Eschewing the fat: strong production but Neil LaBute below his best : a review

AWARD-WINNING American play and screen writer Neil LaBute is known for producing character-driven dramas that concentrate on the darker side of human nature and desire. In Fat Pig, LaBute picks up on a familiar theme: the way a perverse social preference for physical perfection affects human relationships. It is a topic LaBute has tackled before in The Shape of Things, a compelling play in which a beautiful young woman's efforts to help her new boyfriend pursue a program of self-improvement are eventually revealed to be part of a bizarre human experiment for her master-of-fine-arts degree.

Makt, konst, elit - konstfältets positioner, relationer och resurser i 1940- och 1950-talens Helsingfors

The dissertation examines the power mechanisms and institutional power hierarchies of the 1940s-1950s era arts elite in Helsinki and their influence on issues of taste in the visual arts. For the purposes of this study, the elite is understood to consist mainly of the board members of the principal elected bodies in the field of the arts. The theoretical framework employed is based on Pierre Bourdieu s field theory and the network perspective. The author has examined what the key, pervasive valuations were that governed the exercising of power by the arts elite in issues of taste, involving determination of who was an acknowledged artist and what was good art. The dissertation demonstrates that this exercising of power was governed by certain collective practices which maintained the illusion that the exercising of power was democratic and based on artistic quality. These practices were the corporate system, using artistic arguments in issues of taste, and using networks in the exercising of power. The struggle in the field of the arts was about who ultimately was entitled to define the value of contemporary art; the issue did not arise regarding historical art. Artists managed to gain a leading position as gatekeepers in issues regarding contemporary art. The author discusses a number of conflicts in the field of the arts that highlight the institutional hierarchies and the capital held by the various players. The structural changes that occurred in administration in the field of cultural production in the 1950s led to the separation of bureaucratic competence on the one hand and aesthetic competence on the other. There was a hierarchy in the field of the arts between institutions, between instruments of legitimisation, and between the symbolic and social capital of players in the field. The hierarchy in the arts ultimately depended on how well the elite could influence tastes through the instruments at their disposal. The various instruments of legitimisation grants, purchases, etc. were ranked differently in the evaluation of acknowledged artists and good art. The dissertation discusses what values, in the form of types of symbolic capital, the arts elite embraced and what role these played in the elite s exercising of power, with particular focus on gender, language, region and economic capital. The aesthetic capital of an artist was of only minor importance in the exercising of power by the arts elite. The dissertation further discusses the points of contact between the arts elite and players in other fields, such as the economic, media and consumer fields. When the arts elite, through the Academy of Fine Arts, became an active player in the art market, this led to a hierarchy where the division between acknowledged and not-acknowledged galleries became sharper.

Memoirs 1920-1960

Education as artist in "Odenwaldschule" and Oberammergau; return to Berlin and studies in the "Kunstgewerbeschule"; emigration to Paris in 1933; artist circle including Max Ernst; flight to Switzerland in 1942; busts of Pablo Casals and Emil Ludwig; emigration to New York; bust of Bruno Walter.

Análisis de las publicaciones del personal docente e investigador de las facultades españolas de Bellas Artes

8 p.

Sophia Jobim: trajetória e individualidade. Uma experiência singular do feminismo brasileiro

Nesta dissertação abordaremos a indumentarista, professora e feminista Sophia Jobim Magno de Carvalho (1904 1968). Sophia Jobim nascida Maria Sofia Pinheiro Machado Jobim, em Avaré em 19 de Setembro de 1904. Fundou em 1947, a primeira sede do Clube Soroptimista no Brasil, em sua casa com Bertha Lutz, ocupando o cargo de presidente durante quatro anos. Em 1949, ocupa o cargo de regente da disciplina de Indumentária e Arte Decorativa na Escola Nacional de Belas-Artes (ENBA). Através desse cargo, Sophia viajava para colecionar peças de diferentes países e apresentá-los nas suas aulas, além de fundar o primeiro museu de indumentária da América Latina, em sua casa, em Santa Teresa RJ, em 1960. Após sua morte por embolia pulmonar, em 1968, seu acervo é totalmente doado ao Museu Histórico Nacional, instituição na qual se graduou no Curso de Museologia, em 1963. Com este trabalho pretendemos trazer à tona uma parcela do material doado por Sophia e evidenciando suas ações como feminista, trazendo para o trabalho a discussão em torno do individuo utilizando como teóricos Georg Simmel e Gilberto Velho. A formação da ENBA, e a cooptação dos intelectuais no Estado Novo são temas a serem mobilizados durante o trabalho, além da sociabilidade como forma de análise do período e do campo por onde Sophia caminhou. Através deste trabalho buscamos proporcionar uma breve visão sobre Sophia Jobim e contribuir aos estudos sobre o feminismo e a individualidade.

Experiencia colaborativa de enseñanza y aprendizaje entre estudiantes de diferentes ámbitos universitarios. Narrativa en torno a los Desayunos Donostia-Barcelona

El texto presenta una experiencia socioconstruccionista que une el trabajo entre estudiantes de Bellas Artes de la Universidad de Barcelona y de Magisterio de la Universidad del País Vasco. Un trabajo colaborativo entre docentes y estudiantes que conllevó compartir conocimientos y saberes a través del uso de nuevas tecnologías de la información y la comunicación (Skype y Blogs). El foco del artículo está situado en las relaciones de enseñanza y aprendizaje propias y singulares de una experiencia concreta, y en lo que se deriva de ello en el desarrollo de identidades de discentes y docentes; en esta línea, surgieron temas vinculados con: las posicionamientos emergentes, los modos de colocarse en los espacios de aprendizaje, las formas de relacionarse con los conocimientos, resistencias y potenciales del uso de nuevas tecnologías, etc. El texto está articulado en dos partes: una primera en la que brevemente se muestra el anclaje teórico que sustentó el trabajo (la investigación narrativa, y el trabajo educativo basado en Leaning by Desing); y una segunda parte que, llevando por título Desayunos Donostia–Barcelona y con una retórica basada en la novela de ficción, presenta experiencias significativas que hablan de los encuentros entre estudiantes y docentes. Dichas experiencias se inscriben dentro de las actividades de los grupos de innovación docente Indaga-t (2010PID-UB/33) y Elkarrikertuz (IT433-10), y es el resultado de trabajos colaborativos entre docentes e investigadores miembros de los mismos.El texto, que parte de la relación entre los grupos de innovación Indaga-t (2010PID-UB/33) y Elkarrikertuz (IT433-10), muestra una experiencia de colaboración que permite a los estudiantes establecer puentes entre diferentes comunidades y entre dos lugares de aprendizaje supuestamente alejados como son las facultades de Bellas Artes y Magisterio. Además nos ha ofrecido la oportunidad de construir experiencias de aprendizaje donde hemos aprendido a trabajar de un modo colaborativo entre docentes y estudiantes.

Redescubrir la dinámica escultórica desde el trabajo en grupo

La iniciativa que se describe en este artículo, surge de una propuesta de investigación plástica, que se inició espontáneamente en el seno de una asignatura de escultura en la Facultad de Bellas Artes del CES Felipe II-UCM, y que tuvo como principal objetivo explorar nuevos modos de enseñanza artística desde la dinámica creativa en sí misma, con el fin de motivar el aprendizaje desde la participación directa en propuestas creativas que se apoyen en métodos de intervención crítica y que exploren las ventajas de las dinámicas interdisciplinares para complementar las eficacias de los ejercicios individuales, y así poder generar un aprendizaje desde dinámicas de trabajo en grupo. Para ello, hemos puesto en marcha procesos de trabajo cooperativo valorando sobre todo la experiencia directa, ofreciendo a los estudiantes contribuir en la actividad, tomar decisiones, lo que les permite aportar ideas, puntos de vista y opiniones sobre la combinación de nuevas tecnologías y técnicas tradicionales de la escultura, usados en proyectos artísticos actuales.

Teaching Art History to Design Students

Art History is often seen as a mandatory core course in the curricula of design programs but it is rarely tailored to the needs and goals of such programs. Instead, the traditional chronological organization of lecture topics, invariably beginning with the “Venus of Willendorf” (c. 25,000 BC) is presented in order to impart to the students a supposed holistic “big picture.” This essay outlines the re-structuring of a two-semester first-year faculty-wide introductory art history course, entitled “History of Art and Design,” in the Faculty of Fine Arts and Design at Izmir University of Economics, Izmir, Turkey. The course was re-configured from a conventional chronologically-presented (time-oriented) lecture series to a thematically presented (topic-oriented) lecture series more relevant to the students of the faculty – architecture, interior architecture, graphic design, industrial design, and fashion design students.

A coleção de escultura da Faculdade de Belas Artes : a formação do gosto e o ensino do desenho

Tese de doutoramento, Belas-Artes (Desenho), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

Imagens interditas? : limites e rupturas em representações explícitas do sexo no pós-25 de Abril

Tese de doutoramento, Belas-Artes (Pintura), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

Expansion Sod Turning

Pictured here from left to right are Jack Miller, Department of Chemistry, R. Misener, Chancellor, R. A. Macleod, Board of Trustees, and actors from the Department of Fine Arts during the sod turning ceremonies in 1982 for the Science Complex expansion to the Mackenzie Chown Complex.

Rick Bell Family fonds, 1874-1875, 1879, 1884, 1886, 1888-1889, 1896, 1898, 1909-1910, 1939, 1945, n.d.

Lewis Tyrell married Jane Gains on August 31, 1849 in Culpeper Court House, Virginia. Jane Gains was a spinster. Lewis Tyrell died September 25, 1908 at his late residence, Vine St. and Welland Ave., St. Catharines, Ont. at the age of 81 years, 5 months. Jane Tyrell died March 1, 1886, age 64 years. Their son? William C. Tyrell died January 15, 1898, by accident in Albany, NY, age 33 years, 3 months. John William Taylor married Susan Jones were married in St. Catharines, Ont. on August 10, 1851 by William Wilkinson, a Baptist minister. On August 9, 1894 Charles Henry Bell (1871-1916), son of Stephen (1835?-1876) and Susan Bell, married Mary E. Tyrell (b. 1869?) daughter of Lewis and Alice Tyrell, in St. Catharines Ontario. By 1895 the Bell’s were living in Erie, Pennsylvania where children Delbert Otto (b. 1895) and Edna Beatrice (b. 1897) were born. By 1897 the family was back in St. Catharines where children Lewis Tyrell (b. 1899), Gertrude Cora (b. 1901), Bessie Jane (b. 1902), Charles Henry (b. 1906), Richard Nelson (b. 1911) and William Willoughby (b. 1912) were born. Charles Henry Bell operated a coal and ice business on Geneva Street. In the 1901 Census for St. Catharines, the Bell family includes the lodger Charles Henry Hall. Charles Henry Hall was born ca. 1824 in Maryland, he died in St. Catharines on November 11, 1916 at the age of 92. On October 24, 1889 Charles Hall married Susan Bell (1829-1898). The 1911 Census of Canada records Charles Henry Hall residing in the same household as Charles Henry and Mary Bell. The relationship to the householder is step-father. It is likely that after Stephen Bell’s death in 1876, his widow, Susan Bell married Hall. In 1939, Richard Nelson Bell, son of Charles Henry and Mary Tyrell Bell, married Iris Sloman. Iris (b. 22 May 1912 in Biddulph Township, Middlesex, Ontario) was the daughter of Albert (son of Joseph b. 1870 and Elizabeth Sloman, b. 1872) and Josie (Josephine Ellen) Butler Sloman of London, Ont. Josie (b. 1891) was the daughter of Everett Richard and Elizabeth McCarthy (or McCarty) Butler, of Lucan Village, Middlesex North. According to the 1911 Census of Canada, Albert, a Methodist, was a porter on the railroad. His wife, Josephine, was a Roman Catholic. Residing with Albert and Josie were Sanford and Sadie Butler and Sidney Sloman, likely siblings of Albert and Josephine. The Butler family is descended from Peter Butler, a former slave, who had settled in the Wilberforce Colony in the 1830s. Rick Bell b. 1949 in Niagara Falls, Ont. is the son of Richard Nelson Bell. In 1979, after working seven years as an orderly at the St. Catharines General Hospital while also attending night school at Niagara College, Rick Bell was hired by the Thorold Fire Dept. He became the first Black professional firefighter in Niagara. He is a founding member of the St. Catharines Junior Symphony; attended the Banff School of Fine Arts in 1966 and also performed with the Lincoln & Welland Regimental Band and several other popular local groups. Upon the discovery of this rich archive in his mothers’ attic he became passionate about sharing his Black ancestry and the contributions of fugitive slaves to the heritage Niagara with local school children. He currently resides in London, Ont.

Niagara Symphony Orchestra fonds, 1926, 1948-1998, n.d.

In 1948, The St. Catharines Civic Orchestra was founded by Jan Wolanek who was also the first conductor. Initially, this was a community orchestra and in 1963 its governing body assumed the name St. Catharines Symphony Association. In 1978 the name was again changed to The Niagara Symphony Association to reflect regional responsibilities. Wally Laughton was named Assistant Conductor in 1952/53. R.C. Clarke took over the orchestra for an interim period after Wolanek left in 1957. In 1958 Leonard Pearlman became the Music Director. It was under his direction that the Niagara Symphony Chorus came into existence in 1963. Milton Barnes succeeded Pearlman in 1964 and he was responsible for directing the symphony’s first opera production. He also made a concerted effort to attract younger people to symphonic music. In 1972 Leonard Atherton became the Music Director. He started the Cantata Choir and the Madrigal Singers. It was under his tenure that the orchestra became professional. When Atherton left in 1980, there were three seasons of guest conductors, the most notable of these conductors was Uri Mayer. In 1981 James Vincent Fusco was appointed as composer in residence and in 1983 Ermanno Florio became the Music Director. He retained this position until 1995 when Michael Reason took over. Daniel Swift was appointed as Music Director and Conductor in 1999 and the Niagara Symphony Orchestra became the orchestr in residence at Brock University. Laura Thomas was appointed as Associate Conductor 1n 2004. Daniel Swift’s resignation in 2008 began a search for a new Music Director. Bradley Thachuck was appointed as Music Director Designate and Principal Conductor in 2010. The orchestra is a fully professional, charitable institution with 52 members.The orchestra has also been led by Victor Feldbrill and Howard Cable. A junior symphony was first formed under Leonard Pearlman in 1960/61, but it wasn’t until 1965 that The St. Catharines Youth Orchestra was founded. The orchestra has consistently been an award winner in music festivals. The musicians range in age from 12 to 18 years. The highlight of the 1973-74 season was the orchestra’s participation in the first Canadian Festival of Youth Orchestras at The Banff School of Fine Arts. The St. Catharines Youth Orchestra has evolved from the St. Catharines School String and Brass Ensembles to a full scale symphony under the direction of conductor Paul van Dongen. In 1974 the Symphony House music program came into existence. It was 1976 when Richard Grymonpre was hired as the principal violinist of the St. Catharines Symphony Orchestra and conductor of the St. Catharines Youth Orchestra. Tak Ng Lai took over the position as conductor in 1978. Laura Thomas is currently the Music Director of The Niagara Youth Orchestra. Source: Niagara Symphony, Orchestra in Residence, Brock University website and notes from Niagara Symphony files

Warren Hartman fonds, 1970, 1972-1996, 1998, n.d.

Warren Hartman was born in 1942 in Toronto, Ontario. He received a B.A. in Fine Arts and Drama from Brock University in 1981 and a Masters of Arts in Humanities at the State University of New York at Buffalo in 1987. In the 1950s he did considerable work as a child-actor both in theatre and television. From 1953 to 1961 he was in the New Play Society under the direction of Dora Mavor Moore. His last two years there were spent as a scholarship student. From 1963 to 1966 he did an apprenticeship with Suzanne Mess, Head of Costume Design at The Canadian Opera Company in Toronto. In 1976 Warren attended a Master Class in Scenography at the Banff School of Fine Arts with Josef Svoboda. In the spring of 1970 Warren was a guest designer at Brock University and from 1970 to 1972 he remained at Brock as resident designer and special lecturer. During this time he was also an instructor and costume designer at Sheridan College in Oakville. It was in 1972 that he became the designer-in-residence at Brock University. From 1984 he held the position of Associate Professor at The Department of Fine Arts at Brock University until the fall of 1996. Some of the highlights of Warren’s career also include: stage managager with the Street Hat Players in Port Carling, Ontario, 1960-1961; a freelance designer for over 100 shows; costume coordinator(production manager) for the Canadian Opera Company, 1964 -1970; resident costume designer for The Canadian Opera Company, 1965- 1970; founder and artistic director of Dei Gelosi Campagnia, St.Catharines, Ontario, 1970-1973; freelance director of some thirty-five shows; co-producer for Quebec City Summer Stock Company, Quebec City, Quebec, 1975; a consultant with Alberta Culture for the Provincial Government of Alberta, 1986-1987 and associate artistic director at Theatre Network, Edmonton, Alberta, 1986-1987. Warren Hartman was the recipient of the Jean Chalmers Award for contributions to Canadian Theatre for persons 25 years of age or under, in 1965. He was a founding member of Associated Designers of Canada and was affiliated with Canadian Actors Equity. Warren Hartman died on Feb. 11, 1998 several days after suffering a massive stroke. A memorial service was held at Brock University in May of 1998 and a bursary fund was established in his name.

Art québécois moderne (depuis 1940) au musée : regard sur la mise en scène permanente des collections

Ce mémoire comprend deux tomes : le premier consiste du texte et des figures, le deuxième consiste des annexes. Le tout est regroupé dans le document électronique présent.