Pressionism,Which Was Haven't Lookedat in a Long Time," Stillgoing Strongafter Maciejunessaid "It's Interestingto See World Wari

Total Page:16

File Type:pdf, Size:1020Kb

Pressionism,Which Was Haven't Lookedat in a Long Time, + aynm Feran "Precisionism in DispatchEntertainment Reporter America■ 1915-1941: ReorderingReality" N 1915, ARTISTMARcEL DUCHAMP will openSunday proclaimedthe UnitedStates and continue "thecountry of theart of the throughJuly 4 at future." the Columbus "Look atthe skyscrapers!"he Museum of Art, said"Has Europe anything to 480 E. BroadSt. show more beautifulthan these?" Tourswill begiven The Frenchman's words at noonMay 26 and focusedattention on what was June 16, and 2 p.m. e seen as auniquely American artistic May 28and June movement. 18. Call 221-6801. "Precisionismin America1915-1941: ReorderingReality" is "thefirst major study of precisionismin a long time,"said NannetteMaciejunes, seniorcurator at the ColumbusMuseum of Art. "Precisionismis verytied up withthe search for a ABoVE:The cleanlines of rural unique Americanidentity," scenes: Bucks OHmJy Barn(1918) t she said"It wasabout the " by Charles Sheeler(1883-1965) tyingof a ruralpast to the mechanicalfuture. A lot of LEFT:The forms of the machine • people in the'.20s called it agewith classicalclarity: A.ugussin 'thetrue American art.' " andNu:oletle (1923)by Charles By the timeprecisionism Demuth (1883-1935) arrived,the United States waswell on itsway froma - ruralsociety to a nationof show,which began at theMontclair Art 0 big citieswith skyscrapers Museumin New Jerseyand features andhomes withmodern works by 26 artistsfrom almost 30 I marvelssuch asvacuum institutionsand private collections. cleanersand washing "Thisshow is so criticalto us," � �es. Maciejunes said"(Ferdinand) Rowald !'!. Painters and was majora collector in thisarea. He saw photographersassociated theparallel between cubism and �� withprecisionism included precisionism, andhe collected both." iii CharlesDemuth, Morton Althoughmany works in theNew I Scharnberg,Charles Sheeler Jerseyexhibition are not availablefor the s andJoseph Stella. Columbusshow, precisionism'slinks with They wereinterested in developmentsin anotherart form - theforms of themachine regionalism- arecoincidentally on view age: factories,grain at anothervenue: The RiffeGallery, 77 S. elevators,steamships, steel HighSt., is presenting"Midwest bridges,crankshafts, light Realities:Regional Painting 1920-1950." bulbs. Theyalso were · "A lot more artistscome into play in reactingto American this (precisionism) show - a lot we impressionism,which was haven't lookedat in a long time," stillgoing strongafter Maciejunessaid "It's interestingto see World WarI. how less well-knownartists fit into the "American movement." impressionismwas The movezpentwas all but over by concerned withthe surface - theway been taughtin art-historycourses." 1941. waterlooked on streets,the way dew With precisionism,the image is Some people have linked the lookedon trees,"Maciejunes said romanticired and cleaned up. mechaniredhorrors of World WarII with "Precisionistswere trying to get behind "For instance, Elsie Driggscompared precisionism'sfall from favor. the surface.They saw themselvesas part thesmokestacks in her Pitts'frurgh(1927) "There wasa lot of mechanicaldeath of theclassical tradition." to Greek columns." in World War I, too," Maciejunessaid The movement'semphasis on the Text panelsin theColumbus exhibit "Americanart . in thiscentury was totally abstractbeauty of the machine and on explainthat precisionism oftencrossed reinvigoratedat leasttwice afterinfusions exteriorforms, however, extended beyond over into poetryand other mediums, frompeople fleeingEurope." strictlyindustrial or urbanscenes. including film(Fritz Lang's 1926 movie Theresult afterWorld War I was "Even thoughmuch of precisionismis Metropoli.s). precisionism;after World WarII, urbanscenes, itis verymuch tied to folk PoetWilliam Carlos Williams,in abstractimpressionism. andvernacular art," said Maciejunes, particular,was closely allied with the "At first,the criticswere excited (by pointingout several still-life paintings. "It's movement. precisionism),"Maciejunes said, "but it anawroach to art,even to paintingpats of "It wasa sensibility,not just a style," was reallyon thedownturn by the timeof butt.er. Maciejunessaid "It had tiesto the thewar (World WarII). Criticshad "This show is not as much new literarycommunity." begunto thinkof it assterile; suddenly it informationas a rethinkingof old The interconnection"reminds us how wastoo, tooordered That'show art information,"she said."A lot of people much morecomplex the period between historygoes - swingingback andforth. stilldismiss precisionism as American thewars was we'dthan like to think." "As theworld becamemadder and cubism. It's a more f:1$cinating, TheColumbus Museumof Art has madder,precisionism seemed like not a complex storythan many people have beenan important contributor to the callto sanitybut irrelevant." � '1 '.f �- PaintiQg the towns If you're fromthe Midwest, the Riffe Gallery's current exhibition Midwest Real­ I} ities: Regional Paintings 1920-1950 may make you swell with pride. Find your city; paintings of Columbus, Cincinnati, Chicago, Detroit, Ann Arbor, · Cleveland, Indianapolis, Milwaukeeand other Midwesterncities are included._ The paintings depicting Columbus scenes are Emerson Burkhart's Larry's Grill(Larry's used to be near Columbus State) and RobertChedeayne's Cliffside Drive. This watercolor, by Clarence Carter,is called Jesus Wept and was painted in ,, Portsmouth. The work "has a funny edgi­ ness," said curator David Lusenhop of Portsmouth's SouthernOhio Museum. "It has a surrealquality." Like much German art, the paintings in this exhibition have "dark, rich,b rushy, earthy colors," Lusenhop said. He calls the style "regionalrealism." The 39 works depict urban, industrial and rural Midwesternlife-and, in many cases, reflectthe transition fromagricul­ , ture to.industry. In its quiet way, this exhibition is stun­ ning. It's on view"through June 17 at the Ohio Arts Council's RiffeGallery, 77 S. ..., ClarenceCarter's "Jesus Wept" � a N High St. Hours are Monday-Wednesday f 11 a.m.-4 p.m., Thursday-Friday ...- 11 a.m.- 8. 7:30 p.m., and Saturday-Sunday :noon-4 � p.m. During the Arts Fest (June 1-4), the ... Cl) gallery will have extended hours,-0pen 'ti] 8 p.m. June 1-3 and 'til 6 p.m. June 4. Admission is free. -Karen Simonian -- Regionalrealists present life on home front before, after war By Nancy GIison ana, Michigan and Illinois. The time form a definitionof "home" in pre­ DispatchEntertainment Reporter is 1920 to 1950, during which, even war and postwar America. in the bufferedMidwest, Americans "There's more to this show than The title is succinct: "Midwest were reeling fromthe effectsof war. meets the eye, but what meets the Realities." The 42 works in "Midwest Reali­ eye is very pleasing and accessible," The paintings are 'Ofthe realistic ties: Regional Painting 1920-1950," said Sara Johnson, director of plan­ school, but, more important, they opening Thursday at the Riffe ning at the Southern Ohio Museum investigate the landscapes and daily Gallery, take a broad look at Mid­ and Cultural Center in Portsmouth. duties - agra1ian and industrial - western realists and thefr influential The museum organized the Qfpeople in Ohio,,Wis�onsin, Indi- teachers. Together, the paintings exhibit, primarily to put into context the work of Portsmouth native Clarence Holbrook Carter. "We have about three dozen paintings by Carter, and we wanted to show them along with works by other artists painting at the same time in the region," Johnson said. Viewof Alm Arbor (1945), oil on board, by Jack Steele (1930), oil on canvas, by Jean Crawford "We think his works stand up very Adams well." FederalBuilding Carter, a resident of New Jer­ famousas Thomas Hart Benton and museum, the exhibit includes works "Midwest Realities: Regional. sey, lived in Portsmouth during the Grant Wood ..... We thoughtit was from about 20 institutions or private ■Painting 1920-1950" will open with a 1930s and '40s. On his 90th birth­ important enough. to put this show collections in fivestates. reception from5 to 7:30 p.m. day, he attended the Portsmouth together to take another look at "There is a definitesense of Thursday at the RiffeGallery, 77 S. opening of "Midwest Realities." 'them." place in these works," Johnson said. , High St. The free exhibit will continue The Springfield(Ohio) Museum Represented are Charles Burch­ "Some people view, this show with through June 17 (except Sunday and ·of Art has shown the exhibit. The field,Emerson Burkhardt, William nostalgia, representing a time when May 29). Hours: 11 a.m.-7:30 p.m. RiffeGallery is its finalvenue. Sommer, Frank Wilcox, William they think they liked art more. But Thursdays and Fridays, noon-4 p.m. "There's clearly more of an Forsyth, Jean Crawford Adams, I think you can make a nice case for weekends and 11 a.m.-4 p.m. effortbyinstitutions around the William F. Kaeser, Jack Steele, connections to modernism in this· Monday-Wednesday. Call 644-9624. country to recognize regional Frances Chapin, Reginald Grooms show. A lot of people think that the painters," Johnson said. "The and Sarkis Sarkisian. Midwestern regionalists. ignored artists represented in this show are In addition to the two Carter modernism, but I don't think that's (1934), oil on canvas, by William F. Kaeser in the same category but not as paip.tingsfrom the Portsmouth true." <TheQfolumbus Jllispatth Near Irvington\ Tuesday APRIL11, 1995 Page BG ©ir <!"olumbuslilispalth VISU"li. ARTS .. \ .. ◄ ) .. by Floyd Hopper White Tower by Frances Chapin : RealistsRedFann capture industrial Midwest Dark· introspection marks RIFFE
Recommended publications
  • Cubism in America
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop­ most important revolution in the history of ment of what came to be called Cubism­ art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance.
    [Show full text]
  • MSA 7 Program (Draft 10.17)
    MSA 7 Program (Draft 10.17) Session A: Thursday, 3:00–5:00 pm Panel 1. Manuscript Research and Modernist Studies Newberry Library, 60 W. Walton St. Bus transportation between the Newberry Library and the conference hotel is available ORGANIZER AND CHAIR: John Timberman Newcomb, University of Illinois – Urbana-Champaign George Bornstein, University of Michigan Laura Milsk Fowler, Southern Illinois University Edwardsville Lawrence Rainey, University of York Seminars 2. Modernism at Home Chicago Ballroom A—No auditors, please ORGANIZER: Gail McDonald, University of North Carolina – Greensboro Dawn Blizard, Brown University Allison Carey, Cannon School Dorothy Chansky, Texas Tech University Bradley Clissold, Memorial University of Newfoundland Barbara Green, University of Notre Dame Kevin Hagopian, Pennsylvania State University Amy E. C. Linneman, Indiana University Marion McInnes, DePauw University Phoebe Putnam, Harvard University Jin Xiaotian Skye, University of Hong Kong Eve Sorum, University of Michigan 3. The Author Business Chicago Ballroom B—No auditors, please ORGANIZER: Alison Booth, University of Virginia Patrick Collier, Ball State University Marianne Cotugno, Miami University Maria Fackler, Yale University Julia Friedman, Brown University Peter Kalliney, University of South Florida Kurt M. Koenigsberger, Case Western Reserve University Bette London, University of Rochester Randi Saloman, Yale University Lisa Stein, Ohio University Catherine Turner, College Misericordia Andrea Zemgulys, University of Michigan 4. Anthropological
    [Show full text]
  • Knife Grinder Date: 1912-1913 Creator: Umberto Boccioni, Italian, 1882-1916 Title: Dynamism of a Soccer Player Work Type: Painting Date: 1913 Cubo-Futurism
    Creator: Malevich, Kazimir, Russian, 1878- 1935 Title: Knife Grinder Date: 1912-1913 Creator: Umberto Boccioni, Italian, 1882-1916 Title: Dynamism of a Soccer Player Work Type: Painting Date: 1913 Cubo-Futurism • A common theme I have been seeing in the different Cubo- Futurism Paintings is a wide variety of color and either solid formations or a high amount of single colors blended or layered without losing the original color. I sense of movement is also very big, the Knife Grinder shows the action of grinding by a repeated image of the hand, knife, or foot on paddle to show each moment of movement. The solid shapes and designs tho individually may not seem relevant to a human figure all come together to show the act of sharpening a knife. I Love this piece because of the strong colors and repeated imagery to show the act. • In the Dynamism of a soccer player the sense of movement is sort of around and into the center, I can imagine a great play of lights and crystal clarity of the ideas of the objects moving. I almost feel like this is showing not just one moment or one movement but perhaps an entire soccer game in the scope of the 2D canvas. Creator: Demuth, Charles, 1883-1935 Title: Aucassin and Nicolette Date: 1921 Creator: Charles Demuth Title: My Egypt Work Type: Paintings Date: 1927 Precisionism • Precisionism is the idea of making an artwork of another “artwork” as in a piece of architecture , or machinery. The artist renders the structure using very geometric and precise lines and they tend to keep an element of realism in their work.
    [Show full text]
  • Guggenheim Museum Archives Reel-To-Reel Collection “Post Object Sculpture” with Jack Burnham, 1967 Good Afternoon, Ladies An
    Guggenheim Museum Archives Reel-to-Reel collection “Post Object Sculpture” with Jack Burnham, 1967 MALE 1 Good afternoon, ladies and gentlemen, and welcome to the third in a series of lectures on contemporary sculpture, presented by the museum on the occasion of the Fifth Guggenheim International Exhibition. Today’s lecture is by Mr. Jack Wesley Burnham. Mr. Burnham is an individual who combines the extraordinary qualities of being both artist and scientist, as well as writer. He was born in 1931 in New York City. He studied at the Boston Museum School, at the Massachusetts Institute of Technology. He holds an engineering degree. He holds the degrees of Bachelor of Fine Arts and Master of Fine Arts from Yale University, at which institution he was on the faculty. [00:01:00] And he’s at present a professor at Northwestern University. He is the author of a major new study of modern sculpture, to be published next year by Braziller in New York, entitled Beyond Modern Sculpture. His lecture today is entitled, “Post-Object Sculpture.” After the lecture, there will be a short question-and-answer period. Mr. Burnham. JACK BURNHAM Mr. [Fry?], I’d like to thank you for inviting me. And I’d like to [00:02:00] thank all of you for being here today. I’m going to read part of this lecture, and part of it will be fairly extemporaneous. But I’d like to begin by saying that I find the task of speaking on post- object sculpture difficult for two reasons. First, because the rationale behind object sculpture and the art form itself have developed to such a sophisticated degree in the past two years.
    [Show full text]
  • Harn Museum of Art Instructional Resource: Thinking About Modernity
    Harn Museum of Art Instructional Resource: Thinking about Modernity TABLE OF CONTENTS “Give Me A Wilderness or A City”: George Bellows’s Rural Life ................................................ 2 Francis Criss: Locating Monuments, Locating Modernity ............................................................ 6 Seeing Beyond: Approaches to Teaching Salvador Dalí’s Appollinaire ............................. 10 “On the Margins of Written Poetry”: Pedro Figari ......................................................................... 14 Childe Hassam: American Impressionist and Preserver of Nature ..................................... 18 Subtlety of Line: Palmer Hayden’s Quiet Activism ........................................................................ 22 Modernist Erotica: André Kertész’s Distortion #128 ................................................................... 26 Helen Levitt: In the New York City Streets ......................................................................................... 31 Happening Hats: Pierre-Auguste Renoir’s Le chapeau épinglé .............................................. 35 Diego Rivera: The People’s Painter ......................................................................................................... 39 Diego Rivera: El Pintor del Pueblo ........................................................................................................... 45 Household Modernism, Domestic Arts: Tiffany’s Eighteen-Light Pond Lily Lamp .... 51 Marguerite Zorach: Modernism’s Tense Vistas ..............................................................................
    [Show full text]
  • F Or the Fiscal Year Ending June 3 0 , 2 0 18
    FOR THE FISCAL YEAR ENDING JUNE 30, 2018 annual report The Year in Summary As the largest public arts institution in Northern California, the Fine Arts Museums of San Francisco, comprising the de Young and the Legion of Honor, pursue the mission of serving a broad de Young and diverse constituency with exhibitions and programs that 50 Hagiwara Tea Garden Drive San Francisco, CA 94118 inform, educate, inspire, and entertain. In the past year, the deyoungmuseum.org Museums’ staff actively worked to achieve this mission with the dedicated support of members, donors, corporate and foundation Legion of Honor partners, trustees, city leaders, and the community at large. 100 34th Avenue One primary strategy in fulfilling the Museums’ purpose is in San Francisco, CA 94121 legionofhonor.org strengthening the permanent collection, then drawing from these rich resources to organize extraordinary exhibitions. Between 2 ANNUAL REPORT 2017–2018 “He never stopped making paintings and sculpture, generally at a scale one might call, at the very least, ambitious. Now San Francisco’s Legion of Honor has provided a space that matches in size the artist’s aspiration.” —San Francisco Chronicle \ on Julian Schnabel: Symbols of Actual Life “A lavish romp through the Rococo.” —Wall Street Journal \ on Casanova: The Seduction of Europe “A groundbreaking show like this may not appear again in July 2017 and June 2018, the Museums organized nearly thirty North America soon.” special exhibitions and installations. At the de Young, these — Fine Art Connoisseur \ included Teotihuacan: City of Water, City of Fire, the result of a on Truth and Beauty: long-term collaboration with cultural partners in Mexico, which The Pre-Raphaelites and presented examples from the Museums’ outstanding holdings the Old Masters of Teotihuacan murals—the largest and most important such collection outside Mexico.
    [Show full text]
  • The History of the Avant-Garde - En-Cours-2020-Lhart2340 Lhart2340 the History of the Avant-Garde 2020
    Université catholique de Louvain - The history of the avant-garde - en-cours-2020-lhart2340 lhart2340 The history of the avant-garde 2020 Due to the COVID-19 crisis, the information below is subject to change, in particular that concerning the teaching mode (presential, distance or in a comodal or hybrid format). 5 credits 30.0 h Q2 This biannual learning unit is not being organized in 2020-2021 ! Teacher(s) Roucloux Joël ; Language : French Place of the course Louvain-la-Neuve Main themes The course is centred on the artistic exchanges immediately before the First World War that were characteristic of an internationalisation of the avant-gardes. It examines the impact of the war and explores the new international landscape of the inter-war period. The issue of the indictment of avant-gardes by critics, by political regimes or even by the artists themselves is also covered. Aims To decompartmentalise the study of modern art movements by showing their interchanges, their convergences and their conflicts within an international setting. 1 - - - - The contribution of this Teaching Unit to the development and command of the skills and learning outcomes of the programme(s) can be accessed at the end of this sheet, in the section entitled “Programmes/courses offering this Teaching Unit”. Evaluation methods Due to the COVID-19 crisis, the information in this section is particularly likely to change. Oral presentation in class and oral examination. Teaching methods Due to the COVID-19 crisis, the information in this section is particularly likely to change. Encounters between artworks and the documents that locate their reception within a national and international context.
    [Show full text]
  • RESOURCE GUIDE American Moderns, 1910-1960: from O’Keeffe to Rockwell Was Organized by the Brooklyn Museum
    Georgia O’Keeffe (American, 1887-1986). 2 Yellow Leaves (Yellow Leaves), 1928. Oil on canvas, 40 x 30 1/8 in. (101.6 x 76.5 cm). Brooklyn Museum, Bequest of Georgia O’Keeffe, 87.136.6. RESOURCE GUIDE American Moderns, 1910-1960: From O’Keeffe to Rockwell was organized by the Brooklyn Museum. AMERICAN MODERNS, 1910—1960: FROM O’KEEFFE TO ROCKWELL 01 “One cannot be an American by going about saying that one is an American. It is necessary to feel America, like America, love America and then work.” Georgia O’Keeffe, 1926 Detail: George Wesley Bellows (American, 1882-1925). The Sand Cart, 1917. Oil on canvas. Brooklyn Museum, John B. Woodward Memorial Fund, 24.85 AMERICAN MODERNS, 1910–1960: TABLE OF CONTENTS FROM O‘KEEFFE TO ROCKWELL 1 Exhibition Introduction September 27, 2012–January 6, 2013 2 Cubist Experiments The five decades from 1910 to 1960 witnessed tumultuous and widespread 3 The Still Life Revisited changes in American society. As the United States assumed international prominence as an economic, industrial, and military superpower, it also faced the 4 Nature Essentialized difficulties of wars and the Great Depression. New technologies altered all aspects of modern life, and a diverse and mobile population challenged old 5 Modern Structures social patterns and clamored for the equality and opportunities promised by the American dream. 6 Engaging Characters These dramatic social and technological changes inform the paintings and sculptures from the world-renowned collection of the Brooklyn Museum in 7 Americana American Moderns, 1910—1960: From O’Keeffe to Rockwell. In seeking new ways 8 Reading Lists to make their work relevant to contemporary audiences, many American artists rejected long-standing artistic traditions of realism and narrative and 11 Lessons Plans reformulated the genres of figure painting, landscape, and still life.
    [Show full text]
  • English Department Graduate Course Descriptions Spring 2011
    English Department Graduate Course Descriptions Spring 2011 ENGL 529-61 (HC 629-61) Sensation Literature Dr. Laura Engel T 6:00-8:40 Crime, secrets, hidden identities, madness, passion, suspense, these are just some of the elements that characterize the genre of sensation literature, a form of popular entertainment that can be traced back to the origins of the gothic novel in the mid eighteenth century. This course will trace the development of sensation literature from 1764 through the late nineteenth century. Using a range of materials including novels, plays, portraits, early photographs, newspapers, and medical tracts, we will explore how and why readers became obsessed with tales of mystery, the supernatural, and the irrational. Readings will include Horace Walpole’s The Castle Of Otranto, Eliza Parson’s The Castle of Wolfenbach, Ann Radcliffe’s The Italian, Mary Shelley’s Frankenstein, Joanna Baillie’s Orra, Matthew Lewis’s The Castle Spectre, Mary Elizabeth Braddon’s Lady Audley’s Secret, Wilkie Collins’s The Woman in White, and critical articles by Terry Castle, Catherine Spooner, Diane Long Holever, Jeffrey Cox, Peter Brooks, and others. ENGL 536-61 (HC 636-61) Victorian Novel: Text and Theory Dr. Laura Callanan M 6:00-8:40 In this course we will read a wide range of novels from the period, paying particular attention to questions of form and genre. To that end, primary texts will include novels that present particularly intriguing examples of formal innovation. In addition, we will read a range of historical and theoretical discussion about the rise, development, and sociopolitical aims of the novel, and bring those readings to bear on our primary texts.
    [Show full text]
  • BELL-THESIS.Pdf
    USING PRECISIONISM WITHIN AMERICAN MODERN ART AS STYLISTIC INSPIRATION FOR 3D DIGITAL WORKS A Thesis by DOUGLAS RYAN BELL Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE August 2009 Major Subject: Visualization Sciences USING PRECISIONISM WITHIN AMERICAN MODERN ART AS STYLISTIC INSPIRATION FOR 3D DIGITAL WORKS A Thesis by DOUGLAS RYAN BELL Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Approved by: Chair of Committee, Karen E. Hillier Committee Members, Tim McLaughin Dennie Smith Head of Department, Tim McLaughlin August 2009 Major Subject: Visualization Sciences iii ABSTRACT Using Precisionism Within American Modern Art as Stylistic Inspiration for 3D Digital Works. (August 2009) Douglas Ryan Bell, B.E.D., Texas A&M University Chair of Advisory Committee: Prof. Karen E. Hillier This thesis presents the analysis of artistic techniques of paintings from the Precisionist movement and the implementation of the results of the analysis in the creation of three new works of art using digital media. Artists working in digital media express features of pre-digital artistic movements with varying degrees of adherence to principles, intentions, and awareness. This thesis seeks to create a bridge between the recognition of common features of Precisionist works and the expression of those elements in new works through the use of a system of analysis, interpretation, and translation. One outcome of this thesis is the description of a methodology for interpretation and translation that can be applied to other art movements.
    [Show full text]
  • Priations for Fiscal Year 2019
    DEPARTMENT OF THE INTERIOR, ENVIRON- MENT, AND RELATED AGENCIES APPRO- PRIATIONS FOR FISCAL YEAR 2019 U.S. SENATE, SUBCOMMITTEE OF THE COMMITTEE ON APPROPRIATIONS, Washington, DC. NONDEPARTMENTAL WITNESSES [CLERK’S NOTE.—The subcommittee was unable to hold hearings on nondepartmental witnesses. The statements and letters of those submitting written testimony are as follows:] PREPARED STATEMENT OF THE 1854 TREATY AUTHORITY 1854 TREATY AUTHORITY The 1854 Treaty Authority (Authority) is a Tribal organization funded by a Public Law 93–638 contract with the Bureau of Indian Affairs (BIA) under its Trust-Nat- ural Resources Management-Rights Protection Implementation (RPI) budget. —The Authority supports funding of the BIA Rights Protection Implementation Program at the approved fiscal year 2017 level and a proportionate share for the Authority. We believe that the funding (as well as any increase in funding) should be allocated in the same proportions as it has historically been distrib- uted. —The Authority supports the full finding of contract support for its Public Law 93–638, Self-Determination contract. —The Authority supports maintaining funding for the Great Lakes Restoration Initiative budget at least at its current level. The Authority is a Tribal organization responsible for protecting, preserving, and regulating the Treaty-reserved hunting, fishing and gathering rights in the territory ceded to the United States by the Chippewa in the Treaty of September 30, 1854, 10 Stat. 1109. The Bois Forte Band and the Grand Portage Band created the au- thority following Federal court affirmation of the rights in 1988. As part of a court- approved agreement with the State of Minnesota, the Bands have obligations to pre- serve the natural resources in the five (5) million acre ceded territory and to regu- late the activities of Band members through a conservation code, enforcement offi- cers, and a court.
    [Show full text]
  • AP Studio Summer Assignments
    AP Studio Summer Assignments 1. AP Studio Process Portfolio (300pts): complete 15 organized 2 page spread images of work • Purchase a hardbound sketchbook; no perforated pages, 8 1/2 x 11 (Michaels, Hobby Lobby, etc) • Number pages both front and back. No pages get skipped. Work in order. • Balance 50% text and 50% images on each page. Include titles on page tops! • Page images may be printed in color, drawn, or both. I prefer at least SOME drawing. Drawing builds skills and helps you see more carefully. • Write left to right, horizontally, and legibly. • Choose topics you are interested in and/or inspired by. We will be using these throughout the school year to create composition for your final portfolio. Assignments: Art Movements • Create 5 or more double sided pages of investigation based on 5 art movements or cultural arts. -Choose ones you relate to. Choose your own or refer to the list provided. Artists: • Create 5 or more double sided pages of investigation based on 5 artists you admire or are inspired by. -Choose ones you can relate to. Choose your own or refer to the list provided. Try to research ones you don’t know. Sketches/ techniques: • Create 5 or more pages of observational sketches and drawings based on different techniques or materials. Use Different collage papers and drawing/ painting mediums to explore a variety of outcomes. All research pages must be completed by August 9th and posted in Google Classroom. 2. Art Museum or Art Gallery Visit (100pts): Visit a Gallery or Museum of your choice anywhere, locally or while on vaccation somewhere.
    [Show full text]