Timetable for the Ip Learning Olqe Preparatory Course 2021

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TIMETABLE FOR THE IP LEARNING OLQE PREPARATORY COURSE 2021 July August MON TUE WED THU FRI SAT SUN MON TUE WED THU FRI SAT SUN 1 2 3 4 1 Public Holiday 5 6 7 8 9 10 11 2 3 4 5 6 7 8 Head IV Head I Head VI Head I Head II Head III 12 13 14 15 16 17 18 9 10 11 12 13 14 15 Head I Head VI Head I Head II Head III Head IV Head I Head VI Head I Head II Head III 19 20 21 22 23 24 25 16 17 18 19 20 21 22 Head IV Head I Head VI Head I Head II Head III Head IV Head I Head VI Head I Head II Head III 26 27 28 29 30 31 23 24 25 26 27 28 29 Head IV Head I Head VI Head I Head II Head III Head IV Head I Head VI Head I Head II Head III 30 31 Head IV Head I September October MON TUE WED THU FRI SAT SUN MON TUE WED THU FRI SAT SUN 1 2 3 4 5 1 2 3 Public Head VI Head I Head II Head III Head III Holiday 6 7 8 9 10 11 12 4 5 6 7 8 9 10 Head IV Head I Head VI Head I Head II Head III Head IV Head I Head VI Head I Head II Head III 13 14 15 16 17 18 19 11 12 13 14 15 16 17 Public Head IV Head I Head VI Head I Head II Head III Head IV Head I Head VI Head II Head III Holiday 20 21 22 23 24 25 26 18 19 20 21 22 23 24 Public Head IV Head I Head I Head II Head III Head I Holiday 27 28 29 30 25 26 27 28 29 30 31 Head I Head IV Head I Head VI Head I Head VI Exam November December MON TUE WED THU FRI SAT SUN MON TUE WED THU FRI SAT SUN 1 2 3 4 5 6 7 1 2 3 4 5 Head VI Head II Head II Exam Exam 8 9 10 11 12 13 14 6 7 8 9 10 11 12 Head IV Head III 15 16 17 18 19 20 21 13 14 15 16 17 18 19 Head IV Head III Exam Exam 22 23 24 25 26 27 28 20 21 22 23 24 25 26 Public Holiday 29 30 27 28 29 30 31 Public Holiday Seminar Times IP Learning Monday - Friday: 6.30p.m. - 9.00p.m. Tel: 2858 1000 Saturday: 10.00a.m. - 1.00p.m. E-mail: [email protected] Website: www.ip-learning.com Further Revision Seminars will be added during October and November..

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Acquisitions
Acquisitions as of June 30, 2009 African and David Soltker and Irving Dobkin Feldstein Endowment Fund for endowments (2008.206). Decorative Arts (2008.558). Amerindian Art North American Furniture African Mexico Artist unknown, Tea Table, Bwa, Dossi, Burkina Faso, Teotihuacan, Figurine, c. 1750/90, mahogany: Roger and Butterfly Mask, early/mid-20th a.d. 400, greenstone: gift of J. Peter McCormick endow- cen., wood and pigment: Charles Ethel F. and Julian R. Goldsmith ments; restricted gift of Jamee J. H. and Mary F. S. Worcester (2008.675). Tlatilco, Female and Marshall Field, and Carol Collection Fund (2008.190). Edo, Figurines, c. 500 b.c., ceramic W. Wardlaw (2009.58); Stand, Benin City, Nigeria, Container and pigment: gift of Ethel F. and 1790/1810, birch: gift of Jamee J. in the Form of a Leopard Head, Julian R. Goldsmith (2008.676–78). and Marshall Field (2008.679). early 21st cen., brass: gift of Omo Vladimir Kagan, Occasional N’Oba N’Edo Uku Akpolokpolo, United States Table, c. 1952, walnut and brass: Oba of Benin (2008.674). The Orbit Fund (2009.232). Navajo, northern Arizona or Mahdiyya State, Sudan, Tunic Walter von Nessen, manufactured New Mexico, Concho Belt, (Jibbeh), 1885/99, cotton: African by Nessen Studio, Inc., Occa- 1880/95, silver and leather: and Amerindian Curator’s Discre- sional Table, c. 1931, aluminum, Auxiliary Board of the Art tionary, Holly and David Ross, Bakelite, and iron: Quinn E. Institute of Chicago (2009.572); Arnold H. Crane, African and Delaney Fund (2009.156). Bow Guards (Ketoh), 1900/20, Amerindian Art Purchase, and silver, leather, turquoise, and O.
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The Truth Is Always Grey
THE TRUTH IS ALWAYS GREY THE TRUTH IS ALWAYS GREY A HISTORY OF MODERNIST PAINTING FRANCES GUERIN University of Minnesota Press Minneapolis London Frontispiece: Gerhard Richter, Eight Grey, 500 × 270 × 50 cm each. Deutsche Guggenheim, Berlin. Installation view, 10 November 2002– 3 January 2003. Enameled glass and steel photograph by Mathias Schormann. Copyright Deutsche Guggenheim, Berlin and the Solomon R. Guggenheim Museum, New York. Publication of this book has been aided by a grant from the Millard Meiss Publication Fund of the College Art Association. A portion of chapter 4 was previously published in “Searching in Grey: Cy Twombly’s Untitled Paintings,” in Die Farbe Grau, ed. Magdalena Bushart and Gregor Wedekind (Berlin: Walter de Gruyter, 2016). Copyright 2018 by the Regents of the University of Minnesota All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Published by the University of Minnesota Press 111 Third Avenue South, Suite 290 Minneapolis, MN 55401- 2520 http://www.upress.umn.edu ISBN 978-1-5179-0044-1 (hc) ISBN 978-1-5179-0045-8 (pb) A Cataloging-in-Publication record for this book is available from the Library of Congress. Printed in the United States of America on acid- free paper The University of Minnesota is an equal- opportunity educator and employer. 23 22 21 20 19 18 9 8 7 6 5 4 3 2 1 In memory Georgia Fee (1951– 2012) You cannot say that it is light or dark.
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Plate 6 Epiphany by Marcus a Vincent 195641956 Oil on Panel 515111 X 20 1989 Courtesy Museum of Church History and Art
plate 6 epiphany by marcus A vincent 195641956 oil on panel 515111 x 20 1989 courtesy museum of church history and art A woman in a moment of silent enlightenment begins to understand an eternal truth vincent paints the woman realisti- cally juxtaposing her mortality against an abstract background symbolizing the world of the spirit the paradox of silence in the arts and religion through paradoxical silences some artists convey their an- guish over heavens unresponsiveness in theracethefacethe facehace of evil but in religion silence often conveys gods presence and sorrow jon D green only by the form the pattern can words or music reach the stillness as a chinese jar still moves perpetually in its stillness T S eliot four quartets introduction T S eliotseliote stanza captures an essential ingredient in the theme of this essay the paradoxical relationship between the mute and the immutable between silence and stasis the jar is still silent and unmoving yet still moves us in its stillness qui- etude the word still suggests that both the mute and the motion- less have continuous being and silence is laden with messages that reach our emotions the simple paradox of silence is that what is not said can be more expressive than what is said this paradox of silence has universal applications in every culture and civilization silence weaves its way through gods com- municationmunication with his creations and throughout our attempt to communicate with the divine and with each other particularly through the arts for the purposes of this paper I1
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4 January 2009 Tate Britain Teacher and Student Notes by Linda Bolton
11 SEPTEMBER 2008 – 4 JANUARY 2009 TATE BRITAIN TEACHER AND STUDENT NOTES BY LINDA BOLTON INTRODUCTION Francis Bacon (1909–92) was one of the most important painters of the twentieth century and one of the very few British artists with a strong international reputation. He was a maverick who rejected the dominant practice of the time, abstraction, in favour of a distinctive and disturbing realism. This major exhibition displays Bacon’s work from his first masterpiece to works made shortly before his death. He was born in 1909 in Dublin to Anglo-Irish parents; his father was a racehorse trainer and his mother a steel and coal heiress. Bacon was a sickly child, he suffered from asthma and was allergic to the dogs and horses kept by his father. His lively and gregarious mother showed little interest in her son’s early sketches. Bacon’s closest childhood confidante was the family nursemaid, Jessie Lightfoot. They developed an intense bond and she lived with him at intervals long into Bacon’s adulthood, remaining one of his closest companions throughout his life. It was a peripatetic childhood as his family moved frequently between England and Ireland. The frequent upheavals he experienced as a result of this were to induce in Bacon a sense of displacement which is often referenced in his work. Bacon loved dressing up. As a shy child, his effeminate manner upset his father, who apparently had Bacon horsewhipped by their Irish groom, and banished him from the family home after finding his son dressed in his mother’s underwear, admiring himself in front of a mirror.
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Francis Bacon's Challenge to the Figurative
FIGURE AND FLESH: FRANCIS BACON’S CHALLENGE TO THE FIGURATIVE TRADITION IN WESTERN ART A THESIS SUBMITTED TO THE DEPARTMENT OF GRAPHIC DESIGN AND THE INSTITUTE OF FINE ARTS ¡ ¢ £ ¤ ¥ ¦ § ¨ © § ¦ ¨ IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS By Müge Telci May, 2002 I certify that I have read this thesis and in my opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of Fine Arts. _________________________________________________ Assist. Prof. Dr. Mahmut Mutman (Thesis Supervisor) I certify that I have read this thesis and in my opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of Fine Arts. __________________________________________________ Assoc. Prof. Dr. Emel Aközer I certify that I have read this thesis and in my opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of Fine Arts. ____________________________________________________ Assist. Prof. Dr. Asuman Suner I certify that I have read this thesis and in my opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of Fine Arts. _____________________________________________________ Zafer Aracagök Aproved by the Institute of Fine Arts ______________________________________________________ Prof. Dr. Bülent Özgüç Director of the Institute Of Fine Arts ii ABSTRACT FIGURE AND FLESH: FRANCIS BACON’S CHALLENGE TO FIGURATIVE TRADITION IN WESTERN ART Müge Telci M.F.A in Graphical Arts Supervisor: Assist. Prof. Dr. Mahmut Mutman June, 2002 When figuring the body is at stake within the Western tradition of art, figuration comes up as a question of framing and controlling the mass of body (flesh, bones, body liquids etc…).
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SADEQUAIN in PARIS 1961–1967 Grosvenor Gallery
GrosvenorGrosvenor Gallery Gallery SADEQUAINSADEQUAIN ININ PARIS PARIS 1961–19671961–1967 Grosvenor Gallery SADEQUAIN IN PARIS 1961–1967 Grosvenor Gallery SADEQUAIN IN PARIS 1961–1967 Cover Sadequain’s illustration for Albert Camus’ L’Étranger (detail) Lithograph on vélin de Rives paper 32.5 x 50.5 cm. (12 3/4 x 19 7/8 in.) Inside cover The Webbed XIX Pen and ink on paper Signed and dated ‘5.5.66’ lower left 50 x 71 cm. (19 11/16 x 27 15/16 in.) Grosvenor Gallery SADEQUAIN IN PARIS 1961–1967 5 November–14 November 2015 Syed Ahmed Sadequain Naqqash was arguably one of the most important South Asian artists of the 20th century. Sadequain was born in Amroha, today’s India, in 1930 to an educated North Indian Shia family, to which calligraphy was a highly valued skill. Following his education between Amroha and Agra and after a number of years working at various radio stations in Delhi and Karachi as a calligrapher- copyist, he began to dedicate more time to his artistic practices. In 1955 he exhibited a number of paintings at the residence of Prime Minister Huseyn Shaheed Suhrawardy, a liberal patron of the arts. Soon after this, he received a number of important governmental commissions for municipal murals, which led to a number of solo exhibitions in Pakistan. In 1960 Sadequain won the Pakistan National prize for painting, and was invited by the French Committee of the International Association of Plastic Arts to visit Paris. The following few years were to be some of the most important for the young artist in terms of his artistic development, and it was whilst in Paris that he began to achieve international critical acclaim.
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Art Gallery of New South Wales Annual Report 2005 Art Gallery of New South Wales General Information
ART GALLERY ART GALLERY OF NEW SOUTH WALES NSW Art Gallery Road The Domain Sydney NSW 2000 Telephone: (02) 9225 1700 Information Line: (02) 9925 1790 Email (general): [email protected] For information on current exhibitions and events, visit the Gallery’s website www.artgallery.nsw.gov.au ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2005 ART GALLERY OF NEW SOUTH WALES GENERAL INFORMATION ACCESS RESEARCH LIBRARY AND GALLERY SHOP PUBLIC TRANSPORT The Gallery opens every day except ARCHIVE Open daily from 10am to 5pm and until Buses: the 441 bus route stops at the ‘I have been in many museums around the world. You have a Easter Friday and Christmas Day The Gallery’s Research Library and 8.45pm each Wednesday night, the Gallery en route to the Queen Victoria between the hours of 10am and 5pm. Archive is open Monday to Friday Gallery Shop offers the finest range of art Building. The service runs every 20 national treasure here. Very impressive.’ Gallery visitor, 27 Feb 05 The Gallery opens late each Wednesday between 10am and 4pm (excluding books in Australia and also specialises in minutes on weekdays and every 30 night until 9pm. General admission is public holidays) and until 8.45pm each school and library supply. The shop minutes on weekends. Call the STA on free. Entry fees may apply to a limited Wednesday night. The Library is located stocks an extensive range of art posters, 131 500 or visit www.131500.info for number of major temporary exhibitions. on ground floor level and has the most cards, replicas and giftware.
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Francis Bacon: the Logic of Sensation
Francis Bacon: the logic of sensation GILLES DELEUZE Translated from the French by Daniel W. Smith continuum LONDON • NEW YORK This work is published with the support of the French Ministry of Culture Centre National du Livre. Liberte • Egalite • Fraternite REPUBLIQUE FRANCAISE This book is supported by the French Ministry for Foreign Affairs, as part of the Burgess programme headed for the French Embassy in London by the Institut Francais du Royaume-Uni. Continuum The Tower Building 370 Lexington Avenue 11 York Road New York, NY London, SE1 7NX 10017-6503 www.continuumbooks.com First published in France, 1981, by Editions de la Difference © Editions du Seuil, 2002, Francis Bacon: Logique de la Sensation This English translation © Continuum 2003 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical including photocopying, recording or any information storage or retrieval system, without prior permission in writing from the publishers. British Library Gataloguing-in-Publication Data A catalogue record for this book is available from The British Library ISBN 0-8264-6647-8 Typeset by BookEns Ltd., Royston, Herts. Printed by MPG Books Ltd., Bodmin, Cornwall Contents Translator's Preface, by Daniel W. Smith vii Preface to the French Edition, by Alain Badiou and Barbara Cassin viii Author's Foreword ix Author's Preface to the English Edition x 1. The Round Area, the Ring 1 The round area and its analogues Distinction between the Figure and the figurative The fact The question of "matters of fact" The three elements of painting: structure, Figure, and contour - Role of the fields 2.
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Ofer Lellouche, Nine, 2013 the Division to Triads Also Echoes the Other Groups in the Nine
2013 V !" 6219868 03.6915060 03.6914582 [email protected] www.zcagallery.com 2013 © I 34 11 ,14 ,15 ,4 D 4 A 1514AD ,I 19241514 1514 I 154 ,9 ,2 4 ,5 ,63 ,5 ,7 3 2013 1 + 390901652013 , Nine, 2013, bronze, 165x90x90, edition: 3 + 1 A.P. Head I 156x30x30 I Head II 150x30x30 II Head III 163x30x30 III Head IV 160x30x30 IV Head V 157x30x30 V Head VI 152x30x30 VI Head VII 150x30x30 VII Head VIII 159x30x30 VIII Head IX 149x30x30 IX 1 + 390901652013 , Nine, 2013, bronze, 165x90x90, edition: 3 + 1 A.P. own writing, mentioned time and again Ovid’s Narcissus, his story and its variations, as a central prism for reading his self portraits. In di!erent essays we have read about the unique gaze of the artist who looks at himself, a gaze whose singularity he formulated when he wrote about looking at one of Rembrandt’s self portraits: “either I am Rembrandt and the painting is a mirror, or Rembrandt is looking at himself and I am the mirror”; we have read about bridging the distance between the painter and the model, while providing a more accurate answer to the demands of the observing eye from the painting hand; we have read on about the aspiration for a union of signifier and signified as a metaphor for Narcissus who could not distinguish himself from his reflection. Yet Narcissus is not the only one punished by the burden of reflection at all. In the third book of Metamorphoses Ovid recounts the story of the nymph Echo, whose role was to engage in conversation and distract Hera, queen of Olympus and Zeus’ wife, while the king of the gods seduced the nymphs.
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A-Level History of Art Mark Scheme Unit 03
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Rekha Rodwittiya the Rituals of Memory: Personal Folklores and Other Tales
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Portrait and Figurative Art (Artwork About People)
Portrait and Figurative Art (Artwork about people) AO3. If you choose this question you should be prepared to - AO1 Artists to research Draw and photograph faces and or figures. Suggestions: Think how you would compose your picture, Painters • What are they wearing? Lucien Freud (1922-2011), Francis Bacon, Jenny Saville, Stanley Spencer, • Where are they? David Hockney, Cindy Sherman, Lisa Millroy, Maggi Hambling, Sara Lucas, • Are you showing the whole face/figure or focusing on a Tracey Emin, Edward Burra, Edward Hopper, Mark Wallinger, Paula Rego, section? Julien Opie, Andy Warhol, Edvard Munch, Van Gough, Andrew Wyeth, Da • What other objects are in the picture? Vinci, Botticelli, Andrew Wyeth, Sam Taylor-Wood, Peter Howson. Photography Be prepared to VISIT Art Galleries: Don McCullin, Cindy Sherman, Steve McCurry, Bill Viola, Sam Taylor Wood, The Graves (Sheffield)- www.museums-sheffield.org.uk, Bill Brandt, Robert Capa, Gregory Crewsden. Millennium Galleries (Sheffield)- www.museums- Sculpture sheffield.org.uk, Weston Park (Sheffield)- www.museums- Ron Mueck, Antony Gormley, Damien Hirst, Elizabeth Frink, Nikki De Saint sheffield.org.uk, Yorkshire Sculpture Park (Wakefield)- Phalle, Jacob Epstien, Henry Moore, Giacometti, Magdalena Abakanowicz, www.ysp.co.uk, National Portrait Gallery (London)- Thomas J Price, Sophie Ryder, Jaume Plensa, Michelangelo, Rodin, Yinka www.npg.org.uk, National Gallery (London)- Shonibare, Mavis McClure, Eduardo Paolozzi, Ah Xian, Jess Riva Cooper. www.nationalgallery.org.uk Portrait and Figure Settling in Paris in 1952, Freud painted many portraits, including Hotel Bedroom (1954), which features a woman My work is purely lying in a bed with white sheets pulled up to her shoulders.
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