Concept - Echigo-Tsumari Art Field Humans are part of nature As our civilization reaches a critical juncture, the rich nature of the satoyama existence in Echigo-Tsumari can impel us to review our attitude to the environment, calling into question the modern paradigm which has caused such environmental destruction. This is the origin of the concept “humans are part of nature”, which has become the overarching concept for every program taking place in the Echigo-Tsumari Art Field. Regional development in Echigo Tsumari is advanced with the aim to present a model for how people can relate to nature. “In summer, cultivate the fields; in winter, cultivate the mind.” Echigo-Tsumari is known for heavy snowfall in winter. Satoyama and Art The twentieth century was the era of the city and the art of the city. Artworks are dotted across approximately 200 villages rather than displayed in a single center, an “absolutely inefficient” approach deliberately at odds with the rationalization and efficiency of modern society. Festival
ArtFutura Creature Digitali | 3DArt Condividiamo su 3DArt questa fantastica mostra a Roma per tutti gli appassionati di arte multimediale e CG, assolutamente da non perdere! “Artfutura. Creature Digitali presenta per la prima volta a Roma una selezione di artisti che lavorano al confine fra arte e scienza. L’uso di strumenti tecnologici, insieme alle loro capacità artistiche e conoscenze scientifiche, crea un codice di lettura nuovo per il futuro: materializzano l’immaginario, costruiscono nuove forme, materie e superfici come nuove opere e strumenti. A Roma, alla Ex Dogana, fino al 10 settembre 2017 il meglio della videoart mondiale. Sculture cinetiche che creano olografie galleggianti, campi magnetici che generano forme di ferrofluido dinamiche, esperienze audiovisive immersive in cui sperimentare proiezioni virtuali sconosciute. DIFFUSION from Kouhei Nakama la SCIENZA, è ARTE? Can Byubaker – Morphogenesis Trailer Gli Artisti:www.artfuturaroma.it/gli-artisti-mostra-artfutura-roma.html Titolo Evento: Artfutura.
Contemporary African Art Gallery -- New York NY -- Current Show "Nnenna Okore: Transfiguration" Nnenna Okore: Transfiguration “Trunk I” 49” x 28” x 3” “Ndidi” 68” x 50” x 10” “Conjoined” 48” x 42” x 7” “Bark I” 31” x 21” x 3” “Bark II” 31” x 19” x 3” “Fence” 52” x 52” x 10” “Skin” 58” x 24” x 5” “Gone But Not Forgotten” 42” x 65” x 9” “Untitled” 50” x 30” x 4” “Earthbound” 58” x 86” x 6” “Flora II” 42” x 51” x 7” “Threads of Time” 57” x 59” x 10” “Untitled” 50” x 29” x 5”
Analisi dell'opera - Osservare le opere d'arte per capirle e imparare ad amarle Alina Szapocznikow: Sculpture Undone, 1955–1972 A sculptor who began working during the postwar period in a classical figurative style, Alina Szapocznikow radically reconceptualized sculpture as an imprint not only of memory but also of her own body. Though her career effectively spanned less than two decades (cut short by the artist’s premature death in 1973 at age 47), Szapocznikow left behind a legacy of provocative objects that evoke Surrealism, Nouveau Réalisme, and Pop art. Her tinted polyester casts of body parts, often transformed into everyday objects like lamps or ashtrays; her poured polyurethane forms; and her elaborately constructed sculptures, which at times incorporated photographs, clothing, or car parts, all remain as wonderfully idiosyncratic and culturally resonant today as when they were first made. Well known in Poland, where her work has been highly influential since early in her career, Szapocznikow’s compelling book of work is ripe for art historical reexamination.
5 Ways to Make Art on the First Day of School The first few days of school can be tough. Students are still being dropped and added to your classes, making it difficult to teach content. Many of your students’ other classes are going over rules, procedures, and syllabi. Usually, when students get to class you can see the boredom coming from their faces. 1. Painted paper is nice to have in the classroom. Have students collaborate on large pieces of paper and explore mixing different color combinations. Creating painted paper will give you the opportunity to show and discuss proper clean-up routines for painting. 2. Design challenges are a great way to start your school year. This list of 5 ideas is a great start. 3. Because students’ schedules can change frequently within the first week of school it makes it difficult to start longer-term art projects. Here are five specific collaborative projects you can do on the first day of school. 4. Day one in the art room is a great time to see what your students already know. 5.
Materializing "Six Years": Lucy R. Lippard and the Emergence of Conceptual Art N. E. Thing Co. Iain Baxter (Canadian, b. England, 1936) and Ingrid Baxter (American, b. 1938). 1. Time, detail from North American Time Zone Photo–V.S.I. September 14, 2012–February 17, 2013 This exhibition is devoted to examining the defining impact Lucy R. The exhibition will feature more than 170 objects by nearly ninety artists who were working internationally across a range of mediums. Materializing "Six Years" is organized by Catherine Morris, Curator of the Elizabeth A. This exhibition is made possible by the Elizabeth A. ART - The 1st Language: ART ONE Focus on Composition, Simple Depth, Color Mixing, Color Scheme 4 practice sheets including value scales and 3/D sphere on white and colored paper / colored fruit 3/D value using only Y. R. B. / horizontal depth scape with borders, 100% color mixing, color scheme, 3D value3 small sketches of your final ideasone on one TEACHER APPROVALno smaller than 9x12 white or colored papermust have a planned COLOR SCHEME that communicates a feeling, mood or idea3/D VALUE2/3 of the paper must be covered with color OR less than 1/3 white space or it will be considered incompleteALL -----100% of the color must be mixed color / use no color straight from the pencil Colored Pencil Society of America / Links for contests and Online Exhibition Contest Winners in Colored Pencil Federal Duck Stamp Program Colored Pencil Pinterest Board FOLDED CONCEPT SHEETThis is the very first thing that Art One students work on.
ART OF ANOTHER KIND In his first director's report to the board of trustees, James Johnson Sweeney prioritized, among other things, addressing the gap in the collection pertaining to sculpture. Finding it too earthbound to communicate spiritually, founding director Hilla Rebay had not actively collected sculpture, save for a few examples by Alexander Calder, Claire Falkenstein, Naum Gabo, László Moholy-Nagy, and others. From early modernism, Sweeney added nine sculptures by Constantin Brancusi by 1958, creating a concentration of his work for the museum. Alexander Calder, Red Lily Pads, 1956 Painted sheet metal and metal rods, 106.7 x 510.5 x 276.9 cm.
Art Teacher Blog: Mini Minimalist Monuments Art Teacher Blog The Adventures of a Melbourne Art Teacher Tuesday, November 2, 2010 Mini Minimalist Monuments Year five has been working with cardboard boxes to create Mini Minimalist Monuments. Students started by making a paper template which had to incorporate a square, triangle and a circle. href=" This was a hard and slow process. Posted by Ebony at 4:47 AM Labels: Cardboard construction 15 comments: The Clever FeatherNovember 4, 2010 at 11:39 AMThis comment has been removed by the author.ReplyDeleteThe Clever FeatherNovember 4, 2010 at 11:40 AMVery neat! Load more... Newer PostOlder PostHome Subscribe to: Post Comments (Atom) Followers Blog Archive About Me Ebony View my complete profile
Juan Domingo Santos museo del agua . lanjarón Juan Domingo Santos . fotos: © Fernando Alda . + reportaje fotográfico El proyecto del museo se inició con la búsqueda de un lugar donde se favoreciera la presencia del agua en unas condiciones naturales. El espacio elegido se encuentra situado en el acceso al Parque natural de sierra Nevada, junto al río Lanjarón y una acequia de riego que bordea unas antiguas construcciones utilizadas como matadero municipal. Dados los escasos medios disponibles la intervención ha consistido en el reciclaje y reutilización de algunos elementos del entorno. Las naves del matadero, por ejemplo, se han adaptado a museo, y se han incorporado a las nuevas instalaciones los trazados de agua de la acequia y el río a través de un sencillo sistema de láminas de agua conectadas entre sí. Recurso ambiental. Participación y cohesión social Las obras del museo han sido llevadas a cabo por una empresa del pueblo con la colaboración de personas del lugar implicadas con su patrimonio y paisaje.
Paul Carney Arts: Art lesson plans, Education Consultant, Newcastle