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2002

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Articles 1 - 30 of 176

Full-Text Articles in Art and Design

Donatello’S David: The Putti Speak, Sally A. Struthers Dec 2002

Donatello’S David: The Putti Speak, Sally A. Struthers

Art and Art History Faculty Publications

As the first approaching life-sized, freestanding, sensuous, bronze nude since Antiquity, Donatello’s bronze David is a critical monument of the Italian Renaissance. It is also one of the most enigmatic. David is nude, but not completely unclothed, wearing a feminine-looking hat and knee-high boots. David holds a rock and a sword, while standing suggestively, on the head of Goliath. He stands in a relaxed contrapposto stance. His left hand, held to his hip, holds a stone. His right hand is resting on an oversized sword, which points downward to the helmet of Goliath, between the feet of David. As ...


Cypriot Land Mines, Hershel Shanks, Sky Bergman Nov 2002

Cypriot Land Mines, Hershel Shanks, Sky Bergman

Art and Design

No abstract provided.


Virtue And Violence: Portrayal Of Lucretia And Achilles By Giuseppe Cades (Toledo: Toledo Museum Of Art), Giancarlo Fiorenza Oct 2002

Virtue And Violence: Portrayal Of Lucretia And Achilles By Giuseppe Cades (Toledo: Toledo Museum Of Art), Giancarlo Fiorenza

Art and Design

No abstract provided.


Textile Society Of America Newsletter 14:3 – Fall 2002 Oct 2002

Textile Society Of America Newsletter 14:3 – Fall 2002

Textile Society of America Newsletters

TSA Study Tours
TSA Board, TSA News
TSA Member News, Directory Supplement
Textile Programs at Nova Scotia College of Art and Design
Collections, Publications News
Conference Reviews
Exhibit Reviews
Calendar – Conferences, Symposia
Calendar - Exhibitions
Calendar – Lectures, Workshops, Tours, Opportunities
Calls for Papers, Fellowships


Susan Philipsz, Profile, Niamh Ann Kelly Oct 2002

Susan Philipsz, Profile, Niamh Ann Kelly

Articles

No abstract provided.


Raw Classics: A.G. Rizzoli, Jo Farb Hernandez Jul 2002

Raw Classics: A.G. Rizzoli, Jo Farb Hernandez

Faculty Publications

No abstract provided.


Care Of Quilts-Storage And Display , Shirley Niemeyer, Patricia Cox Crews Jun 2002

Care Of Quilts-Storage And Display , Shirley Niemeyer, Patricia Cox Crews

Faculty Publications - Textiles, Merchandising and Fashion Design

Antique textiles, including quilts, are very fragile. Excessive handling and washing can hasten deterioration. Light quickly fades colors and weakens natural fibers. Careful control of handling, storage, and display conditions can prolong the life of quilts.


Care Of Quilts-Cleaning , Shirley Niemeyer, Patricia Cox Crews Jun 2002

Care Of Quilts-Cleaning , Shirley Niemeyer, Patricia Cox Crews

Faculty Publications - Textiles, Merchandising and Fashion Design

Quilts need special care in cleaning, but even professionals don't always agree on the best methods for cleaning quilts or even whether it should be done. No two quilts are alike. Methods suited for cleaning one quilt may not be best for another. The fiber content, dyes, and construction make each one unique. Sometimes it may be advisable to clean a quilt. Usually it is best to leave it as is.

Deciding whether to clean a quilt involves careful thought. What is the fiber content? How is the quilt constructed? Can it withstand movement or agitation? Will the colors ...


Discovering Memory And Meaning In Quilts, Carolyn K. Ducey, Patricia Cox Crews Jun 2002

Discovering Memory And Meaning In Quilts, Carolyn K. Ducey, Patricia Cox Crews

Faculty Publications - Textiles, Merchandising and Fashion Design

After an extensive search Ardis and Robert James, quilt collectors from Chappaqua, New York, chose the University of Nebraska–Lincoln (UNL) as the home for their collection of almost a thousand quilts. They also supported the formation of the International Quilt Study Center (IQSC) in 1997 for the interdisciplinary study of quiltmaking traditions through the collection, conservation and exhibition of quilts and related materials. Carolyn Ducey and Patricia Crews, the Center’s curator and director, respectively, write about some of the work they do.


Textile Society Of America Newsletter 14:2 – Spring 2002 Apr 2002

Textile Society Of America Newsletter 14:2 – Spring 2002

Textile Society of America Newsletters

TSA Symposium
Letter from the President
TSA News, From the Listserve
TSA Member News
Collections News
TSA News, Book Reviews
Exhibit Reviews
European Textile Network
Conferences & Symposia
Exhibitions Calendar
Lectures/Workshops
Tours/Courses
Calls for Papers


Quiet Catastrophe: Robert Smithson’S Spiral Jetty, Vanished, Clark Lunberry Apr 2002

Quiet Catastrophe: Robert Smithson’S Spiral Jetty, Vanished, Clark Lunberry

English Faculty Publications

Maps to Nowhere: Seen from above, Robert Smithson's Spiral Jetty emerges dramatically from the rocky shores of Utah's Great Salt Lake. Like a swirling vortex steadied and then stilled, the earthwork begins as a straight line of stone extending far into the water, the form then curving, arching and coiling in upon itself until abruptly coming to an end. Rocks and boulders are seen in various shapes and sizes, with brown soil packed and flattened within the spiral, making a broad path that one might walk upon. The water washes upon the earthwork's shaped shores, surrounding and ...


Creative Approaches To Enhance Student Learning, Teaming, And Collaboration, Sally A. Struthers, Ned Young, Gary Mitchner Mar 2002

Creative Approaches To Enhance Student Learning, Teaming, And Collaboration, Sally A. Struthers, Ned Young, Gary Mitchner

Art and Art History Faculty Publications

This forum concentrates on the use of humor and non-conventional pedagogy to help students improve their learning, teaming, and collaboration skills. Using card games, party games, egg drop exercises, and "A Bug's Life" movie, students experience the complicated interactions of teaming process and external boundary management.


A Survey Of Four Contemporary Sound Artists, Mark Garry Mar 2002

A Survey Of Four Contemporary Sound Artists, Mark Garry

Articles

No abstract provided.


Design's Community Of Knowledge: Identifying And Organizing Design's Fundamental Concepts To Support Teaching And Learning, William R. Benedict Mar 2002

Design's Community Of Knowledge: Identifying And Organizing Design's Fundamental Concepts To Support Teaching And Learning, William R. Benedict

Proceedings of the 18th National Conference on the Beginning Design Student

The words we use and the concepts they represent affect how we see, think and talk about the world. Each community of knowledge (e.g., Architecture, Physics, Sociology, etc.) has a language that is specific to that community or discipline. Membership in a community of knowledge involves learning the community's language and developing an understanding of the concepts that it identifies. Our level of understanding of a community's language can either obscure or clarify-it can help or hinder communication. The degree to which we understand the language and concepts of a community of knowledge is directly related to ...


The Consuming Process, Gregory Herman Mar 2002

The Consuming Process, Gregory Herman

Proceedings of the 18th National Conference on the Beginning Design Student

The production of architecture has changed dramatically over the course of the last decade or so; this is a fact we, as educators, are all well aware of. Change has occurred in the areas of theory and representation, and certainly in the area of pedagogy, in ways both subtle and dramatic. My own experience as an instructor in design education began at the end of the eighties, and since that time I have witnessed an ever-tightening frequency in the normal courses of change. A common issue that has become more and more crucial since that time is the issue of ...


Listening To The Past: Persuasive Stories And The Beginning Design Student, Nathaniel Coleman Mar 2002

Listening To The Past: Persuasive Stories And The Beginning Design Student, Nathaniel Coleman

Proceedings of the 18th National Conference on the Beginning Design Student

Architecture students tell stories about their work. These stories are meant to convey information about design philosophy, design intent, and design concept. Such stories are intended to have something to do with the work students present. Often, though, what is said is accepted as valid simply because it is said. Closer scrutiny of the relationship between what is said and what is presented frequently reveals a wide gap between intention (what is said) and result (what is done). Incongruity between intention and result encourages a loose way of thinking that fosters a separation of thought (theory) from doing (practice). Concurrently ...


Ventures In Dichotomy: Rigor And Tolerance In The Beginning Studio, Hector Lasala Mar 2002

Ventures In Dichotomy: Rigor And Tolerance In The Beginning Studio, Hector Lasala

Proceedings of the 18th National Conference on the Beginning Design Student

As a beginning design teacher for over twenty years, I have learned that educating beginning designers entails reaching a delicate and difficult equilibrium between two contradictory positions: while maintaining the rigor of high aspirations that expect all students to exhibit sophistication of concerns and execution in their designs, one must also remain aware that each student's process is unique and fragile. This condition summons one to tolerance (not to be confused with indulgence) and much patience. This pedagogical approach, one that we practice at our school, is provokingly summarized in a phrase by one of my accidental mentors, "We ...


A Cumulative Studio Design Sequence: Students Learning Within The Context Of Their Own Work, Valerie S. Goodwin Mar 2002

A Cumulative Studio Design Sequence: Students Learning Within The Context Of Their Own Work, Valerie S. Goodwin

Proceedings of the 18th National Conference on the Beginning Design Student

This paper describes a series of beginning design studio projects developed over the span of five years.To varying degrees, beginning architecture students in these studios are asked to explore different types of connections between quilting and architecture. The concept for this series relies on the use of projects that build on each other and are divided into discreet manageable parts. Each represents an incremental step in the overall learning process. The threads of this project sequence are based on the process of abstraction, manipulation, and transformation. Pedagogical issues are carried forward into each successive project and are layered with ...


An Architectural Exhibition: "Bench With The Film Of Its Own Making", Jonathan A. Hale Mar 2002

An Architectural Exhibition: "Bench With The Film Of Its Own Making", Jonathan A. Hale

Proceedings of the 18th National Conference on the Beginning Design Student

This paper describes a design-and-build studio project carried out at the University of Nottingham with students in their fourth year - although elements of it could also be considered appropriate for the 'Beginning Design Student'. The programme for the project is based on the premise that there is a fundamental continuity between the human body and the rest of the world. This idea has been around for some time and appears in a variety of forms: The Biblical quotation above which suggests a material connection between body and earth; the early medical theories of Hippocrates which describe the influence of the ...


Ordinary Unfamiliarity: Foundation Pedagogy Through The Critique Of The Everyday, Kevin R. Klinger, Marc Swackhamer Mar 2002

Ordinary Unfamiliarity: Foundation Pedagogy Through The Critique Of The Everyday, Kevin R. Klinger, Marc Swackhamer

Proceedings of the 18th National Conference on the Beginning Design Student

In our new foundation program, we proceed from two principles of instruction: first, we direct the focus of work away from conventional architectural topics and use analogy to awaken native critical insight; second, we postpone traditional "design" activity by strictly emphasizing observation skills and critical analysis. We delay design activity until the first quarter of the second year, in preparation for which we organize firstyear \tudio workshops around short iterative exercises that capitalize on the students' familiarity with the everyday world. We then structure these problems to render the everyday world in unfamiliar terms. This oscillation between the ordinary and ...


Design As A Liberating Practice: Design-Build With First Years, Eduardo Aquino Mar 2002

Design As A Liberating Practice: Design-Build With First Years, Eduardo Aquino

Proceedings of the 18th National Conference on the Beginning Design Student

The academy is not paradise. But learning is a place where paradise can be created. The classroom [studio], with all its limitations, remains a location of possibilrt.y. In that field of possibility we have the opportunity to labor for freedom, to demand of ourselves and our comrades, an openness of mind and heart that allows us to face realrty even as we collectively imagine ways to move beyond boundaries, to transgress.This is education as the practice of freedom.


In The Beginning -- We [Design For] Humans, An Opening Studio Curriculum For An Architectural Professional Program, Alex Maller Mar 2002

In The Beginning -- We [Design For] Humans, An Opening Studio Curriculum For An Architectural Professional Program, Alex Maller

Proceedings of the 18th National Conference on the Beginning Design Student

Two years ago, aft.er long deliberations, the Archrtectural Program at the University of Nebraska-Lincoln formally adopted a significant programmatic change: it restructured its curriculum from a 4+2 curriculum to a 2+4 curriculum. In the same time the status of the program was redefined as a 'professional' program similar to other professional programs, such as Law and Medicine. These changes enable the program to adopt a more autonomous position in the University. As part of the restructuring process a number of essential changes were introduced, two with a significant impact on our current discussion: [a] the two first ...


The Space Of Mondrian, Lori Brown Mar 2002

The Space Of Mondrian, Lori Brown

Proceedings of the 18th National Conference on the Beginning Design Student

How does one introduce a beginning design student to spatial concepts and spatial ways of seeing? As John Hejduk states the architect begins from the abstract - a world of ideas, of concepts, of aspirations - and gravitates toward built form. Students must first see and critically assess and question this abstract world before they can make the jump toward the real world. They arrive with so many misconceptions about architecture yet have no conceptions about the abstract world.


While Mind Dances With Heart: Nurturing Design Vocabularies Through Personal And Cultural Identities, Shenglin Chang Mar 2002

While Mind Dances With Heart: Nurturing Design Vocabularies Through Personal And Cultural Identities, Shenglin Chang

Proceedings of the 18th National Conference on the Beginning Design Student

Although there are many ways of approaching design. my aims "in teaching young student designers was to have them understand the importance of finding the balance between the intuitive with the rational." (Mirochnik, 2000: 65) The approach that I take in teaching my beginning landscape design studio is one in which I draw upon my former career as a dancer/ choreographer. I have found that within the process of creating and performing dance, the rational and the visceral constantly intersect: choreography and performance are processes in which the mind dances with the heart. I educate my beginning design students to ...


The Viewing Machine, Alice Minsoo Chun Mar 2002

The Viewing Machine, Alice Minsoo Chun

Proceedings of the 18th National Conference on the Beginning Design Student

Technology in architecture. rhetoric of construction. often expresses an erotic search for knowledge. As Marco Frascari explains, "Technology is the fertile factor for the architectural production of elegant meanings, it deals with both the construction- the logos of techne (elegant art)- and the construing- the techne of logos (rhetoric)." 1 In this case technology translates from figures of thought into figures of site, and figures of making. It may be construed as a condition that attempts to answer the question: How does one begin? The curriculum developed for the Undergraduate Architecture Program at the University of Pennsylvania provides a place ...


Musical Beginnings: Musings On Teaching With Music In The Fundamental Design Studio, John Maze Mar 2002

Musical Beginnings: Musings On Teaching With Music In The Fundamental Design Studio, John Maze

Proceedings of the 18th National Conference on the Beginning Design Student

The beginning design student, like any other. is confronted with a world riddled with a multiplicity of physical, sociological, and psychological conditions that can thwart efforts to objectify contextual design determinants. Given the complexity of the twenty-first century environment, students should perhaps be given a non-building t ype of environment to hone their analytic abilities prior to taking on such a proliferation of perceptual stimuli. Physical environments such as urban settings that typically make up the sites for early design problems are simply too complex for students to first learn to perceive their surroundings in an objective manner. Too many ...


Setting A Baby Into The Grass: A Biological Model Of Interactions Between Concrete And Abstract Learning Experiences, Stephen Temple Mar 2002

Setting A Baby Into The Grass: A Biological Model Of Interactions Between Concrete And Abstract Learning Experiences, Stephen Temple

Proceedings of the 18th National Conference on the Beginning Design Student

Give a baby its first experience in a grassy lawn and it will roll and frolic in the grass, reveling in its presence against its skin, in its hand. Its fingers will fondle and finesse the blades, press into the mass of roots, break and tear. Learning takes place literally at the fingertips, in the direct experience of the feel of each blade. New connections to the physicality of the world are formed and, in so doing, corresponding new representations of that world are created. Each new contact with the world becomes then an experiment, a test of these representations ...


The Design Process: Charcoal Drawings, The Qualitative Representation, Mo Zell Mar 2002

The Design Process: Charcoal Drawings, The Qualitative Representation, Mo Zell

Proceedings of the 18th National Conference on the Beginning Design Student

Beginning design studios generally stress a quantitative method of representation; a method that describes a project in a formal and precise manner, typically including hard-line plans, sections and elevations. Absent or underutilized from the design process is a qualitative method of representation that records more of the evocative qualities of a project. This qualitative method of representation is emphasized in my teaching process through the use of charcoal drawing as an exploration of space and light. It is especially important that this method be taught in the beginning design studio so that students include qualitative representations into their own design ...


Educating Emerging Vision, Marcella Eaton, Karen Wilson Baptist Mar 2002

Educating Emerging Vision, Marcella Eaton, Karen Wilson Baptist

Proceedings of the 18th National Conference on the Beginning Design Student

Learning to see requires practice, risk-taking, and a deliberate awakening of conscious perception. Vision which can be interpreted as an integrated human capacity that emerges from the world of lived experience, is participatory and engaged rather than detached and observatory. Learning to look - vision- is deeply subjective, emerging from experience and critical consciousness. When vision becomes clear, students become aware of what was once hidden, lost, or invisible to them. Awakened vision requires a response. Educators must teach learners to balance their vision with action.channeling 'seeing' as a force against fear, and isolation, (that so often occurs in the ...


Intelligent Shape Sorting, Esther Dudley Mar 2002

Intelligent Shape Sorting, Esther Dudley

Proceedings of the 18th National Conference on the Beginning Design Student

It is a familiar scene. Each September brings its new crop of would-be graphic designers, diverse in their experiences and ambitions, brought together in the lecture theatre by an appointment on their induction calendar; indicating an introduction to design research. It is my task to explain the pattern that this study will take in the opening modules. In this first year of study design research will take place on Wednesdays, regardless of studio projects It will constitute a certain number of lectures and tutorials, concluding with a specified brief which represents the first phase of assessment. As the routine unfolds ...