org/art BROWSING / SELF - QUIZ *click on APArtHistory tab on Left menu SUMMER SUGGESTED SUMMER WORK: VTHEARLE SUMMER LEARNING FILMS: Expanding upon APAH250 works and deepening RESOURCES VIA PRHS SITE context surrounding works DAILY CLASS READINGS - TO BE DONE BEFORE CLASS *Readings before class: QUIZ: G= Gardner’s Art Through the Ages I will evaluate your retention of class materials periodically in the form of a (DIGITAL EBOOK) POP QUIZ. K= Khan Academy (WEBSITE) Methods may vary: i.e. ‘Plickers’ / Google Quiz They will have a lower relative point value... Aka ‘The Fat these are designed to help guide my instruction ‘APAH 250 Stack’ FORMATIVE (forming understanding) vs. SUMMATIVE (sum end result) CARDS’TIMELINE (hallway) FRQ SIMULATION ESSAY WRITINGS: 3 PER QUARTER = 12 TOTAL FLASH CARDS Details on assignments to follow ‘TIMELINE FLASH CARDS’ for each piece in the 250 IMAGE SET will act GAME (WAR) as Instructional tools to help students learn the material FIELD TRIP (?) ‘HANDS ON’ STUDIO PROJECTS ~$15-$20 FREE CARDS! APRIL, 2021 -More info to come when possible or appropriate ANALYSIS ‘UNIT TESTS’ based on roughly 30 images each METHODS SUMMATIVE Assessment of learning in Units ‘CONCEPT MAPS’ for each piece in the 250 $94 IMAGE SET will act as Instructional tools to VISUAL help students learn the material ‘AP ART HISTORY EXAM’ THURS MAY 6, 2021 12PM shared via -
Manifestopdf Cover2
A Manifesto for the Book Sarah Bodman and Tom Sowden A Manifesto for the Book Sarah Bodman and Tom Sowden with an edited selection of interviews, essays and case studies from the project What will be the canon for the artist’s book in the 21st Century? 1 A Manifesto for the Book Published by Impact Press at The Centre for Fine Print Research University of the West of England, Bristol February 2010 Free download from: http://www.bookarts.uwe.ac.uk/canon.htm This publication is a result of a project funded by the Arts and Humanities Research Council from March 2008 - February 2010: What will be the canon for the artist’s book in the 21st Century? The AHRC funds postgraduate training and research in the arts and humanities, from archaeology and English literature to design and dance. The quality and range of research supported not only provides social and cultural benefits but also contributes to the economic success of the UK. For further information on the AHRC, please see the website www.ahrc.ac.uk ISBN 978-1-906501-04-4 © 2010 Publication, Impact Press © 2010 Images, individual artists © 2010 Texts, individual authors Editors Sarah Bodman and Tom Sowden The views expressed within A Manifesto for the Book are not necessarily those of the editors or publisher. Impact Press, Centre for Fine Print Research UWE, Bristol School of Creative Arts Kennel Lodge Road, Bristol BS3 2JT United Kingdom Tel: +44 (0) 117 32 84915 Fax: +44 (0) 117 32 85865 www.bookarts.uwe.ac.uk [email protected] [email protected] 2 Contents Interview with Eriko Hirashima founder of LA LIBRERIA artists’ bookshop in Singapore 109 A Manifesto for the Book Sarah Bodman and Tom Sowden 5 Interview with John Risseeuw, proprietor of his own Cabbagehead Press and Director of ASU’s Pyracantha Interview with Radoslaw Nowakowski on publishing his own Press, Arizona State University, USA 113 books and artists’ books “non-describing the world” since the 70s in Dabrowa Dolna, Poland. -
Advanced Placement Program Information Night
Advanced Placement Program Information Night Columbia High School https://tinyurl.com/yae9e75x Welcome Columbia High School is committed to every student’s success. We believe access to rigorous coursework, such as Advanced Placement® (AP®), plays an important role in that success. https://tinyurl.com/yae9e75x What We’ll Cover • What is it Like to Take AP® courses? • Advanced Placement® Course Offerings? • AP® Exams • The Benefits • Next Steps: Help Your Child Make the Best Choices https://tinyurl.com/yae9e75x ® What is it like to take AP Courses? https://tinyurl.com/yae9e75x ® Advanced Placement : The Basics ● The Advanced Placement Program is run by a non-profit organization, the College Board. The College Board is also responsible for the PSAT and SAT tests. ● AP® courses are college-level courses offered in high school. ● AP® Courses reflect what is taught in top, introductory college courses. ● Students take AP® Exams at the end of the course, measuring their mastery of college-level work. ● A score of 3 or higher on an AP® Exam may earn students college credit and/or placement into advanced courses in college. ® AP Myths & Realities Myth Reality AP® courses are for students who always get good AP® courses are for any students who are academically grades. prepared and motivated to take college-level courses.. AP® courses are too stressful. It's no secret that AP® courses are challenging, but the support you will receive from your classmates and teachers can help you manage the workload. I don't think I will score high enough on the AP® You don’t need to score a 5. -
AP® Art History Exam
SAMPLE QUESTIONS AP® Art History Exam Originally published in the October 2013 AP Art History Curriculum Framework About the College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of over 6,000 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success – including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators, and schools. For further information, visit www. collegeboard.org. AP® Equity and Access Policy The College Board strongly encourages educators to make equitable access a guiding principle for their AP® programs by giving all willing and academically prepared students the opportunity to participate in AP. We encourage the elimination of barriers that restrict access to AP for students from ethnic, racial, and socioeconomic groups that have been traditionally underserved. Schools should make every effort to ensure their AP classes reflect the diversity of their student population. The College Board also believes that all students should have access to academically challenging course work before they enroll in AP classes, which can prepare them for AP success. It is only through a commitment to equitable preparation and access that true equity and excellence can be achieved. -
Ualbany Art Museum Marks Its 50Th Year Venue Helped Energize Local Art Scene
UAlbany art museum marks its 50th year Venue helped energize local art scene By Amy Biancolli on October 22, 2017 Jason Middlebrook's "Live with Less," his 2009 installation at the UAM (image courtesy University at Albany / University Art Museum) Fifty years ago, an airy new venue for contemporary art opened up in Albany, one among the many modernist structures sprawled in the new uptown SUNY campus designed by the architect Edward Durell Stone. The museum was spacious and bright with windows, light spilling into upstairs and downstairs galleries ringing an open, soaring atrium that reached 35 feet to the roof. Its inaugural exhibit, which opened Oct. 5, 1967, featured paintings and sculptures from the collection of Gov. Nelson Rockefeller, the governor of New York and the state's most famous patron of abstract- expressionist artwork. "It really changed the contemporary landscape for our region — really, forever," said Tammis K. Groft, executive director of the Albany Institute of History and Art, the venerable museum best known for its cultural artifacts and collection of 19th-century Hudson River School paintings. SUNY's new cultural bastion of poured concrete cracked open a local arts scene more focused on the past than the present and future: the Institute was the old guard, slanted toward history. In the years since UAM opened, several regional havens for contemporary art have sprung into being. Among them: Albany Center Gallery in 1977. The Rice Gallery at the Albany Institute of History & Art, 1982. Mass MoCA, 1999. The Tang, 2000. The Opalka Gallery at Sage, 2002. "There are many more organizations focused on contemporary art" around the region these days, said Janet Riker, former director.