Political feminism: Activist art in Australia in 2015

Brisbane-based artist and Founding Co-Director of LEVEL artist run initiative Courtney Coombs discusses feminist activist art practice in Australia. Recent discussions both in the art world and beyond have increased the profile and demystified the notion of feminism in the twenty-first century, and the term has once again become integrated into mainstream discussion internationally and in Australia. Now that pop music star Taylor Swift has declared herself a feminist, you could be persuaded that the 'f' word has finally become socially acceptable. However, while many artists have adopted the feminist label across the country, it often feels like feminism has become a lifestyle choice rather than a political one. When the badge is so readily worn by many, society can be fooled into thinking that there is no more work to be done. With the 'f' word once again acceptable while the 'p' word (patriarchy) remains so pass , how are artists responding to the changed conditions but continued imposition of what bell hooks has described as the 'imperialist white supremacist capitalist patriarchy'?

The "Art" of Criticism: Rubén Darío and his Unknown Chronicles of the 1895 Salon for "La Prensa"

With the impetus that has led recent studies on Latin American Modernism to a reevaluation of the sense of cultural fluxes from the modernity capitals to its peripheries –discarding categories such as “influence”, “exotism” and “ivory tower”, stereotypes that have clouded critical understanding of this aesthetics for decades- the present study intends to investigate a persistent practice of the main writers of the movement. This practice is modernist pictorial criticism, a genre that will be approached through the analysis of an unknown corpus: the seven chronicles Rubén Darío published in the journal La Prensa on occasion of the third art exposition of the Ateneo de Buenos Aires. Our hypothesis is that the rare creators of images portrayed by Darío by the end of 1895 work as a visual counterpoint of the eccentric writers’ biographical sketches that a year later will be part of the fundamental volume Los raros (1896). In this early “salon”, which we reproduce in its entirety, accompanied by explanatory notes, the leader of Modernism rehearses and consolidates his transcultural work with the universal tradition –now applied to the Salons (1845-1860) by Charles Baudelaire and to the monumental project by John Ruskin in Modern painters (1843-1860)- to legitimate, from another subgenre of Modernist criticism, a new figure of the critic, in dissent with the Enlightenment model of the writer.

About infamy: the filthiness of Art and its diogenic disease

In this paper, we postulate the direct relationship that exists between waste production and artistic objects; its manufacturing system, consumption, and subsequent waste. What arises in this relationship then, is another character of interest –and that will serve as a reference to compare its modus operandi with the place of artists and the arts–, in this sick world, the Diogenes. The obsessed that lives among the garbage. The absurdity of the conquest of the infinite of the illogical within the logical. The amount clouded and blinded, nothing is enjoyed, nothing is appreciated; the countless abandons its place in the memory –memorable– and there only exists a pathological accumulation, mountains of garbage, desires to hold on to vital faith of the belief of doing Something for themselves. Working just to work and building something that will not last, like a sand castle, accumulation of detritus and dust. A new logic is born, the enjoyment of diseases and emptiness, the destruction of a world without a history. «Artists of the world, abandon! You have nothing to lose but your own professions!» (Kaprow, 2007, p. 37).

A director’s approach to art and religion : o quadro, um musical da Paixão segundo o sr. João (The masterpiece, a musical of The passion according to John): trabalho de projecto

Trabalho de Projecto submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Encenação.

La mirada de los otros : el director escolar visto por el profesorado

Resumen tomado de la publicaci??n. Resumen tambi??n en ingl??s

El Director General de Ense??anza Media clausura el tercer Congreso Espa??ol de Estudios Cl??sicos

Se repasan los actos que tuvieron lugar con motivo del Tercer Congreso Espa??ol de Estudios Cl??sicos, al que acudieron m??s de doscientos profesores, investigadores y alumnos, procedentes de toda Espa??a y que se celebr?? en Madrid entre el 28 de marzo y el 1 de abril de 1966. Seg??n el programa, en la Sesi??n de Apertura del Congreso, tomaron la palabra varias autoridades relacionadas con la educaci??n y los estudios cl??sicos. Seguidamente, se abri?? el turno de conferencias y coloquios con lectura de comunicaciones, cuyos t??tulos se reproducen en este art??culo. Adem??s, tuvieron lugar diversos actos culturales con motivo de tal evento. La clausura del Congreso dio lugar a varios discursos recordando a la figura de S??neca en el diecinueve centenario de su fallecimiento. El Director General de Ense??anza Media, Prof. Gonz??lez ??lvarez, pronunci?? un discurso con palabras de agradecimiento por la gran acogida del Congreso y prometiendo ayuda a los congresistas asistentes en sus aspiraciones, declarando finalmente clausurado el Congreso.

La primac??a de la cultura : discurso del Director General de Ense??anza Media , Doctor D. ??ngel Gonz??lez ??lvarez, en la apertura del III Congreso Nacional de Pedagog??a, en Salamanca

Se transcribe el discurso inaugural del Director General de Ense??anza Media, Profesor ??ngel Gonz??lez ??lvarez, del III Congreso Nacional de Pedagog??a celebrado del 28 al 31 de octubre de 1964 en Salamanca, en el que, entre otros temas, recalca la importancia de la formaci??n del hombre para el prosperar del pueblo. Adem??s, se hace un listado de todas las comunicaciones pronunciadas en el Congreso. Concluye el art??culo con una relaci??n de las 37 conclusiones a las que se lleg?? en el Congreso, entre otras: el cambio de denominaci??n de las Facultades de Pedagog??a a Ciencias de la Educaci??n, el reconocimiento de la Universidad como instituci??n con una misi??n orientadora de la actividad del sistema escolar o el reconocimiento individual de cada uno de los alumnos.

Don Pedro Rocamora, nuevo director del Colegio Mayor Jim??nez de Cisneros

Se describe el acto de toma de posesi??n del cargo de nuevo director del Colegio Mayor Jim??nez de Cisneros de Madrid por el profesor universitario D. Pedro Rocamora y Valls, quien agradeci?? el nombramiento al Ministro de Educaci??n Nacional y a su predecesor, D. Pedro La??n Entralgo, exalt?? la importancia del papel de la universidad espa??ola y de los cambios que hab??a sufrido en los ??ltimos a??os gracias a la labor del gobierno franquista y animaba a los estudiantes a pasar por las instalaciones de la residencia estudiantil.

La conservaci??n de la Acr??polis : llamamiento del Director General de la UNESCO. N??m. 9

Es continuaci??n de la publicaci??n: Bolet??n de la Comisi??n Espa??ola de la UNESCO

??Qu?? director/a reclaman las organizaciones escolares? : la voz del profesorado

Resumen basado en el de la publicaci??n

La carta al director : investigaci??n y aplicaci??n did??ctica del g??nero a la ense??anza de ELE

Resumen basado en el de la publicaci??n

Entrevista a D. Antonio Eusebio : fundador y primer director del CEP Tenerife Sur-Abona

Se presenta la entrevista a Don Antonio Eusebio Mart??n Casanova fundador y primer director del CEP Tenerife Sur-Abona. Se destacan los aspectos m??s importantes de su carrera profesional tras su paso por la Consejer??a de Educaci??n y las acciones iniciales para desarrollar el proyecto del CEP y la publicaci??n de su revista El Bucio. Se pone de relieve su opini??n acerca de la funci??n que deben tener los CEP para el profesorado, como un lugar de aprendizaje y de actualizaci??n, donde se le reconozca su trabajo y se puedan compartir las experiencias. Un lugar donde las estrategias y la innovaci??n deben ser lo suficientemente motivadoras para atraer al profesorado.

The Dark Monarch: magic and modernity in British art

This major curated exhibition, publication and events builds on Rowlands’ curatorial research. Working in collaboration with co-curators Martin Clark, Artistic Director, Tate St Ives and Michael Bracewell, cultural historian, the exhibition sought to explore new narratives within British art. The innovative curatorial methodology developed from a fiction found in the infamous novel, The Dark Monarch by Sven Berlin, Gallery Press 1962. The research sought specific archival and collection work that allowed thematic strands to emerge that represented influences across generations. The exhibition features two-hundred artworks, from the Tate Collection, archives and other significant British public and private collections. It examines the development of early Modernism, in the UK, as well as the reappearance of esoteric and arcane references in a significant strand of contemporary art practice. Historical works from Samuel Palmer, Graham Sutherland, Henry Moore and Paul Nash are shown alongside contemporary artists including Derek Jarman, Cerith Wyn Evans, Eva Rothschild, Linder and John Russell. The exhibition includes a key work by Damien Hirst ¬ the first time he has been shown at Tate St Ives and a number of contemporary commissions. The Dark Monarch publication extended the discourse of the research critically examining the tension between progressive modernity and romantic knowledge, the book focuses on the way that artworks are encoded with various histories - geological, mythical and magical. Essays examine magic as a counterpoint to modernity’s transparency and rational progress, but also draw out the links modernity has with notions such as fetishism, mana, totem, and the taboo. Often viewed as counter to Modernism, this collection of essays suggest that these products of illusion and delusion in fact belong to modernity. Drawing together 15 different writers commissioned to explore magic as a counterpoint of liberal understanding of modernity, drawing out links that modernity has with notions of fetish, taboo and occult philosophy. Including essays by Marina Warner, Ilsa Colsell, Philip Hoare, Chris Stephens, Jennifer Higgie and Morrissey.

Discovering a history : the school of art at the University of Denver

Discovering a History: The School of Art at the University of Denver explores the early history of art education in Denver, and the significance of visual art education at the University of Denver within that history beginning in 1865, when the first classes in art were offered, and ending in 1929 when the University acquired the Chappell School of Art—an independent art school—and appointed Vance Kirkland as director. This paper also explores competing art institutions, which at times posed great hindrances to the University. Further, it illustrates how the artists who taught at the University of Denver School of Art, such as Ida De Steiguer, Preston Powers, Emma Richardson Cherry, and Henry Read, were amongst the great contributors to Denver’s burgeoning artistic culture.

Schreiben eines Freundes der Kunst an Herrn Gallerie-Director Krahe in Düsseldorf, die Beleuchtung eines Gemäldes vorzüglich betreffend.

An essay on the use of lightning in two landscape paintings by Nicolaas Pietersz Berchem and Aelbert Cuyp.