Contemporary art

Xem 1-20 trên 33 kết quả Contemporary art
  • It should be first pointed out that French artists who taught "L'Ecole Superieux des Beaux Arts de L'Indochine" (The College of Fine Arts of Indochina) opened in Hanoi in 1925 were blazetrailers of contemporary arts of Vietnam. European arts have had much imprint on Vietnam's. Whatever "ism" have existed in Europe whether Classical Naturalism, Medieval Religionism, Post Impressionism, Cubism, Expressionism, Surrealism, Abstractionism... and even present-day Installation and Land Art..., all turn up in Vietnam.

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  • Gillian Clarke has argued that classical drapery is so prevalent in European art that “classicists tend to think of it not as clothing but as an example of Greek and Roman art” (105). Drapery has long been an ‘artistic conceit’, a device showing artistic flair and rendering. This is brought to an apogee in the large paintings by the contemporary artist Alison Watt. The contours of flesh hidden by the folds of cloth are searched for in vain as there is no body hidden. Alison Watt’s work is a study of cloth, of folds, of voids, of form for...

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  • A series of fifteen conversations in which contemporary artists who create activist, participatory work discuss the cooperative process. Colleagues from fields including architecture, art history, urban planning, and new media join the conversations.

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  • Practice has a logic which is not that of the logician. This has to be acknowledged in order to avoid asking of it more logic than it can give, thereby condemning oneself either to wring incoherence out of it or to thrust a forced coherence upon it. (Bourdieu 1990:80) The impetus for this book emerged in the heat of practice. It was in the experience of painting two works—Reading Fiction (1995) (Illus. 1) and Reading Theory (1995) (Illus. 2)—that I came to question the representationalist logic that underpins contemporary understandings of the work of art.

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  • Throughout all the editions of How to Cheat in Photoshop – a book which will, incidentally, teach you how to use Photoshop – I’ve maintained a website and reader forum to help readers with their photomontage-related problems. This has included a regular weekly contest, the Friday Challenge. And I’ve noticed that one of the major issues facing Photoshop artists is not how to use the Curves dialog, or the Pen tool, or how to save work for the web. One of the major stumbling blocks, it turns out, is the design process....

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  • variety of comprehension strategies as needed (e.g., generating and responding to essential questions, making predictions, comparing information from several sources). The selections in Recommended Literature, Kindergarten Through Grade Twelve illustrate the quality and complexity of the materials to be read by students.

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  • Tác phẩm của Ellsworth Kelly tại Broad Contemporary Art LeWitt, Judd, Morris và Andre nói chung thường tránh sự bất đối xứng, còn Ellsworth Kelly luôn có những biến thái tinh tế trong tác phẩm khi xoay sở với các góc vuông.

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  • In effective English language arts classrooms at all grade levels, students are actively engaged in reading a variety of literary and non-literary texts. By reading imaginative, expository, and informational texts of increasing complexity, students gain an understanding of the elements and structure of different genres. The standards of this strand outline the reading skills and strategies as well as the literary concepts and vocabulary that enable students to comprehend and appreciate high quality reading materials. General Standards 7 and 8 outline basic reading competencies.

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  • Aimed at improving workers’ performance through analytical procedures. •Frederick Taylor (1856-1915): soldiering-reward •Frank Gilbreth (1868-1924) and Lillian Gilbreth (1878-1972): time + motion = efficiency •Henry Gantt (1861-1919): Grant Chart •Harrington Emerson (1853-1931): specialisation of management roles.

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  • Taxation in Comparative and Historical Perspective The New Fiscal Sociology: Taxation in Comparative and Historical Perspective demon- strates that the study of taxation can illuminate fundamental dynamics of modern societies. The fourteen chapters in this collection offer a state-of-the-art survey of the new fiscal sociology that is emerging at the intersection of sociology, history, political science, and law. The contributors include some of the foremost comparative historical scholars in these disciplines and others.

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  • Kéo dài từ ngày 26/09 đến 31/01/2010 tại Bảo tàng Nghệ thuật đương đại tại San Diego, La Jolla sẽ diễn ra triển lãm mang tên: AUTOMATIC CITIES: The Architectural Imaginary in Contemporary Art. “Thành phố tự động” là những khám phá về một nền chính trị “tâm lý” và là những hình ảnh ẩn dụ về nền kiến trúc của xã hội - nghệ thuật đương đại.

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  • The practice of drawing…distilled to its essential elements.In this elegant and inspiring primer, master contemporary artist and author Juliette Aristides breaks down the drawing process into small, manageable lessons; introduces time-tested principles and techniques that

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  • From 2004 to 2006 I taught an introductory film history course in the School for the Contemporary Arts at Simon Fraser University covering cinema’s first five decades. While approximately twenty-five percent of the students taking this course were enrolled in the department’s film production major and were actively creating their own 16mm films, the remain- ing students were largely taking the course out of personal interest or to fulfill requirements for other degrees.

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  • I'd known about the No Hope/Equus/Bikini Trouble/Summer Heat situation for, like, a year, and had always thought it'd be fun to edit together a little creative virginity-losing scene between Scot and Monalisa, since they were both clearly yearning for it back then (and who knows, maybe they slipped away from their chaperones for a little hide-the-chipolata in an empty trailer!).

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  • It has been a pleasure to be involved in the ‘Contemporary Thinkers Reframed’ series produced by I.B.Tauris. I would like to pay tribute to Susan Lawson’s initiative and courage in proposing a series of books on contemporary thinkers aimed specifically at the visual artist and visual-arts students. I would also like to acknowledge Philippa Brewster, Liza Thompson and Gretchen Ladish’s patience and commitment to the project. Estelle Barrett has, as always, enriched this book through our ongoing dialogues and her generosity in reading the manuscript.

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  • The influence of Greek sculptural ideals and Greek clothing are relatively well known, as is the connection between the aesthetic and Pre-Raphaelite artists and dress reform (Newton; Cunningham). The exhibition The Cult of Beauty. The Aesthetic Movement 1869–1900 at the Victoria and Albert Museum in 2011 made these connections through a display of clothing, dress manuals and other items.

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  • I also feel strongly that art making is a research driven activity. The infor- mation contained in this book is written by some of the more innovative and interesting minds working in ceramics today. While not all of the ideas are necessarily groundbreaking, they are unique in their individual approach to the use of the material. How these artists researched and successfully used the processes they set out to is inspirational, informative and important. I hope you find the research contained in these pages as exciting as I do....

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  • George McCauley shapes these varied life experiences into clay forms that are assembled as wholly personal and re- vealing sculpture. Prior to studying art, his vocational positions included carpenter, concrete inspector, waiter and chef, mechanic, horse trainer and aluminum-siding salesman. Like many of his contemporaries, McCauley was drawn to clay after his initial introduction, a classic case of the “love at first touch” syndrome. Ron Meyers at the University of Georgia, was a significant role model.

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  • If the conservator is inexperienced, uses inappropriate materials, or cuts corners to reduce costs or save time, the damage can be devastating and often irreparable. When the conserva- tor is highly qualified, sensitive to aesthetic and art historical concerns, and knowledgeable about materials and methods, the results can bring new life to the sculpture. To the novice project manager, the highly specialized field of conservation can be confus- ing.

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  • In his opening address to the conference, Jon wood, who coordinates the research programme at the Institute, traced the origins of the conference to a series of exploratory conversations on the relationship between archaeology and contemporary art with independent curator Katy rochester. From the outset, wood, rochester and their colleagues in leeds sought proposals from archaeologists who were interested in sculpture and in sharing new ideas with sculpture historians.

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