Elisabeth Penker / Ferdinand Penker

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Elisabeth Penker

"Elisabeth Penker / Ferdinand Penker" Galerie Charim, Events

Elisabeth Penker/Ferdinand Penker Galerie Charim curated by Michael Scott Hall

Elisabeth Penker/Ferdinand Penker Galerie Charim curated by Michael Scott Hall

Elisabeth Penker/Ferdinand Penker Galerie Charim curated by Michael Scott Hall

Elisabeth Penker/Ferdinand Penker Galerie Charim curated by Michael Scott Hall

Elisabeth Penker/Ferdinand Penker Galerie Charim curated by Michael Scott Hall

Elisabeth Penker/Ferdinand Penker Galerie Charim curated by Michael Scott Hall

Elisabeth Penker/Ferdinand Penker Galerie Charim curated by Michael Scott Hall

Elisabeth Penker/Ferdinand Penker Galerie Charim curated by Michael Scott Hall

Elisabeth Penker/Ferdinand Penker Galerie Charim curated by Michael Scott Hall

Elisabeth Penker/Ferdinand Penker Galerie Charim curated by Michael Scott Hall

Elisabeth Penker/Ferdinand Penker Galerie Charim curated by Michael Scott Hall

Elisabeth Penker/Ferdinand Penker Galerie Charim curated by Michael Scott Hall

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For centuries, Africa has been home to a multitude of societies with different cultural landscapes, social structures, and strongly defined aesthetic ideals. In the absence of the written word, Africa’s legacy consists of a vast mélange of complex symbols, patterns, and signs. These aesthetically abstract configurations and unique characters replaced linguistic symbols commonly used for recording the history of remarkable events, the deeds of great kings, celebrations, births and deaths, and extraordinary occurrences. Mary Nooter Robert in Inscribing Identity: The Body, suggests “symbols that replaced letters or characters represent the sounds of a language, a logographic system in which a single character represents a word” (Robert 2007:57). Therefore, Africa has contributed to the world a rich tradition of typography; from ancient Egyptian hieroglyphs, to rock inscriptions found throughout the Sahara Desert, as well as rock paintings and drawings in the Tassili Plateau of the Atlas Mountains in the Fezzan). In fact, the rich diversity of esoteric symbols throughout Africa has inspired both craftsmen and artists for centuries. They have refashioned the antiquated and unique into contemporary forms, which now appear etched on pottery, cast on bronze and precious metals, carved on wood, woven into textiles, stitched on cloth, or inscribed on the human body.

THE SYNERGY BETWEEN TRADITIONAL “ULI” BODY PAINTING SYMBOLS AND DIGITAL ART.

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ART FORMS OF KERALA: TRADITIONAL AND OTHERS

ART FORMS OF KERALA: TRADITIONAL AND OTHERS

GU毕业证【微信95270640】一比一伪造格里菲斯大学文凭@假冒GU毕业证成绩单+Q微信95270640办理GU学位证书@仿造GU毕业文凭证书@购买格里菲斯大学毕业证成绩单GU真实使馆认证/真实留信认证回国人员证明办理国外格里菲斯大学毕业证书 #成绩单改成绩 #教育部学历学位认证 #毕业证认证 #留服认证 #使馆认证（留学回国人员证明） #（证）等真实教育部认证教育部存档中国教育部留学服务中心认证（即教育部留服认证）网站100%可查. 真实使馆认证（即留学人员回国证明）使馆存档可通过大使馆查询确认. 留信网认证国家专业人才认证中心颁发入库证书留信网永久存档可查. 格里菲斯大学格里菲斯大学毕业证假文凭毕业证 #成绩单等全套材料从防伪到印刷从水印到钢印烫金跟学校原版100%相同. 国际留学归国服务中心：实体公司注册经营行业标杆精益求精！国外毕业证学位证成绩单办理流程： 1客户提供办理格里菲斯大学格里菲斯大学毕业证假文凭信息：姓名生日专业学位毕业时间等（如信息不确定可以咨询顾问：我们有专业老师帮你查询）； 2开始安排制作格里菲斯大学毕业证成绩单电子图； 3格里菲斯大学毕业证成绩单电子版做好以后发送给您确认； 4格里菲斯大学毕业证成绩单电子版您确认信息无误之后安排制作成品； 5格里菲斯大学成品做好拍照或者视频给您确认； 6快递给客户（国内顺丰国外DHLUPS等快递邮寄格里菲斯大学格里菲斯大学毕业证假文凭）。他跟他交友与城里人交友但他俩就好像是两个世界里的人根本拢不到一块儿不知不觉山娃倒跟周围出租屋里的几个小伙伴成了好朋友因为他们也是从乡下进城过暑假的小学生快乐的日子总是过得飞快山娃尚未完全认清那几位小朋友时他们却一个接一个地回家了山娃这时才恍然发现二个月的暑假已转到了尽头他的城市生活也将划上一个不很圆满的句号了值得庆幸的是山娃早记下了他们的学校和联系方式说也奇怪在山娃离城的头一天父亲居然请假陪山娃正

一比一原版(GU毕业证)格里菲斯大学毕业证成绩单

一比一原版(GU毕业证)格里菲斯大学毕业证成绩单

一比一原版(GU毕业证)格里菲斯大学毕业证成绩单

European Cybersecurity Skills Framework Role Profiles.pdf

European Cybersecurity Skills Framework Role Profiles.pdf

European Cybersecurity Skills Framework Role Profiles.pdf

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Memory Rental Store - The Chase (Storyboard)

Memory Rental Store - The Chase (Storyboard)

Revolutions come in many varieties. Some tear down established notions destructively, while others consist of forging new paradigms through constructive means such as an ideological or technological innovation that fundamentally alters an individual or group’s creative path. But all have their place in history. This paper charts a course of change in art and art styles, as been practiced by some modern-day Igbo artists. It follows the meandering path that has been influenced by technological advances that have in turn influenced art culture and practices in technique. In particular, this paper examines how the modern-day processes of digital art have attempted to broaden the modern-day Igbo artist’s knowledge base, and has influenced new ways of doing old things. Together these ideas have impacted modern-day art by creating a fertile landscape allowing an artist’s inquisitive tendency to take root and uniquely flourish. The aim of this paper is to analyze the various digital paintings produced by three modern-day Igbo artists (Ikenna Aghanya, Okechukwu Johnson and Chidi Onwuekwe) and in turn examine how the use of the computer, as an art tool has affected their creative process. The paper will also look at the functions of this medium as it pertains to each of the decorative paintings done by these artists.

Digital/Computer Paintings as a Modern- day Igbo Artists’ vehicle for creatin...

Digital/Computer Paintings as a Modern- day Igbo Artists’ vehicle for creatin...

Digital/Computer Paintings as a Modern- day Igbo Artists’ vehicle for creatin...

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Sisters_Bond_storyboard.pdf_____________

Sisters_Bond_storyboard.pdf_____________

LauraBegliomini1

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2137ad - Characters that live in Merindol and are at the center of main stories

2137ad - Characters that live in Merindol and are at the center of main stories

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Winning Shots from Siena International Photography Awards 2015

Winning Shots from Siena International Photography Awards 2015

rajeshkumar821445

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With the rate of unemployment towering high in the country, lack of business and managerial skills or knowledge as well as fear of the unknown have crippled youths from venturing into private businesses that could have encouraged self-employment. This paper focuses on tackling unemployment through vocational/entrepreneurship education as the way to get out of joblessness. It is in the light of this that this paper examined the role and contributions of vocational/technical education to employment generation Awka town, Anambra State, Nigeria. It is obvious from the paper that youths found great value in skills acquisition believing that the fight against poverty cannot be won by just receiving money from rich people every day or every month, rather take from them wealth-job creating skills through vocational education for self-sustenance because anybody who wants to be rich and productive rather than being fed and dependent must start his/her own business. At the end, the paper recommended among others that training and re-training vocational/entrepreneurial skills for youths especially those that have dropped-out-of formal employment or education be facilitated to banish hunger and poverty in the society.

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Tackling Poverty in Nigeria, by growing Art-based SMEs

Tackling Poverty in Nigeria, by growing Art-based SMEs

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