249 resultados para Frontières
Resumo:
Since at least the 1960s, art has assumed a breadth of form and medium as diverse as social reality itself. Where once it was marginal and transgressive for artists to work across a spectrum of media, today it is common practice. In this ‘post-medium’ age, fidelity to a specific branch of media is a matter of preference, rather than a code of practice policed by gallerists, curators and critics. Despite the openness of contemporary art practice, the teaching of art at most universities remains steadfastly discipline-based. Discipline-based art teaching, while offering the promise of focussed ‘mastery’ of a particular set of technical skills and theoretical concerns, does so at the expense of a deeper and more complex understanding of the possibilities of creative experimentation in the artist’s studio. By maintaining an hermetic approach to medium, it does not prepare students sufficiently for the reality of art making in the twenty-first century. In fact, by pretending that there is a select range of techniques fundamental to the artist’s trade, discipline-based teaching can often appear to be more engaged with the notion of skills preservation than purposeful art training. If art schools are to survive and prosper in an increasingly vocationally-oriented university environment, they need to fully synthesise the professional reality of contemporary art practice into their approach to teaching and learning. This paper discusses the way in which the ‘open’ studio approach to visual art study at QUT endeavours to incorporate the diversity and complexity of contemporary art while preserving the sense of collective purpose that discipline-based teaching fosters. By allowing students to independently develop their own art practices while also applying collaborative models of learning and assessment, the QUT studio program aims to equip students with a strong sense of self-reliance, a broad awareness and appreciation of contemporary art, and a deep understanding of studio-based experimentation unfettered by the boundaries of traditional media: all skills fundamental to the practice of contemporary art.
Resumo:
Nota de conteúdo : V.1. Memoire en reponse aux allegations de la France, accompagne de quelques cartes -- V. 2-3. Documents accompagnes de notes explicatives ou rectificatives, 1. ptie, 1536-1713 ; 2. ptie, 1713-1896 -- V. 4. Texte original de documents traduits dans les tomes 2 et 3 -- V. 5. Album : fac-simile de quelques documents reproduits aux tomes 2, 3 et 4 -- V. 6. Atlas : contenant 86 cartes.
Resumo:
1 kartta kahdellatoista lehdellä :, käsinvär. ;, n. 136 x 158 cm, lehdet n. 34 x 52,5 cm
Resumo:
Contient : Contrat de mariage d'Élisabeth de France avec Philippe II, roi d'Espagne, 1559 ; Contrat de mariage de Charles IX avec Élisabeth d'Autriche, et pièces annexes, 1569-1570 ; Ligue défensive entre les Maisons de France et d'Espagne ; Contrat de mariage de Louis XIII avec Anne d'Autriche, et pièces annexes, 1612-1615 ; Contrat de mariage d'Élisabeth de France avec Philippe IV, roi d'Espagne, et pièces annexes, 1612-1615 (f. 86). « Actes et mémoires sur le différend qui est entre les roys de France et d'Espagne pour la rivière d'Endaye », 1510-1581 (f. 111) ; Mémoires concernant le port de Socoa, 1609-1618 ; Requêtes des habitants d'Hendaye contre ceux de Fontarabie ; « Traictez et autres actes pour les confins de Navarre », 1614, etc ; Rapport au roi d'Espagne sur l'état de la frontière de Navarre, des lieux par où les Français pourraient entrer en Navarre, etc ; « Relation touchant les costes de Languedoc, celles de Roussillon et de Catalongne, et des advantages qu'a la France sur l'Espagne de ce costé là » ; En tète du volume, tables des pièces, la seconde de la main de Pierre Dupuy
