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Showing 1 to 7 of 7 (0.043 seconds)Spelling suggestions: "subject:"academy off art"" "subject:"academy oof art""
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"Within a framework of limitations" Marianne Strengell's work as an educator, weaver and designer /Fiely, Megan Elisabeth. January 2006 (has links)
Thesis (M.A.)--Bowling Green State University, 2006. / Document formatted into pages; contains x, 96 p. : ill. Includes bibliographical references.
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O Departamento de Design Gráfico da Cranbrook Academy of Art (1971-1995): novos caminhos para o design / The Cranbrook Academy of Art´s Graphic Design Department (1971-1995): new paths for design.Camargo, Iara Pierro de 08 December 2011 (has links)
A partir da análise dos trabalhos do departamento de design da Cranbrook Academy of Art, durante o período coordenado por Katherine McCoy (1971 a 1995), este trabalho procura identificar os novos caminhos desenvolvidos pela escola para a prática do design gráfico contemporâneo, e em especial a concepção do design como parte do processo de comunicação. O design até os anos 1970 era regido por pressupostos formais, funcionais e neutros, o que talvez não permitisse entendê-lo como linguagem visual, em si, mas como mero suporte para o texto. Na escola, a abordagem funcionalista foi questionada nos anos 1970 e, a partir daí, nos anos 1980, inspirados por conceitos teóricos do pós-estruturalismo e pós-modernismo, foram introduzidas novas ideias a fim de legitimar o designer também como produtor de conteúdo. Ao buscar referências teóricas no pós-estruturalismo, percebeu-se a importância do receptor na interpretação da mensagem, assim como a necessidade de se produzir peças gráficas que encorajassem, a partir da relação do conteúdo com a forma gráfica, a participação do público. A escola, de modestas proporções, cuja média era a de 8 alunos ingressantes por ano, era baseada no ensino em estúdio, não possuía grade curricular fixa, nem disciplinas regulares. Os discentes eram sempre encorajados a pesquisar e se desenvolver. Muitas das pesquisas e resultados dos trabalhos são frutos da reflexão individual de cada aluno, inspirados pelo ambiente em contínuo desenvolvimento. A Cranbrook foi, dessa maneira, formadora de muitos dos principais designers norteamericanos atuais, como por exemplo Allen Hori, Andrew Bleauvelt, David Frej, David Shields, Ed Fella, Elliot Earls, Geoff Kaplan, Jane Kosstrin, Jeff Keedy, Kimberly Elam, Laurie Haycock Makela, Loraine Wild, Lucille Tenazas, Martin Venezky, Meredith Davis, Michael Carrabeta, Nancy Skolos, Richard Kerr, Robert Nakata, Scott Makela (1960-1999), Scott Santoro, Scott Zukowsky, entre outros. Cada um deles possuiu um papel particular e muitos compartilhavam idéias semelhantes, mas a maior parte deles procurou ampliar o campo do design gráfico agregando conteúdos mistos e abrindo-se a novas possibilidades de produção e reflexão sobre a relação entre texto e imagem. / With the analysis of the works from Cranbrook Academy of Art´s Design Department, under Katherine McCoy\'s Co-Chairmanship (1971 to 1995), this work intends identify the new ways developed by the School for the practice of contemporary graphic design, focusing on the concept of the design as part of communication process. Until the years 1970 design was ruled from the formal, functional and neutral presuppositions of Modernity, without the understanding of design as a visual language itself, but only as a mere support the text. In the 1970\'s the School questioned the functionalist approach, and during the 1980\'s years, new ideas were introduced to legitimate the designer as producer of contents, inspired by post-structuralism and post-modern concepts. Theoretical references in post structuralism stressed the importance of the receptor\'s interpretation of the message, as well in the importance of producing graphic works that encourage the participation from the public audience, founded in the relationship between content and graphic form. The School\'s graphic design program was modest in size 8 new students per year - and was studio-based without a fixed curriculum of courses and classes. The students were challenged to research and develop their individual expressions. Their research and resulting works are the fruit of the students\' individual reflection inspired by the continuously developing environment. Cranbrook produced many of the most important contemporary North American designers, such as Allen Hori, Andrew Bleauvelt, David Frej, David Shields, Ed Fella, Elliot Earls, Geoff Kaplan, Jane Kosstrin, Jeff Keedy, Kimberly Elam, Laurie Haycock Makela, Lorraine Wild, Lucille Tenazas, Martin Venezky, Meredith Davis, Michael Carrabeta, Nancy Skolos, Richard Kerr, Robert Nakata, Scott Makela (1960-1999), Scott Santoro, Scott Zukowsky, and others. Each one had a particular role play and many shared similar ideas, as they worked to enlarge the graphic design field with mixed contents and explored new possibilities of production and new roles for text and image.
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O Departamento de Design Gráfico da Cranbrook Academy of Art (1971-1995): novos caminhos para o design / The Cranbrook Academy of Art´s Graphic Design Department (1971-1995): new paths for design.Iara Pierro de Camargo 08 December 2011 (has links)
A partir da análise dos trabalhos do departamento de design da Cranbrook Academy of Art, durante o período coordenado por Katherine McCoy (1971 a 1995), este trabalho procura identificar os novos caminhos desenvolvidos pela escola para a prática do design gráfico contemporâneo, e em especial a concepção do design como parte do processo de comunicação. O design até os anos 1970 era regido por pressupostos formais, funcionais e neutros, o que talvez não permitisse entendê-lo como linguagem visual, em si, mas como mero suporte para o texto. Na escola, a abordagem funcionalista foi questionada nos anos 1970 e, a partir daí, nos anos 1980, inspirados por conceitos teóricos do pós-estruturalismo e pós-modernismo, foram introduzidas novas ideias a fim de legitimar o designer também como produtor de conteúdo. Ao buscar referências teóricas no pós-estruturalismo, percebeu-se a importância do receptor na interpretação da mensagem, assim como a necessidade de se produzir peças gráficas que encorajassem, a partir da relação do conteúdo com a forma gráfica, a participação do público. A escola, de modestas proporções, cuja média era a de 8 alunos ingressantes por ano, era baseada no ensino em estúdio, não possuía grade curricular fixa, nem disciplinas regulares. Os discentes eram sempre encorajados a pesquisar e se desenvolver. Muitas das pesquisas e resultados dos trabalhos são frutos da reflexão individual de cada aluno, inspirados pelo ambiente em contínuo desenvolvimento. A Cranbrook foi, dessa maneira, formadora de muitos dos principais designers norteamericanos atuais, como por exemplo Allen Hori, Andrew Bleauvelt, David Frej, David Shields, Ed Fella, Elliot Earls, Geoff Kaplan, Jane Kosstrin, Jeff Keedy, Kimberly Elam, Laurie Haycock Makela, Loraine Wild, Lucille Tenazas, Martin Venezky, Meredith Davis, Michael Carrabeta, Nancy Skolos, Richard Kerr, Robert Nakata, Scott Makela (1960-1999), Scott Santoro, Scott Zukowsky, entre outros. Cada um deles possuiu um papel particular e muitos compartilhavam idéias semelhantes, mas a maior parte deles procurou ampliar o campo do design gráfico agregando conteúdos mistos e abrindo-se a novas possibilidades de produção e reflexão sobre a relação entre texto e imagem. / With the analysis of the works from Cranbrook Academy of Art´s Design Department, under Katherine McCoy\'s Co-Chairmanship (1971 to 1995), this work intends identify the new ways developed by the School for the practice of contemporary graphic design, focusing on the concept of the design as part of communication process. Until the years 1970 design was ruled from the formal, functional and neutral presuppositions of Modernity, without the understanding of design as a visual language itself, but only as a mere support the text. In the 1970\'s the School questioned the functionalist approach, and during the 1980\'s years, new ideas were introduced to legitimate the designer as producer of contents, inspired by post-structuralism and post-modern concepts. Theoretical references in post structuralism stressed the importance of the receptor\'s interpretation of the message, as well in the importance of producing graphic works that encourage the participation from the public audience, founded in the relationship between content and graphic form. The School\'s graphic design program was modest in size 8 new students per year - and was studio-based without a fixed curriculum of courses and classes. The students were challenged to research and develop their individual expressions. Their research and resulting works are the fruit of the students\' individual reflection inspired by the continuously developing environment. Cranbrook produced many of the most important contemporary North American designers, such as Allen Hori, Andrew Bleauvelt, David Frej, David Shields, Ed Fella, Elliot Earls, Geoff Kaplan, Jane Kosstrin, Jeff Keedy, Kimberly Elam, Laurie Haycock Makela, Lorraine Wild, Lucille Tenazas, Martin Venezky, Meredith Davis, Michael Carrabeta, Nancy Skolos, Richard Kerr, Robert Nakata, Scott Makela (1960-1999), Scott Santoro, Scott Zukowsky, and others. Each one had a particular role play and many shared similar ideas, as they worked to enlarge the graphic design field with mixed contents and explored new possibilities of production and new roles for text and image.
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Kunst im Werden21 July 2011 (has links) (PDF)
Wo beginnt die Kunst? Mit der Idee oder in einer ersten materialisierten Form? Welche Stufen gibt es, und: Sind sie tatsächlich zu trennen von dem, was allgemein als fertiges Werk gilt? Die Ausstellung »Kunst im Werden« zeigt anhand 18 verschiedener Positionen das breite Spektrum einer Entwurfspraxis von Künstlerinnen und Künstlern einer mittleren und älteren Generation, die eben diese Fragen evoziert und vielleicht Antworten darauf liefert.
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Kunst im Werden: Skizzen, Projekte und Arbeitsbücher: Ausstellung der Klasse Bildende Kunst der Sächsischen Akademie der Künste im Buchmuseum der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB) 25.6.2011 – 22.10.2011SLUB Dresden January 2011 (has links)
Wo beginnt die Kunst? Mit der Idee oder in einer ersten materialisierten Form? Welche Stufen gibt es, und: Sind sie tatsächlich zu trennen von dem, was allgemein als fertiges Werk gilt? Die Ausstellung »Kunst im Werden« zeigt anhand 18 verschiedener Positionen das breite Spektrum einer Entwurfspraxis von Künstlerinnen und Künstlern einer mittleren und älteren Generation, die eben diese Fragen evoziert und vielleicht Antworten darauf liefert.
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Barbro Östlihn och New York : Konstens rum och möjligheterÖhrner, Annika January 2010 (has links)
The study analyses the American neo-avantgarde as well as the narratives of Swedish post World War II art history, through a specific subject position. The Swedish painter Barbro Östlihn (1930-1995) lived in New York from 1961, where her work was exhibited and received on a new art scene. Despite the strong focus within Swedish Art History on the 1960’s and the American art scene, Östlihn seems to be marginalized in its narratives. Studies of selected corpora of American art criticism, and of segments in the Swedish art scene in the 1960’s are maintained. Discursive and field-related mechanisms, which help to explain what positions were available, are revealed. Transnational processes of avant-garde culture between Manhattan and Stockholm are discussed, e.g. through an analysis of the American pop art show at Moderna Museet in 1964. This becomes the backdrop for the final chapter’s discussion of the narratives in post World War II Art History in Sweden. In the interpretation of Östlihn’s work-process, her use of photography is understood as a strategy to connect her painterly work with urban space. The painterly and the photographic are merged, as in other artistic practices in a historical moment of crisis in painting. The studio, the site where modes of art production are constructed, is one point of departure in a spatial analysis of the art field. Another is the ongoing urban renewal on Lower Manhattan and its impact on artistic work and on how artists are positioned. Östlihn’s co-operation in the work of her husband Öyvind Fahlström, is understood as a merging of a traditional division of work between genders, and new co-operative modes of art-production. The study is the first academic work on Barbro Östlihn, and covers the time span 1960-1969. Feminist theory, Pierre Bourdieu’s field theory and Michel Foucault's discourse theory is used as its main framework.
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Ulrich Hübner - Stadt, Land, SeeWesterhausen, Simone 30 March 2021 (has links)
In der vorliegenden Arbeit wird die Bedeutung der Landschafts- und Marinemalerei für die nationale Einheit und bürgerliche Identifikation im Kaiserreich und in der Weimarer Republik beispielhaft am Werk des Berliner Secessionskünstlers Ulrich Hübner (1872-1932) untersucht. Zu Beginn wird die Rolle der Landschaft für die Konstitution von Staatswesen und nationaler Identität allgemein erläutert, um deutlich zu machen, vor welchem Hintergrund die Landschaftsmalerei Ulrich Hübners einen Beitrag zur bürgerlich-nationalen Identitätsfindung im (neugegründeten) Nationalstaat leisten konnte. Im Hauptteil werden dazu anhand Hübners biographischer Stationen unterschiedliche Gesichtspunkte, wie die pluralistischen Einflüsse auf Hübners Landschaftsmalerei, seine Rolle in der Berliner Secession, seine Positionierung auf dem Kunstmarkt, seine Rezeption durch die Kunstkritik und seine Funktion an der Akademie der Künste, untersucht.
Hübners Konzentration auf Küstendarstellungen, Seestücke und Stadtansichten führte in Abgrenzung zur Marinemalerei zu dem neuen Typus der Stadt- und Wasserlandschaft, zwischen klassischer Veduten- und Landschaftsmalerei und impressionistischen Stimmungsbildern. Auf Grundlage des erstellten Werkverzeichnisses wird durch die Betrachtung Hübners Werks im Gesamtzusammenhang des Berliner Kunstgeschehens unter dem Aspekt des wirtschaftlichen und gesellschaftlichen Erfolges und der Entwicklung des privatwirtschaftlichen Kunstmarktes deutlich, wie ein Künstler in diesem System agierte. Hübners Erfolg mit dem neuen Typus der Stadtlandschaft und der Konzentration auf bestimmte Vertriebswege und erfolgreiche Motive steht exemplarisch für den deutschen Impressionismus in Zeiten des Stilpluralismus. Als Vertreter einer moderaten Moderne wurden seine Gemälde heimatlicher Landschaften Identifikationsbilder des aufgeschlossenen Bürgertums und somit eine Versicherung von Kontinuität in den politisch bewegten Zeiten vom Kaiserreich bis zum Ende der Weimarer Republik. / This doctoral thesis examines the significance of landscape and maritime painting for the national unity and civil identification in Imperial Germany and the Weimar Republic through the case study of the oeuvre of the Berlin Secession artist Ulrich Hübner (1872-1932).
In the first instance, we will outline the effect that landscape painting in general had on the constitution of the political system and national identity in order to assess the extent of which Hübner’s landscape painting contributed towards the shaping of a civil-national identity in the newly founded nation state. To this effect we will then study key events in his biography, focusing on the following aspects: the pluralist influences that shape Hübner’s landscape painting, his role in the Berlin Secession, his place in the art market, art criticism’s response to his work and his position at the Berlin Academy of Arts.
Hübner’s focus on coastal views, sea- and cityscapes, as opposed to maritime painting, lead to the new type of Urban Landscape and Waterscape which is situated between classical Veduta and landscape painting on one hand and impressionist “Stimmungsbilder” on the other. The catalogue raisonné will form the basis on which we examine his oeuvre in the context of the greater Berlin art scene with particular emphasis on his commercial and social success on one hand as well as seen within the more specific framework which is the development of the commercial art market on the other. The success Hübner had with his new type of Urban Landscape and his focus on specific commercial channels and successful subject matters is exemplary for the German Impressionism in times of stylistic pluralism. Representing a moderate Modernism, his paintings of “Heimat”-landscapes became symbols that the liberal bourgeoisie could identify with and thereby a guarantee of continuity during the politically agitated times from the beginning of the German Empire to the end of the Weimar Republic.
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