Kansas Curricular Standards for Visual Arts Are Aligned with the National Standards for the Visual Arts
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2021 Lane County 4-H FFA Fair Book
1 Revised 5/19/2021 Table of Contents Schedules…………………………………………………………………………………………………………………………………………… 4-8 Small Animal Fair ............................................................................................................................. 4 Horse Fair…………………………………………………………………………………………………………………………………..4 Lane County Fair ............................................................................................................................. 4 Contact Information ...................................................................................................................................... 8 4H/FFA Rules ................................................................................................................................................. 9 Communication Flow Chart ………………………………………………………………………………………………………………..…10 Registration ................................................................................................................................................ 10 Live Stock Rules .......................................................................................................................................... 10 Exhibit and Facility Rules ....................................................................................................................... 11-14 Herdsmanship ............................................................................................................................................ 14 Animal Welfare Rules ................................................................................................................................ -
Boosting Business with Science the Human Factor Modern Bleaching
CURRENT awaRENESS FROM THE INNVENTIA GROUP #3/2010 Modern bleaching technology free of dioxin Norwegian collaboration improving bioenergy efficiency The human factor Research Seminar 2010 N O ANSS JOH ICE R Good team crucial for climate of innovation beat O: O: T HO P Boosting business with science Modern bleaching technology free of dioxin Elisabeth Bergnor at Innventia. Five years ago, reports came Concerns and discussions are still the ECF bleached pulp contains as low from the Swedish Environmental arising, such as in the case of the Baltic amount of dioxin as the unbleached Sea1 and where completely new mills are pulp and the TCF bleached pulp. The Protection Agency (SEPA) being built. Peter was in demand as an content of dioxin is thus at the same concerning increased levels of dioxin expert in the public debate surround- background level in the unbleached as in in the water outside forest industry ing the construction of a new mill in the bleached pulps.” plants along the Baltic Sea coast Uruguay a few years ago. The investigation also studied how in Sweden. There was concern “If you bleach using chlorine dioxide the formation of dioxin is affected by the that this rise in content could have and do it the right way, no increase in ‘purity’ of the chlorine dioxide, i.e. the the content of dioxin can be detected,” content of chlorine in the chlorine diox- connection with the utilisation of he states. ide. It showed that, when the chlorine chlorine dioxide (ClO2) in bleach To verify this thesis, Innventia content reaches 5% (calculated as active plants, so called ECF Bleaching recently carried out screening studies, chlorine) or higher, which occurred with (Elemental Chlorine Free), which in which pulp samples that had been the older techniques, a formation of is currently the normally preferred bleached using different methods were dioxin starts. -
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. -
Regionallst PAINTING and AMERICAN STUDIES Regionalism
REGiONALlST PAINTING AND AMERICAN STUDIES KENNETH J. LABUDDE Regionalism in American painting brings to mind immediately the period of the 1930's when the Middlewesterners JohnSteuart Curry, Grant Wood and Thomas Hart Benton enjoyed great reputation as the_ painters of Ameri can art. Curry, the Kansan; Benton, the Missourian; and Wood, the Iowan, each wandered off to New York, to Paris, to the great world of art, but each came home again to Kansas City, Cedar Rapids and Madison, Wisconsin. Only one of the three, Benton, is still living. At the recent dedication of his "Independence and the Opening of the West" in the Truman Library the ar tist declared it was his last big work, for scaffold painting takes too great a toll on a man now 72. Upon this occasion he enjoyed the acclaim of those gathered, but as a shrewdly intelligent, even intellectual man, he may have reflected that Wood and Curry, both dead foi* close to twenty years now, are slipping into obscur ity except in the region of the United States which they celebrated. Collec tors, whether institutional or private, who have the means and the interests to be a part of the great world have gone on to other painters. There are those who will say so much the worse for them, but I am content not to dwell on that issue but to speculate instead about art in our culture and the uses of art in cultural studies. I will explain that I am not convinced by those who hold with the conspir acy theory of art history, whether it be a Thomas Craven of yesterday or a John Canaday of today. -
Curry, John Steuart American, 1897 - 1946
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Curry, John Steuart American, 1897 - 1946 Peter A. Juley & Son, John Steuart Curry Seated in Front of "State Fair," Westport, Connecticut, 1928, photograph, Peter A. Juley & Son Collection, Smithsonian American Art Museum BIOGRAPHY John Steuart Curry was one of the three major practitioners of American regionalist painting, along with Thomas Hart Benton (American, 1889 - 1975) and Grant Wood (American, 1891 - 1942). Curry was born on a farm near Dunavant, Kansas, on November 14, 1897. His parents had traveled to Europe on their honeymoon, and his mother, Margaret, returned with prints of European masterworks that hung on the walls of the family home. She enrolled her son in art lessons at a young age, and his family supported his decision to drop out of high school in 1916 to study art. Curry worked for the Missouri Pacific Railroad and attended the Kansas City Art Institute for a month before moving to Chicago, where he studied at the Art Institute for two years. In 1918 he enrolled at Geneva College in Beaver Falls, Pennsylvania. Curry decided to pursue commercial illustration, and in 1919 he began to study with illustrator Harvey Dunn in Tenafly, New Jersey. From 1921 to 1926, Curry’s illustrations appeared in publications such as the Saturday Evening Post and Boy’s Life. In 1923, while living in New York City, he married Clara Derrick; shortly thereafter he bought a studio at Otter Ponds near the art colony in Westport, Connecticut. In 1926 Curry stopped producing illustrations and left for Paris, where he took classes in drawing with the Russian teacher Vasili Shukhaev and studied old master paintings at the Louvre. -
Teachers for Additional Resources
for T Museum to the Classroom Joslyn Art Museum Comprehensive Study Lesson Plan Created by Mary Lou Alfieri, Josie Langbehn, Kristy Lee, Carter Leeka, Susan Oles, and Laura Huntimer. 1st Semester – American Regionalism Focus: American Regionalism, Grant Wood, Thomas Hart Benton, and John Steuart Curry Objectives: • Understand and create personal narratives. • Recognize and identify American Regionalism artists and their works. • Learn about American culture including jazz. • Discover how these artists used their art to respond to movements such as lynch mobs. Instructional Strategies that Strongly Affect Student Achievement – Robert J. Marzano 01 Identifying similarities and differences 06 Cooperative learning 02 Summarizing and note taking 07 Setting goals and providing feedback 03 Reinforcing effort and providing recognition 08 Generating and testing hypotheses 04 Homework and practice 09 Activating prior knowledge 05 Nonlinguistic representations Resources: Check out the Teacher Support Materials online, and http://www.joslyn.org/education/teachers for additional resources Suggested Materials: Benton, Curry, and Wood teaching posters and prints, newsprint, charcoal, drawing pencils, recorders, Creating a Musical Dialogue lesson plan, 1900-24 Racial Tensions activities and lesson plan http://www.nebraskastudies.org/0700/resources/06race.pdf Vocabulary: agricultural terms, array, art terms, jazz, lynching, narrative, non-standard measurement terms, primary sources, Regionalism, rural. Procedure: • Engage: Introduce students to paintings by Grant Wood, Thomas Hart Benton, and John Steuart Curry, and art movement, American Regionalism. Ask them how the phrase “lived experience” relates to the Regionalists’ works. Ask students to consider how lived experiences become part of their own narrative. • Art Talk: These three artists were defined as American Regionalists before they met. -
Conference Papers, Edited by Ramesh C
Quantity Meets Quality: Towards a digital library. By Jasper Faase & Claus Gravenhorst (Koninklijke Bibliotheek, Netherland) Jasper Faase Koninklijke Bibliotheek, Netherland Jasper Faase is a historian and Project Manager Digitization at the Koninklijke Bibliotheek (National Library of the Netherlands). Since 1999 Jasper has been involved in large scale digitization projects concerning historical data. In 2008 he joined the KB as coordinator of ‘Heritage of the Second World War’, a digitization programme that generated the following national collections: war diaries, propaganda material and illegally printed literature. He currently heads the Databank Digital Daily Newspapers project at the Koninklijke Bibliotheek, as well as several other mass-digitization projects within the KB’s digitization department. Claus Gravenhorst CCS Content Conversion Specialists GmbH Claus Gravenhorst joined CCS Content Conversion Specialists GmbH in 1983, holds a diploma in Electrical Engineering (TU Braunschweig, 1983). Today he is the Director of Strategic Initiatives at CCS leading business development. For 10 years Claus was in charge of the product management of CCS products. During the METAe Project, sponsored by the European Union Framework 5, from 2000 to 2003 Claus collaborated with 16 international partners (Universities, Libraries and Research Institutions) to develop a conversion engine for books and journals. Claus was responsible for the project management, exploration and dissemination. The METAe Project was successfully completed in August 2003. Since 2003 he is engaged in Business Development and promoted docWORKS as a speaker on various international conferences and exhibitions. In 2006 Claus contributed as a co-author to “Digitalization - International Projects in Libraries and Archives”, published in June 2007 by BibSpider, Berlin. -
City Council Agenda
Mayor City Council Christine Lundberg City Council Agenda Sean VanGordon, Ward 1 City Manager: City Hall Steve Moe, Ward 2 Sheri Moore, Ward 3 Gino Grimaldi 225 Fifth Street Leonard Stoehr, Ward 4 City Recorder: Springfield, Oregon 97477 541.726.3700 Marilee Woodrow, Ward 5 AJ Ripka 541.726.3700 Joe Pishioneri, Ward 6 Online at www.springfield-or.gov The meeting location is wheelchair-accessible. For the hearing-impaired, an interpreter can be provided with 48 hours’ notice prior to the meeting. For meetings in the Council Meeting Room, a “Personal PA Receiver” for the hearing impaired is available, as well as an Induction Loop for the benefit of hearing aid users. To arrange for these services, call 541.726.3700. Meetings will end prior to 10:00 p.m. unless extended by a vote of the Council. All proceedings before the City Council are recorded. February 19, 2019 _____________________________ 6:00 p.m. Work Session Jesse Maine Room ______________________________ (Council work sessions are reserved for discussion between Council, staff and consultants; therefore, Council will not receive public input during work sessions. Opportunities for public input are given during all regular Council meetings) CALL TO ORDER ROLL CALL - Mayor Lundberg ___, Councilors VanGordon___, Moe___, Moore____, Stoehr___, Woodrow ___, and Pishioneri ___. 1. Transit Tomorrow Comprehensive Operations Analysis [Emma Newman] (25 Minutes) 2. Solid Waste Code Changes [Sandy Belson] (25 Minutes) ADJOURNMENT Council Agenda February 19, 2019 Page 2 ______________________________ 7:00 p.m. Regular Meeting Council Meeting Room ____________________________ CALL TO ORDER ROLL CALL - Mayor Lundberg ___, Councilors VanGordon___, Moe___, Moore____, Stoehr___, Woodrow ___, and Pishioneri ___. -
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. -
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. -
2008 Source Book
2008SourceBook ɉʄɿʃɳʍʐʆʏɼʌɻʍɻʎ &ʃɲɽɲʌɿʍʅʉʑ Conservation&CleaningMaterials&Supplies InnovativeArchival & PreservationSolution s thatgivePastaFuture ANACOMuseumsDiv.,117VouliagmenisAvenue,Glyfada16674,Attiki,Greece,Tel:+302109600915,Fax:+302109648128,Email:[email protected] Terms & conditions Suitability For Use Every care is taken to maintain the highest standard of quality. Our company wishes to make it clearly understood that it is the users responsibility to ensure that the goods purchased are suitable for the intended purpose. No guarantee is given or implied that any product we supply is fit for any particular purpose. Our liability is strictly limited to the invoice value of the items concerned. Product Coding System A coding reference number exists for all products.To avoid delay in order processing the product code number must be supplied. Customer Accounts We will allow credit to most archives, museums, libraries, colleges, universities, and other public institutions. Private institutions and business firms are also invited to open accounts with appropriate credit references. Prices Prices are subject to revision without notice and are exclusive of V.A.T. Our sales office will confirm all current prices upon request. Payments Cash with order, except for recognised institutions and approved accounts. Payment must be in € Euro with all bank charges paid.We do accept credit cards. V.A.T.at a rate of 19% is chargeable to all Europen Community customers unless your V.A.T. number is tax exempt. No V.A.T. is chargeable on exports outside of the European Community. Credit Cards We accept Visa cards. Shipment Claims Claims for damage caused in transit and incorrect deliveries must be in writing within 3 working days of delivery to facilitate co-ordination with freight companies.