Mural Arts Philadelphia Is the Nation's Largest Public Art Program
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Redalyc.Giorgio Morandi and the “Return to Order”: from Pittura
Anales del Instituto de Investigaciones Estéticas ISSN: 0185-1276 [email protected] Instituto de Investigaciones Estéticas México AGUIRRE, MARIANA Giorgio Morandi and the “Return to Order”: From Pittura Metafisica to Regionalism, 1917- 1928 Anales del Instituto de Investigaciones Estéticas, vol. XXXV, núm. 102, 2013, pp. 93-124 Instituto de Investigaciones Estéticas Distrito Federal, México Available in: http://www.redalyc.org/articulo.oa?id=36928274005 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative MARIANA AGUIRRE laboratorio sensorial, guadalajara Giorgio Morandi and the “Return to Order”: From Pittura Metafisica to Regionalism, 1917-1928 lthough the art of the Bolognese painter Giorgio Morandi has been showcased in several recent museum exhibitions, impor- tant portions of his trajectory have yet to be analyzed in depth.1 The factA that Morandi’s work has failed to elicit more responses from art historians is the result of the marginalization of modern Italian art from the history of mod- ernism given its reliance on tradition and closeness to Fascism. More impor- tantly, the artist himself favored a formalist interpretation since the late 1930s, which has all but precluded historical approaches to his work except for a few notable exceptions.2 The critic Cesare Brandi, who inaugurated the formalist discourse on Morandi, wrote in 1939 that “nothing is less abstract, less uproot- ed from the world, less indifferent to pain, less deaf to joy than this painting, which apparently retreats to the margins of life and interests itself, withdrawn, in dusty kitchen cupboards.”3 In order to further remove Morandi from the 1. -
A Practical Guide to Creating a Mural
A PRACTICAL GUIDE TO CREATING A MURAL 1 WHY CREATE A MURAL? The benefits of murals are plentiful: not only do they beautify and enhance the urban environment, they deter costly tagging, foster community partnerships and pride, and can even boost the local economy. Above all, they’re fun! This guide assists artists, community organizations, business and property owners and arts and heritage organizations by recommending best practices in mural production. The guide is to be used in conjunction with the City of Nelson Murals Policy, which outlines the approval process for murals. An application form must be completed to propose a mural. The City of Nelson’s Cultural Development Commission is also available to offer advice. DEFINITIONS COMMEMORATION: The act of honouring or perpetuating the memory of a person, persons, event, historical period or idea that has been deemed significant. COMMUNITY ART: Public participation and collaboration with professional artists in visual art, dance, music, theatre, literary and/or media arts within a community context and venue. MURAL: A large-scale artwork completed on a surface with the permission of the owner. Media may include paint, ceramic, wood, tile and photography, etc. SIGN: If the primary intent of the work is to convey commercial information, it is a sign. TAGGING: A common type of graffiti is "tagging", which is the writing, painting or "bombing" of an identifiable symbolic character or "tag" that may or may not contain letters. PUBLIC WALLS: A space that belongs to a public organization, i.e. municipal, provincial or federal government. Approval for the mural should be among the first steps undertaken in the planning process. -
Mural Installation Guide City of Frankfort, Kentucky
Mural Installation Guide City of Frankfort, Kentucky This guide is intended to provide answers to basic questions anyone must answer about creating a mural, from how to prepare a wall surface, to what kind of approvals you will need, to appropriate materials to use. The information here has been culled from best practices that have been documented by artists and mural organizations throughout the country. While this guide provides a roadmap, every project will have its own unique circumstances. Anyone taking on a mural project should look for guidance from artists, curators, arts organizations or others who are experienced with the details of mural production. At the end of this publication there is a Resource Guide that provides additional information and tips about where to find help. In This Guide… Part One – Evaluating a Wall I Page 2 Part Two – Approvals and Permissions I Page 4 Part Three – Creating a Design I Page 5 Part Four – Prep Work I Page 6 Part Five – Paint and Supplies I Page 9 Part Six – Maintenance, Repair, Conservation I Page 11 Part Seven – Checklist of Commonly Used Items I Page 12 Part Eight – Resource Guide I Page 13 Part One – Evaluating a Wall The best type of surface to receive paint is one that is a raw, unpainted brick, concrete or stone material that is free of the defects described below. However, keep in mind that the unpainted masonry requires special approval from the Architectural Review Board. Painting unpainted masonry in the historic district is generally not permitted. Wood, metal and other materials that are in new or good condition can also be satisfactory if properly prepared and sealed. -
Pdfppehrc Complaint.Pdf
IN THE UNITED STATES DISTRICT COURT EASTERN DISTRICT OF PENNSYLVANIA : POOR PEOPLE’S ECONOMIC HUMAN : RIGHTS CAMPAIGN, : : Plaintiff, : : v. : : CITY OF PHILADELPHIA, : : Defendant. : : COMPLAINT INTRODUCTION 1. The nominating convention of one of our country’s two major political parties presents an unparalleled opportunity for individuals and organizations to participate in the democratic process through the exercise of their rights of free speech and assembly. The Democratic National Convention (“DNC”) in late July will draw thousands of delegates, as well as the Democratic Party’s major campaign contributors, lobbyists, and both credentialed and uncredentialed members of the media. It will thus provide an opportunity for groups and individuals to voice their opinions directly to the leaders and decision-makers of the Democratic Party, to national and international media, and to people across the country and around the world who will watch Convention coverage. 2. Plaintiff Poor People’s Economic Human Rights Campaign (“PPEHRC”) is a social justice coalition that wants the visitors and Convention attendees to hear about, see, and 1 understand the poverty that afflicts Philadelphia. On the opening day of the Republican National Convention in 2000, PPEHRC and thousands of poor residents of the city marched from City Hall to the Wells Fargo Center in order to confront the nation’s political leaders with the necessity of taking action to address poverty. PPEHRC believes that the plight of the poor in Philadelphia has only worsened since 2000, and PPEHRC and its members seek to repeat their march from the seat of Philadelphia government to the doorstep of the DNC on the opening day of the Convention to confront the Democratic Party leadership with the continuing failure of the government to address the suffering of poor people. -
Fy21 Proposed Budget
CITY OF PHILADELPHIA ORGANIZATION CHART (ALL FUNDS) BY PROGRAM FISCAL 2021 OPERATING BUDGET Department No. Mural Arts Program 50 Managing Directors Office Mural Arts Program Director 12 Jane Golden-Heriza 10 01 SECTION 7 Mural Arts Program 12 10 FY21 PROPOSED BUDGET ORGANIZATION FY20 FY21 FILLED BUDGETED 1 POS. 11/19 POSITIONS 71-53A (Program Based Budgeting Version) CITY OF PHILADELPHIA DEPARTMENTAL SUMMARY BY FUND FISCAL 2021 OPERATING BUDGET Department No. Mural Arts Program 50 Fiscal 2019 Fiscal 2020 Fiscal 2020 Fiscal 2021 Increase Actual Original Estimated Proposed or No. Fund Class Description Obligations Appropriation Obligations Budget (Decrease) (1) (2) (3) (4) (5) (6) (7) (8) (9) 01 100 Employee Compensation a) Personal Services 587,931 638,987 649,569 578,952 (70,617) b) Employee Benefits 200 Purchase of Services 1,779,296 1,860,615 1,895,615 1,425,610 (470,005) General 300 Materials and Supplies 400 Equipment 500 Contributions, etc. 800 Payments to Other Funds Total 2,367,227 2,499,602 2,545,184 2,004,562 (540,622) 100 Employee Compensation a) Personal Services b) Employee Benefits 200 Purchase of Services 300 Materials and Supplies 400 Equipment 500 Contributions, etc. 800 Payments to Other Funds Total 100 Employee Compensation a) Personal Services b) Employee Benefits 200 Purchase of Services 300 Materials and Supplies 400 Equipment 500 Contributions, etc. 800 Payments to Other Funds Total 100 Employee Compensation a) Personal Services b) Employee Benefits 200 Purchase of Services 300 Materials and Supplies 400 Equipment 500 Contributions, etc. 800 Payments to Other Funds Total 100 Employee Compensation a) Personal Services b) Employee Benefits 200 Purchase of Services 300 Materials and Supplies 400 Equipment 500 Contributions, etc. -
Student Meal Sites Senior Meal Sites
Find Free Food in City Council District 1 Councilmember Mark Squilla Food & Meal distribution made possible by: Philabundance, Philadelphia Corporation for the Aging, School District of Philadelphia, Share Food Program, Step Up To The Plate Campaign Student Meal Sites • All children and their caregivers are eligible. No ID is required. • Families can pick up one box per child with meals for the week. Site Name Address Days and Time Mon./Tues./Wed./Thurs./Fri. Mariana Bracetti Academy Charter School 1840 Torresdale Ave. 7 am – 1 pm Mastery Charter - Thomas Campus 927 Johnston St. Tues. & Fri. 12 pm – 2 pm Mastery Charter - Thomas Elementary 814 Bigler St. Tues. & Thurs. 1 pm – 4 pm D. Newlin Fell School 900 W Oregon Ave. Fri. 9 am – 2 pm Horace Furness High School 1900 S. 3rd St. Fri. 9 am – 2 pm Horatio B. Hackett School 2161 E. York St. Fri. 9 am – 2 pm John H. Webster School 3400 Frankford Ave. Fri. 9 am – 2 pm Jules E. Mastbaum High School 3116 Frankford Ave. Fri. 9 am – 2 pm 2051 E. Cumberland Fri. 9 am – 2 pm Kensington High School St. South Philadelphia High School 2101 S. Broad St. Fri. 9 am – 2 pm Senior Meal Sites • Residents age 60+ are eligible. No reservation needed. • Call senior center for meal schedule. Site Name Address Phone Number On Lok House Satellite 219 N. 10th St. 215-599-3016 Philadelphia Senior Center - Avenue of the Arts 509 S. Broad St. 215-546-5879 and Asia-Pacific Senior Resource Center South Philly Older Adult Center 1430 E. -
SAMPLE Portfolio Assessment for ART-395 Urban Mural
SAMPLE Portfolio Assessment for ART-395 Urban Mural Art Note from the Office of Portfolio Assessment Knowledge and background in more “applied” subjects tend to be better suited for portfolio assessment credit because the student’s proof of “doing the work” is viewed as direct evidence of the knowledge. In this portfolio you will see more than a dozen “samples of work” along with several letters of support. In such portfolios those are the two most significant types of necessary evidence to earn credit. ART-395 Urban Mural Art – Table of Contents Course Description and Learning Outcomes page 1 Introduction page 2 Narrative pages 3- 13 Evidence Items • Bibliography page 14 • Letter of support page 15 • Letter of support page 16 • Newspaper Article pages 17 & 18 • Newspaper Article page 19 • Samples of work (17 pages) pages 20 - 36 Summary page 37 Urban Mural Art (ART-395) 3.00 s.h. Course Description The course discusses the history and practice of the contemporary mural movement. The course couples step-by-step analysis of the process of designing with the actual painting of a mural. In addition students will learn to see mural art as a tool for social change. Combining theory with practice, students will design and pain a large outdoor mural in West Philadelphia in collaboration with Philadelphia high school students and local community groups. Learning outcomes: • Develop and understanding of the history and practice of mural design • Analyze the design process • Design and paint a mural • Articulate familiarity with the concept of mural painting as it reflects social change • Demonstrate the ability to collaborate with groups and individuals toward a finished piece of art Introduction My career as an artist predates my career as an educator. -
Architecture on Display: on the History of the Venice Biennale of Architecture
archITECTURE ON DIspLAY: ON THE HISTORY OF THE VENICE BIENNALE OF archITECTURE Aaron Levy and William Menking in conversation with: Vittorio Gregotti Paolo Portoghesi Francesco Dal Co Hans Hollein Massimiliano Fuksas Deyan Sudjic Kurt W Forster Richard Burdett Aaron Betsky Kazuyo Sejima Paolo Baratta archITECTUraL assOCIATION LONDON ArchITECTURE ON DIspLAY Architecture on Display: On the History of the Venice Biennale of Architecture ARCHITECTURAL ASSOCIATION LONDON Contents 7 Preface by Brett Steele 11 Introduction by Aaron Levy Interviews 21 Vittorio Gregotti 35 Paolo Portoghesi 49 Francesco Dal Co 65 Hans Hollein 79 Massimiliano Fuksas 93 Deyan Sudjic 105 Kurt W Forster 127 Richard Burdett 141 Aaron Betsky 165 Kazuyo Sejima 181 Paolo Baratta 203 Afterword by William Menking 5 Preface Brett Steele The Venice Biennale of Architecture is an integral part of contemporary architectural culture. And not only for its arrival, like clockwork, every 730 days (every other August) as the rolling index of curatorial (much more than material, social or spatial) instincts within the world of architecture. The biennale’s importance today lies in its vital dual presence as both register and infrastructure, recording the impulses that guide not only architec- ture but also the increasingly international audienc- es created by (and so often today, nearly subservient to) contemporary architectures of display. As the title of this elegant book suggests, ‘architecture on display’ is indeed the larger cultural condition serving as context for the popular success and 30- year evolution of this remarkable event. To look past its most prosaic features as an architectural gathering measured by crowd size and exhibitor prowess, the biennale has become something much more than merely a regularly scheduled (if at times unpredictably organised) survey of architectural experimentation: it is now the key global embodiment of the curatorial bias of not only contemporary culture but also architectural life, or at least of how we imagine, represent and display that life. -
Monuments to Mundanity at the Socle Du Monde Biennale | Apollo
REVIEWS Monuments to mundanity at the Socle du Monde Biennale Nausikaä El-Mecky 28 APRIL 2017 Socle du Monde (1961), Piero Manzoni. Photo: Ole Bagger. Courtesy of HEART SHARE TWITTER FACEBOOK LINKEDIN EMAIL I am in the middle of nowhere and absolutely terrified. All around me, long strips of white canvas stretch into the distance, suspended above the grass; the wind plays them like strings, making them howl and snap. They are precisely at the level of my neck, and their edges appear razor-sharp. Walking through Keisuke Matsuura’s brilliantly simple Resonance, with its multiple slacklines stretched across two small rises, is like going through a dangerous portal, or navigating a set of laser-beams. Keisuke Matsuura resonance Socle du Monde Biennale 2017 from Keisuke Matsuura on Vimeo. Matsuura’s work is part of the 7th Socle du Monde Biennale in Herning, Denmark. To get there, we drive through an industrial estate in the middle of grey flatlands. Steam billows from a chimney nearby, and a massive hardware store flanks the Biennale’s terrain, which consists of manicured green lawns dotted with several buildings, and intercut by a road or two. Rather than ruining the experience, the encroaching elements of daily life make for a compelling, unpretentious backdrop to the art on display. Matsuura’s work is typical of this Biennale, where things that appear simple, even mundane, suddenly swallow you up in an intense encounter. Even the main building, Denmark’s HEART museum, is a surprise. At first glance it appears to be an unobtrusive, white-walled specimen of Scandi minimalism, but when I happen to look up, I see a beautifully menacing ceiling whose folds and texture resemble parchment or flesh. -
Making Exact Change
Making Exact Change How U.S. arts-based programs have made a significant and sustained impact on their communities A Research Project of the Community Arts Network By William Cleveland, the Center for the Study of Art and Community Published by Art in the Public Interest November 2005 Making Exact Change How U.S. arts-based programs have made a significant and sustained positive impact on their communities © 2005 Art in the Public Interest ART IN THE PUBLIC INTEREST promotes information exchange, research and critical dialogue within the field of community-based arts. Its primary program is the Community Arts Network (CAN). http://www.communityarts.net Art in the Public Interest Linda Frye Burnham & Steven Durland, co-directors P.O. Box 68, Saxapahaw, NC 27340 This report is also available on the Web at: http://www.makingexactchange.org On the cover: Detail of a Village of Arts and Humanities mural project. Photo courtesy the Village of Arts and Humanities 4 Making Exact Change Making Exact Change Table of Contents Part One: Introduction . 6 Part Two: Case Studies . .11 CityKids . .12 GRACE (Grass Roots Art and Community Effort) . .21 Isangmahal Arts Kollective . .29 Manchester Craftsmen’s Guild . .36 Mural Arts Program . .47 Northern Lakes Center for the Arts . .55 Swamp Gravy . .64 Village of Arts and Humanities . .73 Wing Luke Asian Museum . .83 Zuni-Appalachian Exchange and Collaboration . .93 Part Three: Findings . .102 Part Four: Recommendations . .122 End Notes . .132 Appendices Appendix A: Request for Study Subjects . .134 Appendix B: Questions for Study Sites . .136 Project Personnel . .139 Making Exact Change 5 Introduction Part One Introduction In 1976, U.S. -
CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale Di Venezia La Biennale Di Venezia President Presents Roberto Cicutto
LE MUSE INQUIETE WHEN LA BIENNALE DI VENEZIA MEETS HISTORY CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale di Venezia La Biennale di Venezia President presents Roberto Cicutto Board The Disquieted Muses. Luigi Brugnaro Vicepresidente When La Biennale di Venezia Meets History Claudia Ferrazzi Luca Zaia Auditors’ Committee Jair Lorenco Presidente Stefania Bortoletti Anna Maria Como in collaboration with Director General Istituto Luce-Cinecittà e Rai Teche Andrea Del Mercato and with AAMOD-Fondazione Archivio Audiovisivo del Movimento Operaio e Democratico Archivio Centrale dello Stato Archivio Ugo Mulas Bianconero Archivio Cameraphoto Epoche Fondazione Modena Arti Visive Galleria Nazionale d’Arte Moderna e Contemporanea IVESER Istituto Veneziano per la Storia della Resistenza e della Società Contemporanea LIMA Amsterdam Peggy Guggenheim Collection Tate Modern THE DISQUIETED MUSES… The title of the exhibition The Disquieted Muses. When La Biennale di Venezia Meets History does not just convey the content that visitors to the Central Pavilion in the Giardini della Biennale will encounter, but also a vision. Disquiet serves as a driving force behind research, which requires dialogue to verify its theories and needs history to absorb knowledge. This is what La Biennale does and will continue to do as it seeks to reinforce a methodology that creates even stronger bonds between its own disciplines. There are six Muses at the Biennale: Art, Architecture, Cinema, Theatre, Music and Dance, given a voice through the great events that fill Venice and the world every year. There are the places that serve as venues for all of La Biennale’s activities: the Giardini, the Arsenale, the Palazzo del Cinema and other cinemas on the Lido, the theatres, the city of Venice itself. -
Mural Arts Philadelphia Is the Nation's Largest Public Art Program
Press Kit Untitled © 2015 MOMO. Sonesta Philadelphia, 1800 Market Street, Philadelphia, PA. Photo by Steve Weinik. CONTACT: CARI FEILER BENDER Mural Arts Philadelphia is Publicist Relief Communications, LLC the nation’s largest public art T: 610.416.1216 [email protected] program, dedicated to the NICOLE STEINBERG Director of Communications belief that art ignites change. & Brand Management Mural Arts Philadelphia For over 30 years, Mural Arts has united artists and communities through a collaborative and equitable process, creating nearly 4,000 artworks that have transformed public spaces and T: 215.685.0754 individual lives. Mural Arts aims to empower people, stimulate dialogue, and build bridges to [email protected] understanding with projects that attract artists from Philadelphia and around the world, and programs that focus on youth education, restorative justice, mental health and wellness, and public art and its preservation. Popular mural tours offer a firsthand glimpse into the inspiring stories behind Mural Arts’ iconic and unparalleled collection, which has earned Philadelphia worldwide recognition as the “City of Murals.” For more information, call 215-685-0750 or visit muralarts.org. Follow along on social media: @muralarts on Twitter, Instagram, and Snapchat, MuralArtsPhiladelphia on Facebook, and phillymuralarts on YouTube. muralartsphiladelphia @muralarts #muralarts muralarts.org Press Kit The Stamp of Incarceration: Amira Mohamed Sanctuary © 2016 James Burns / City of Philadelphia © 2015 Shepard Fairey. The Friends Center, Mural Arts Program. 13th and Chancellor Streets. Photo 1500 Race Street, Philadelphia, PA. by Steve Weinik. Labyrinth © 2015 Sam Durant. Municipal Services Autumn Revisited © 2012 David Guinn / City of Building, Thomas Paine Plaza, 1401 JFK Blvd, Philadelphia Mural Arts Program.