Artist Model Part-Time, Non-Exempt
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Hot Or Not.Pdf
PSYCHOLOGICAL SCIENCE Research Article If I’m Not Hot, Are You Hot or Not? Physical-Attractiveness Evaluations and Dating Preferences as a Function of One’s Own Attractiveness Leonard Lee,1 George Loewenstein,2 Dan Ariely,3 James Hong,4 and Jim Young4 1Columbia University, 2Carnegie Mellon University, 3Duke University, and 4HOTorNOT.com, San Francisco, California ABSTRACT—Prior research has established that people’s Such attractiveness matching can potentially be explained own physical attractiveness affects their selection of by various theories, including evolutionary theories, which posit romantic partners. This article provides further support that assortative mating maximizes gene replication and in- for this effect and also examines a different, yet related, creases fitness (Thiessen & Gregg, 1980); equity theory, which question: When less attractive people accept less attractive proposes that a relationship built on attribute matching could dates, do they persuade themselves that the people they be perceived to be more equitable and satisfactory than a choose to date are more physically attractive than others relationship that involves a mismatch of personal attributes perceive them to be? Our analysis of data from the pop- (Walster, Walster, & Berscheid, 1978); market theories, which ular Web site HOTorNOT.com suggests that this is not the indicate that attractive people seek one another as mates, case: Less attractive people do not delude themselves into leaving the less attractive people to choose among themselves thinking that their dates are more physically attractive (Hitsch, Hortacsu, & Ariely, 2006; Kalick & Hamilton, 1986); than others perceive them to be. Furthermore, the results and parental-image theories, which claim that people are at- also show that males, compared with females, are less tracted to others who resemble their parents and thus indirectly affected by their own attractiveness when choosing whom themselves (Epstein & Guttman, 1984). -
Materials & Process
Sculpture: Materials & Process Teaching Resource Developed by Molly Kysar 2001 Flora Street Dallas, TX 75201 Tel 214.242.5100 Fax 214.242.5155 NasherSculptureCenter.org INDEX INTRODUCTION 3 WORKS OF ART 4 BRONZE Material & Process 5-8 Auguste Rodin, Eve, 1881 9-10 George Segal, Rush Hour, 1983 11-13 PLASTER Material & Process 14-16 Henri Matisse, Madeleine I, 1901 17-18 Pablo Picasso, Head of a Woman (Fernande), 1909 19-20 STEEL Material & Process 21-22 Antony Gormley, Quantum Cloud XX (tornado), 2000 23-24 Mark di Suvero, Eviva Amore, 2001 24-25 GLOSSARY 26 RESOURCES 27 ALL IMAGES OF WORKS OF ART ARE PROTECTED UNDER COPYRIGHT. ANY USES OTHER THAN FOR EDUCATIONAL PURPOSES ARE STRICTLY FORBIDDEN. 2 Introduction This resource is designed to introduce students in 4th-12th grades to the materials and processes used in modern and traditional sculpture, specifically bronze, plaster, and steel. The featured sculptures, drawn from the collection of the Nasher Sculpture Center, range from 1881 to 2001 and represent only some of the many materials and processes used by artists whose works of art are in the collection. Images from this packet are also available in a PowerPoint presentation for use in the classroom, available at nashersculpturecenter.org. DISCUSS WITH YOUR STUDENTS Artists can use almost any material to create a work of art. When an artist is deciding which material to use, he or she may consider how that particular material will help express his or her ideas. Where have students seen bronze before? Olympic medals, statues… Plaster? Casts for broken bones, texture or decoration on walls.. -
Public Art Implementation Plan
City of Alexandria Office of the Arts & the Alexandria Commission for the Arts An Implementation Plan for Alexandria’s Public Art Policy Submitted by Todd W. Bressi / Urban Design • Place Planning • Public Art Meridith C. McKinley / Via Partnership Elisabeth Lardner / Lardner/Klein Landscape Architecture Table of Contents 1.0 Introduction 2.0 Vision, Mission, Goals 3.0 Creative Directions Time and Place Neighborhood Identity Urban and Natural Systems 4.0 Project Development CIP-related projects Public Art in Planning and Development Special Initiatives 5.0 Implementation: Policies and Plans Public Art Policy Public Art Implementation Plan Annual Workplan Public Art Project Plans Conservation Plan 6.0 Implementation: Processes How the City Commissions Public Art Artist Identification and Selection Processes Public Art in Private Development Public Art in Planning Processes Donations and Memorial Artworks Community Engagement Evaluation 7.0 Roles and Responsibilities Office of the Arts Commission for the Arts Public Art Workplan Task Force Public Art Project Task Force Art in Private Development Task Force City Council 8.0 Administration Staffing Funding Recruiting and Appointing Task Force Members Conservation and Inventory An Implementation Plan for Alexandria’s Public Art Policy 2 Appendices A1 Summary Chart of Public Art Planning and Project Development Process A2 Summary Chart of Public Art in Private Development Process A3 Public Art Policy A4 Survey Findings and Analysis An Implementation Plan for Alexandria’s Public Art Policy 3 1.0 Introduction The City of Alexandria’s Public Art Policy, approved by the City Council in October 2012, was a milestone for public art in Alexandria. That policy, for the first time, established a framework for both the City and private developers to fund new public art projects. -
Power of the Stick Year 8
Year 8 - Knowledge Organiser - Giacometti The width from shoulder to shoulder = 2heads The elbow roughly lines up with the bottom of the What is proportion? – Proportion is comparison ribcage just above the waist It is important to draw the human figure in proportion. The tip of the middle finger to the armpit = 3 heads Though there are subtle differences between individuals Width of the waist at the belly is 1 head length wide human proportions fit within a fairly standard range, which With the arm stretched out the hand reaches have varied considerably over different periods and regions. midthigh. In modern figure drawing, the basic unit of measurement is Hand = face (chin to hairline) the ‘head’, which is the distance from the top of the head to the chin. Motion -The body is a supple and agile system, The proportions used in figure drawing are: influenced by gravity. It has no natural rigid position • An average person is generally 7 ½ heads tall. • An ideal figure , used when aiming for an impression 1.An exaggerated walking gait. of nobility or grace, is drawn at 8 heads tall. The hip joints move because of • An heroic figure , gods and superheroes, is 8 ½ gravity. The motion of the 1 heads tall. (bigger chest and longer legs) shoulders moves in reverse to the hip joints. 2. A sideways lying person, resting on 1 arm. This causes Power of the Stick • An unbalanced pose conveys the rest of the body (ribcage) to red circle = centreFigure of gravity dynamics, action and motion hang on the resting shoulder. -
Erotic Ambiguities : the Female Nude in Art / 30111 Helen Mcdonald
1111 2 3 4 5111 EROTIC AMBIGUITIES 6 7 8 9 1011 1 2 3111 Art is always ambiguous. When it involves the female body it can also be erotic. 4 Erotic Ambiguities is a study of how contemporary women artists have recon- 5 ceptualised the figure of the female nude. Helen McDonald shows how, over 6 the past thirty years, artists have employed the idea of ambiguity to dismantle 7 the exclusive, classical ideal enshrined in the figure of the nude, and how they 8 have broadened the scope of the ideal to include differences of race, ethnicity, 9 sexuality and disability as well as gender. 20111 McDonald discusses the work of a wide range of women artists, including 1 Barbara Kruger, Judy Chicago, Mary Duffy, Zoe Leonard, Tracey Moffatt, Pat 2 Brassington and Sally Smart. She traces the shift in feminist art practices from 3 the early challenge to patriarchal representations of the female nude to contem- 4 porary, ‘postfeminist’ practices, influenced by theories of performativity, queer 5 theory and postcoloniality. McDonald argues that feminist efforts to develop 6 a more positive representation of the female body need to be reconsidered, 7 in the face of the resistant ambiguities and hybrid complexities of visual art in 8 the late 1990s. 9 30111 Helen McDonald is an Honorary Fellow in the School of Fine Arts, Classical 1 Studies and Archaeology at the University of Melbourne. 2 3 4 5 6 7 8 9 40111 1 2 3 44111 i RUNNING HEAD 1111 2 3 4 5 6 7 8 9 1011 1 2 3 4 5 6 7 8 9 20111 1 2 3 4 5 6 7 8 9 30111 1 2 3 4 5 6 7 8 9 40111 1 2 3 44111 ii RUNNING HEAD -
Writing the Naked Body: Sex and Nudity in Nuala Ní Chonchuír's Nude
Estudios Irlandeses, Number 11, 2016, pp. 1-11 __________________________________________________________________________________________ AEDEI Writing the Naked Body: Sex and Nudity in Nuala Ní Chonchuír’s Nude Máximo Aláez Corral University of Oviedo, Spain Copyright (c) 2016 by Máximo Aláez Corral. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged for access. Abstract. This essay looks into the deconstruction of the male gaze and the objectification process around the concepts of nudity and nakedness. Starting from the review of some of Martha Nussbaum’s, John Berger’s, or Laura Mulvey’s main ideas on the topic of the gaze and objectification, a practical analysis of some of the short stories contained in Nuala Ní Chonchúir’s Nude (2009) is provided. By so doing, I intend to examine the ways in which conventional objectification phenomena can be turned upside down, challenged or parodied in order to reveal cultural discriminatory undercurrents and offer a new non-objectifying visual and written representation of the naked body. Key Words. Ní Chonchúir, Objectification, Male Gaze, Nude, Naked Body, Feminism. Resumen. Este ensayo analiza la deconstrucción de la mirada masculina y el proceso de reificación en torno al concepto de desnudez en toda su extensión. Tras plantear un breve repaso de algunas de las ideas planteadas por Martha Nussbaum, John Berger o Laura Mulvey acerca tanto de la mirada como de la reificación del cuerpo, realizo un análisis práctico de algunos de los relatos contenidos en Nude (2009), de la autora irlandesa Nuala Ní Chonchúir. -
Cubo-Futurism
Notes Cubo-Futurism Slap in theFace of Public Taste 1 . These two paragraphs are a caustic attack on the Symbolist movement in general, a frequent target of the Futurists, and on two of its representatives in particular: Konstantin Bal'mont (1867-1943), a poetwho enjoyed enormouspopu larityin Russia during thefirst decade of this century, was subsequentlyforgo tten, and died as an emigrein Paris;Valerii Briusov(18 73-1924), poetand scholar,leader of the Symbolist movement, editor of the Salles and literary editor of Russum Thought, who after the Revolution joined the Communist party and worked at Narkompros. 2. Leonid Andreev (1871-1919), a writer of short stories and a playwright, started in a realistic vein following Chekhov and Gorkii; later he displayed an interest in metaphysicsand a leaning toward Symbolism. He is at his bestin a few stories written in a realistic manner; his Symbolist works are pretentious and unconvincing. The use of the plural here implies that, in the Futurists' eyes, Andreev is just one of the numerousepigones. 3. Several disparate poets and prose writers are randomly assembled here, which stresses the radical positionof the signatories ofthis manifesto, who reject indiscriminately aU the literaturewritt en before them. The useof the plural, as in the previous paragraphs, is demeaning. Maksim Gorkii (pseud. of Aleksei Pesh kov, 1�1936), Aleksandr Kuprin (1870-1938), and Ivan Bunin (1870-1953) are writers of realist orientation, although there are substantial differences in their philosophical outlook, realistic style, and literary value. Bunin was the first Rus sianwriter to wina NobelPrize, in 1933.AJeksandr Biok (1880-1921)is possiblythe best, and certainlythe most popular, Symbolist poet. -
ART 213 Figure Drawing (Definitive Version)
ART 2323 – FIGURE DRAWING I MAIN ART BUILDING, ROOM 201 2:00 P.M. -- 4:50 P.M. Instructor: Gerard Huber [email protected] Office Hours 11:00AM to 1:50PM, Tuesday/Thursday, Room #211 in Art Building CATALOGUE DESCRIPTION: The solving of total compositional problems, through drawing media. Emphasis is placed upon the figure, with additional concentration upon other subject matter and nonobjective image making. ADDITIONAL DESCRIPTION: A course in learning how to draw the nude human body accurately and with sensitivity. Objectives of the course are to acquire a comprehensive understanding of the human form by developing a working knowledge of the structural components of the human body. Course Purpose: The purpose of Figure Drawing is to develop perceptual skills in terms of drawing a correctly articulated human figure with accurate proportions from a nude figure. The student will review basic knowledge of the elements of art structure: line, value, shape, texture, and color to lead to their deliberate manipulation of different types of spatial illusion, compositions, and expressive meaning. Course Goals: Figure Drawing is designed to build each student’s perceptual, compositional, and expressive figure drawing skills so that by the end of the semester he or she will: learn to make a drawing of the live human figure based on increased sensory perception as opposed to preconceived ideas of what the figure should look like. be able to draw the human figure in an objectively accurate manner. be able to analyze underlying structure and proportions of male and female human figures. be able to draw the human figure in an expressive manner, with desired mood or emotional nuance. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Kansas Curricular Standards for Visual Arts Are Aligned with the National Standards for the Visual Arts
Model Curricular Standards for Visual Arts State Board of Education May 2007 Kansas Curricular Standards for Visual Arts Joyce Huser Fine Arts Education Consultant Kansas State Department of Education 120 Southeast 10th Avenue, Topeka, Kansas, 66612-1182 [email protected] (785) 296-4932 Table of Contents Mission Statement ii Introduction iii Acknowledgements iv Document Usage v Major Objectives of Art Education vi What Constitutes a Quality Art Education? vii Standards, Benchmarks, Indicators, Instructional Samples 1 Basic 2 Intermediate 24 Proficient 46 Advanced 68 Exemplary 90 Scope and Sequence 112 Appendix I 128 Blooms Taxonomy 129 Assessments in Art 135 Kansas Art Teacher Licensure Standards 139 Competitions and Contests 142 Displaying Artwork 144 Shooting Slides of Student Work 145 Museums 146 Needs of Special Students 147 A Safe Work Environment 149 Stages of Artistic Development 151 Technology Time and Scheduling Standards 153 Appendix II 156 Resources/Books 157 Websites 159 Art Museums in Kansas with Educational Materials 162 Appendix III 165 Lesson Plans 166 Appendix IV 253 Glossary 254 i The Mission of the Kansas Curriculum Standards for the Visual Arts The visual arts are a vital part of every Kansas student’s comprehensive education. ii Introduction The Kansas Curricular Standards for the Visual Arts are designed for all visual art students and educators whether experienced or in the preservice years of their teaching career. A range of benchmarks engages students in reaching their greatest potential in the visual arts. Quality activities involve students in thoughtful, creative, and original expression of self. In all cases, students will learn life-skills including critical thinking, astute observation, viewing from multiple perspectives, higher order learning, and authentic problem-solving skills. -
Figure Painting in the High School; Experiments and Recommendations
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 5-1-1969 Figure painting in the high school; experiments and recommendations E. Leonora Perron Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Let us know how access to this document benefits ou.y Recommended Citation Perron, E. Leonora, "Figure painting in the high school; experiments and recommendations" (1969). Dissertations and Theses. Paper 690. https://doi.org/10.15760/etd.690 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. AN ABSTRACT OF THE THESIS OF E. Leonora Perron for the Master of Science in Teaching Art presented May' 28, 1969. Title: Figure Painting in the High School, Experiments and Recommendatlons. APPROVED BY MEMBERS OF THE THESIS COM.MITTEE: , . B. J. ardner, Chairman My research problem was to experiment with four high school art classeljJ in drawing and painting the figure, to draw conclusions about how th~y relate to working with the figure, and to recommend I" methods that appeared to be most successful in broadening viewpoints, developing skills and increasing interest and involvement in art. This problem was selected because teenage students, in the vast majority of cases,. have great difficulty in drawing or painting figures and, therefore, strenuously avoid it. I discovered that a subjective approach that recognizes personal • feelings, along with one that requires clo,se lookin~, seemed to get . -
Amber Spa Cosmetic Classic Energetic
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