Rauschenberg, Robert (Milton Ernest)
(b Port Arthur, TX, 22 Oct 1925; d Captiva Island, FL, 12 May 2008).
American painter, sculptor, printmaker, photographer, and performance artist. While too much of an individualist ever to be fully a part of any movement, he acted as an important bridge between Abstract Expressionism and Pop art and can be credited as one of the major influences in the return to favour of representational art in the USA. As iconoclastic in his invention of new techniques as in his wide-ranging iconography of modern life, he suggested new possibilities that continued to be exploited by younger artists throughout the latter decades of the 20th century.
1. Training and early work, to 1953.
Rauschenberg studied at Kansas City Art Institute and School of Design from 1947 to 1948 under the terms of the GI Bill before travelling to Paris, where he attended the Académie Julian for a period of about six months. On reading about the work of Josef Albers he returned to the USA to study from autumn 1948 to spring 1949 at BLACK MOUNTAIN COLLEGE, where he was taught byAlbers and his wife Anni Albers; he moved in spring 1949 to New York, where he attended the Art Students League until 1952. During this period he continued to visit Black Mountain College, where he came into contact with members of the department of music and dance, in particularJOHN CAGE and MERCE CUNNINGHAM, who helped shape his own ideas and in particular his reliance on chance methods, daily experiences and found material as elements of his art.
In the early 1950s, just as Abstract Expressionism was being recognized as the most important avant-garde movement to have emerged in the USA, Rauschenberg produced several series of abstract paintings: a group of White Paintings (1951; e.g. artist’s col., see 1980–81 exh. cat., p. 259), followed by Black Paintings (1951–2; e.g. artist’s col., see 1976–8 exh. cat., p. 67) and Red Paintings (1953; e.g. Beverly Hills, CA, Frederick R. Weisman priv. col., see 1976–8 exh. cat., p. 75). His concern, however, was not so much to project his personality through the individuality of the brushwork, as in action painting, but to present the textured surfaces of these essentially monochromatic works as screens whose appearance changed in response to the lighting conditions and the shadows cast on them by the spectators.
The first of Rauschenberg’s monochromes, some of which were painted on multiple panels measuring over 3 m in width overall, were made as backdrops for dance performances. While their austerity of form prefigures Minimalism of the 1960s, they were thus conceived largely in relation to the human figure. Rauschenberg’s importance and influence, in fact, were centred from the beginning on the highly original ways in which he reintroduced recognizable imagery. From 1949 to 1951 he and his wife, Susan Weil, whom he had met as a fellow student in Paris and married in 1950, produced a group of large-scale monoprints by shining a s ...
Robert Rauschenberg was an American artist considered influential in challenging modernist views of art. He was inspired by Dadaists, Joseph Cornell, Kurt Schwitters, and artists of the 1950s like Jasper Johns. Rauschenberg helped establish Neo-Dada and acted as a bridge between Abstract Expressionism and Pop Art by incorporating everyday objects and images in innovative combinations in his combines and silkscreen works. He pushed boundaries and inspired later artists associated with Pop Art.
Term "Abstract Expressionism" was first used in Germany in connection with Rusian artist Wassily Kandinsky in 1919 (referencing the German Expressionists with their anti-figurative aesthetic), but later became more commonly associated with Post-WWII American Art.
Robert Rauschenberg was an influential American artist known for pioneering combine paintings in the 1950s, which incorporated everyday objects with painting. Some key works include Canyon (1959) featuring a painted eagle, and Monogram (1955-1958) with a stuffed goat and tire. Rauschenberg sought to break down boundaries between art forms and challenge definitions of art. He used found objects and screenprinting to create dense, layered works that commented on modern consumer culture and the relationship between art and life.
1) In the late 1950s, Clement Greenberg began championing a new style of painting he called Post Painterly Abstraction, which moved beyond Abstract Expressionism towards a more purified abstraction.
2) Artists like Helen Frankenthaler, Morris Louis, and Kenneth Noland began using staining techniques that eliminated gestures and focused on the properties of color, creating diaphanous, optically focused works.
3) Josef Albers and Ad Reinhardt also paralleled this trend with their explorations of color theory and attempts to define art as existing purely for its own visual properties rather than expression.
The document summarizes the emergence and evolution of major art movements in New York City following World War II. It describes how the New York School of abstract expressionism arose as European artists immigrated to New York during the war. Artists like Jackson Pollock and Mark Rothko developed new styles of abstract expressionism using techniques like action painting and color field painting. In the 1960s, new movements like pop art, conceptual art, and op art emerged, experimenting with popular culture, ideas over objects, and optical illusions.
The document summarizes the emergence and evolution of major art movements in New York City following World War II. It describes how the New York School of abstract expressionism arose as European artists immigrated to New York during the war. Artists like Jackson Pollock and Mark Rothko developed new styles of abstract expressionism using techniques like action painting and color field painting. In the 1960s, new movements like pop art, conceptual art, and op art emerged, experimenting with popular culture, ideas over objects, and optical illusions.
Social realism aimed to bring awareness to social issues through art. Artists depicted subjects like poverty, war, and worker exploitation to promote reform. Abstractionism moved away from realistic depictions toward experimental styles focused on forms, colors, and emotions. Pop art drew inspiration from popular culture, depicting celebrities and advertisements. Abstract expressionism used gestural brushwork and vibrant colors to express emotions. Conceptual art emphasized ideas over finished objects.
1) Abstract Expressionism began in New York in the late 1940s but also had significant contributions from artists in Colorado and California.
2) Key Abstract Expressionist artists in New York included Jackson Pollock, Clyfford Still, Mark Rothko, Willem de Kooning, and others who developed styles using techniques like drip painting and vivid color fields.
3) Artists in Colorado and California also made important contributions to the movement, with groups in places like Colorado Springs, Denver, and San Francisco developing their own variations of Abstract Expressionist techniques and philosophies.
Robert Rauschenberg was an American artist considered influential in challenging modernist views of art. He was inspired by Dadaists, Joseph Cornell, Kurt Schwitters, and artists of the 1950s like Jasper Johns. Rauschenberg helped establish Neo-Dada and acted as a bridge between Abstract Expressionism and Pop Art by incorporating everyday objects and images in innovative combinations in his combines and silkscreen works. He pushed boundaries and inspired later artists associated with Pop Art.
Term "Abstract Expressionism" was first used in Germany in connection with Rusian artist Wassily Kandinsky in 1919 (referencing the German Expressionists with their anti-figurative aesthetic), but later became more commonly associated with Post-WWII American Art.
Robert Rauschenberg was an influential American artist known for pioneering combine paintings in the 1950s, which incorporated everyday objects with painting. Some key works include Canyon (1959) featuring a painted eagle, and Monogram (1955-1958) with a stuffed goat and tire. Rauschenberg sought to break down boundaries between art forms and challenge definitions of art. He used found objects and screenprinting to create dense, layered works that commented on modern consumer culture and the relationship between art and life.
1) In the late 1950s, Clement Greenberg began championing a new style of painting he called Post Painterly Abstraction, which moved beyond Abstract Expressionism towards a more purified abstraction.
2) Artists like Helen Frankenthaler, Morris Louis, and Kenneth Noland began using staining techniques that eliminated gestures and focused on the properties of color, creating diaphanous, optically focused works.
3) Josef Albers and Ad Reinhardt also paralleled this trend with their explorations of color theory and attempts to define art as existing purely for its own visual properties rather than expression.
The document summarizes the emergence and evolution of major art movements in New York City following World War II. It describes how the New York School of abstract expressionism arose as European artists immigrated to New York during the war. Artists like Jackson Pollock and Mark Rothko developed new styles of abstract expressionism using techniques like action painting and color field painting. In the 1960s, new movements like pop art, conceptual art, and op art emerged, experimenting with popular culture, ideas over objects, and optical illusions.
The document summarizes the emergence and evolution of major art movements in New York City following World War II. It describes how the New York School of abstract expressionism arose as European artists immigrated to New York during the war. Artists like Jackson Pollock and Mark Rothko developed new styles of abstract expressionism using techniques like action painting and color field painting. In the 1960s, new movements like pop art, conceptual art, and op art emerged, experimenting with popular culture, ideas over objects, and optical illusions.
Social realism aimed to bring awareness to social issues through art. Artists depicted subjects like poverty, war, and worker exploitation to promote reform. Abstractionism moved away from realistic depictions toward experimental styles focused on forms, colors, and emotions. Pop art drew inspiration from popular culture, depicting celebrities and advertisements. Abstract expressionism used gestural brushwork and vibrant colors to express emotions. Conceptual art emphasized ideas over finished objects.
1) Abstract Expressionism began in New York in the late 1940s but also had significant contributions from artists in Colorado and California.
2) Key Abstract Expressionist artists in New York included Jackson Pollock, Clyfford Still, Mark Rothko, Willem de Kooning, and others who developed styles using techniques like drip painting and vivid color fields.
3) Artists in Colorado and California also made important contributions to the movement, with groups in places like Colorado Springs, Denver, and San Francisco developing their own variations of Abstract Expressionist techniques and philosophies.
The document provides an overview of major American art movements from the 19th century Hudson River School to late 20th century Abstract Expressionism. It traces the evolution from romanticized landscapes to grittier urban scenes to non-representational abstraction. Key artists discussed include Thomas Cole, George Bellows, Edward Hopper, Jackson Pollock, Mark Rothko, and Willem de Kooning. The focus on light and luminosity can be seen as a through line from Hudson River School to Color Field painting.
Chapter 20 playing by the rules1960s abstractionPetrutaLipan
Clement Greenberg was the most influential art critic of the 20th century who shaped Abstract Expressionism through his support of artists like Jackson Pollock. He focused on formal elements of art and introduced concepts like "kitsch" and "flatness." Artists in the 1960s like Helen Frankenthaler, Morris Louis, and Kenneth Noland built on Greenberg's ideas and developed Color Field painting using techniques like Frankenthaler's soak-stain method. Minimalism emerged in the 1960s with artists like Donald Judd, Frank Stella, and Robert Morris rejecting metaphorical associations and symbolism in their work.
Robert Rauschenberg was an American artist born in 1925 who helped pioneer the Neo-Dada artistic movement and was a bridge into Pop Art. He was influenced by Dadaists like Marcel Duchamp and Joseph Cornell as well as Kurt Schwitters. Rauschenberg created "Combines" which employed non-traditional materials in innovative ways and pushed boundaries in his works like Bed and Monogram. He had a significant influence on other artists like Jasper Johns and Roy Lichtenstein and helped move art in a new direction with his use of everyday objects and pop culture imagery. Rauschenberg challenged notions of what art could be and helped establish concepts that shaped several subsequent decades of art.
Roy Lichtenstein was a prominent American pop artist known for his large-scale paintings that emulated the style of comic strips and advertisements from popular magazines. Some of his most famous works include "Girl with Ball" from 1961, which simplified and enlarged comic imagery to create a monumental style. His 1963 painting "WHAAM" depicted violent imagery from war comics in a mechanical, removed style. Lichtenstein often used techniques like benday dots, solid colors and outlines to mimic the look of mass reproduction. His work commented on themes like violence, love and the intersection of popular and high art.
Abstract Expressionism was a mid-20th century art movement centered in New York City. Artists applied paint forcefully and non-geometrically to large canvases to express inner emotions and feelings. There were two main techniques - action painting involving dripped and splattered paint, and color field painting using solid fields of color. Pioneering artists included Jackson Pollock, famous for his drip paintings, Willem de Kooning, and Mark Rothko known for his blocks of color. Abstract Expressionism emphasized individual expression and made New York a new center for art.
- Wassily Kandinsky was a pioneer of abstract art who believed color had a direct spiritual effect on viewers' souls. He experienced synesthesia, seeing colors when hearing musical notes.
- In 1910, he published Concerning the Spiritual in Art, arguing color was the most direct means for art to access the spirit. He founded the Blue Rider group to promote these ideas.
- Kandinsky's early works became increasingly abstract, culminating in the first fully non-objective paintings that depicted no recognizable objects. He believed art did not need objects to spiritually impact viewers.
- Kandinsky had a major influence on the development of abstract art in the early 20th century and promoted these
From Object to concept: environment, performance, and installation artDeborahJ
This document provides an overview of postmodern art movements that emerged in response to modernism, including minimalism, conceptual art, performance art, body art, earthworks, and installation art. It discusses how these genres emphasized ideas over visual forms, incorporated elements of theatre and audience participation, and challenged definitions of art. Key artists mentioned include Robert Morris, Joseph Kosuth, Vito Acconci, Chris Burden, Richard Serra, Michael Heizer, Robert Smithson, and Bruce Nauman. It also summarizes Michael Fried's criticism of minimalism and Rosalind Krauss' theory of sculpture's "expanded field."
The document summarizes the Abstract Expressionist movement in American art during the 1950s. It describes how artists such as Pollock, de Kooning, and Rothko rejected traditional techniques and subjects to create large-scale, gestural and abstract works expressing inner experiences. These works emphasized spontaneity, process, and either energetic brushwork or fields of color. The movement played a key role in establishing American art on the global stage.
This exhibition focuses on Helen Frankenthaler's work from 1962-1963, a transitional period where she moved from more graphic, sparse works to paintings that filled the canvas with color. During this time, Frankenthaler experimented with acrylic paint and composed with larger areas of color. She created "reversed" paintings where the back of the canvas was turned to the front, flooding the surface with color. These works anticipated her bold, assertive compositions of the mid-1960s that were structured around the entire canvas surface. While Frankenthaler was influenced by movements like Color Field painting, she maintained an independent vision through her interest in art history and embracing of chance in her process.
Minimalism emerged as an art movement in the 1960s that aimed to dismantle illusionism and focus on the inherent properties of materials. Artists like Donald Judd, Carl Andre, and Dan Flavin created simple sculptures and structures using industrial materials. Around the same time, Conceptual art developed with works centered around ideas rather than aesthetic forms, inspired by Duchamp's readymades. Site-specific artworks of the period engaged with natural environments on a large scale, with works by Robert Smithson and Michael Asher sited outdoors.
Chapter 16 abstract expressionism and the new american sculpturePetrutaLipan
This document provides an overview of Abstract Expressionism and its emergence as the first American art movement to achieve worldwide influence in the mid-20th century. It discusses major Abstract Expressionist artists like Jackson Pollock, Willem de Kooning, Mark Rothko, and Barnett Newman who developed new approaches to non-representational painting in New York during the 1940s-1950s. It also covers the movement's expansion to include constructed sculpture and biomorphic forms through the works of artists such as David Smith, Louise Bourgeois, and Joseph Cornell.
Photography developed from the camera obscura and was pioneered by Louis Daguerre in the 1830s. Daguerre discovered the daguerreotype process of developing latent images on light-sensitive plates. Pablo Picasso and George Braque were pioneers of Cubism in Paris in the early 1900s, experimenting with abstracting and breaking down recognizable forms. Robert Rauschenberg and Jasper Johns challenged the previous generation of Abstract Expressionists in the 1950s by incorporating popular culture and everyday objects into their assemblages and collages.
Chapter 6 expressionism in germany and austriaPetrutaLipan
The document provides information on several German and Austrian expressionist artists that were part of the Die Brücke and Der Blaue Reiter movements in the early 20th century. It discusses key figures like Ernst Ludwig Kirchner, Erich Heckel, Emil Nolde, Vasily Kandinsky, Franz Marc, Gabriele Münter, and Marianne von Werefkin. It describes their expressive styles using color and form to convey emotion, as well as symbols and subjects important in their work like animals and landscapes. It also gives biographical details and contexts around the founding and influences of the Die Brücke and Der Blaue Reiter groups on the development of German expressionism
Discuss the relationship between photography and printmaking with particular ...eleanor18
1) Robert Rauschenberg was an influential American artist in the 1960s who worked predominantly with printmaking processes like screen printing and lithography. He combined these processes with photography by transferring photographic images onto different surfaces.
2) One of Rauschenberg's early works was an "Automobile Tire Print" from 1951, created collaboratively with John Cage by inking a tire and having a car drive over paper. This challenged definitions of printmaking and the artist's role.
3) Rauschenberg is known for his "Combines" from the 1950s, which combined painting, sculpture, photography and other media. He incorporated found photographs and news images to comment on popular culture and
Artwork ReviewAnswer all three of the following questions p.docxalfredai53p
Artwork Review
Answer
all three
of the following questions
per work
of art shown below. You should reference your book to aid you in answering these questions. Answers should be in essay format, be a minimum of three-five sentences each, and include at least three terms from the glossary for each work.
The following are glossary terms for the week to be used with your work this week. You do not need to utilize them all; however, you need to utilize at least three of these terms per assignment response. Please note that some terms are carried over from previous weeks as they apply. Still, you should review all terms each week.
Abstract Expressionism
Also known as the New York School. The first major American avant-garde movement, Abstract Expressionism emerged in New York City in the 1940s. The artists produced abstract paintings that expressed their state of mind and that they hoped would strike emotional chords in viewers. The movement developed along two lines: gestural abstraction and chromatic abstraction.
Action painting
Also called gestural abstraction. The kind of Abstract Expressionism practiced by Jackson Pollock, in which the emphasis was on the creation process, the artist's gesture in making art. Pollock poured liquid paint in linear webs on his canvases, which he laid out on the floor, thereby physically surrounding himself in the painting during its creation.
Assemblage
An artwork constructed from already existing objects.
Chromatic abstraction
A kind of Abstract Expressionism that focused on the emotional resonance of color, as exemplified by the work of Barnett Newman and Mark Rothko.
Color field painting
A variant of Post-Painterly Abstraction in which artists sought to reduce painting to its physical essence by pouring diluted paint onto unprimed canvas, allowing these pigments to soak into the fabric, as exemplified by the work of Helen Frankenthaler and Morris Louis.
Conceptual art
An American avant-garde art movement of the 1960s that asserted that the "artfulness" of art lay in the artist's idea rather than its final expression.
Deconstruction
An analytical strategy developed in the late 20th century according to which all cultural "constructs" (art, architecture, and literature) are "texts." People can read these texts in a variety of ways, but they cannot arrive at fixed or uniform meanings. Any interpretation can be valid, and readings differ from time to time, place to place, and person to person. For those employing this approach, deconstruction means destabilizing established meanings and interpretations while encouraging subjectivity and individual differences.
Earthworks
An American art form that emerged in the 1960s. Often using the land itself as their material, Environmental artists construct monuments of great scale and minimal form. Permanent or impermanent, these works transform some section of the environment, calling attention both to the land itself and to the hand of the artist. Sometimes referred.
This document discusses how painting has evolved to belong to and visualize networks. It analyzes works by Jutta Koether, Stephen Prina, Cheyney Thompson, and Wade Guyton that demonstrate painting's "transitivity", or ability to circulate through and translate between different contexts. These artists actualize the behavior of objects within networks by showing painting's passage through time and translation between social and cultural spheres. Their work offers a way to move beyond critiques of painting's relation to commodification by demonstrating how artworks can circulate in networks rather than become permanently arrested objects.
Abstract Expressionism emerged in New York City in the 1940s-1950s as an American art movement focused on spontaneous, emotional, and abstract qualities rather than objective representation. Key figures included Jackson Pollock, whose action painting involved dripping and splattering paint, as well as Mark Rothko, whose color field paintings used large areas of color without edges. The movement emphasized personal expression and the act of painting over recognizable imagery, influencing later art styles through its rejection of realism.
Answer all three of the following questions per work of ar.docxlisandrai1k
Answer
all three
of the following questions
per work
of art shown below. You should reference your book to aid you in answering these questions. Answers should be in essay format, be a minimum of three-five sentences each, and include at least three terms from the glossary for each work.
“Painting”
Who is the artist?
Which event does this respond to and what statement does it make?
What may have inspired the image of the male figure?
“Flowers on Body”
What issues did this artist address in her work?
What series does this particular image belong to?
What themes does this image address?
“Backs”
What materials did the artist use in her works?
How is this representative of her work?
What do the forms suggest in this work?
you need to utilize at least three of these terms per assignment response. Please note that some terms are carried over from previous weeks as they apply. Still, you should review all terms each week.
Abstract Expressionism
Also known as the New York School. The first major American avant-garde movement, Abstract Expressionism emerged in New York City in the 1940s. The artists produced abstract paintings that expressed their state of mind and that they hoped would strike emotional chords in viewers. The movement developed along two lines: gestural abstraction and chromatic abstraction.
Action painting
Also called gestural abstraction. The kind of Abstract Expressionism practiced by Jackson Pollock, in which the emphasis was on the creation process, the artist's gesture in making art. Pollock poured liquid paint in linear webs on his canvases, which he laid out on the floor, thereby physically surrounding himself in the painting during its creation.
Assemblage
An artwork constructed from already existing objects.
Chromatic abstraction
A kind of Abstract Expressionism that focused on the emotional resonance of color, as exemplified by the work of Barnett Newman and Mark Rothko.
Color field painting
A variant of Post-Painterly Abstraction in which artists sought to reduce painting to its physical essence by pouring diluted paint onto unprimed canvas, allowing these pigments to soak into the fabric, as exemplified by the work of Helen Frankenthaler and Morris Louis.
Conceptual art
An American avant-garde art movement of the 1960s that asserted that the "artfulness" of art lay in the artist's idea rather than its final expression.
Deconstruction
An analytical strategy developed in the late 20th century according to which all cultural "constructs" (art, architecture, and literature) are "texts." People can read these texts in a variety of ways, but they cannot arrive at fixed or uniform meanings. Any interpretation can be valid, and readings differ from time to time, place to place, and person to person. For those employing this approach, deconstruction means destabilizing established meanings and interpretations while encouraging subjectivity and individual differences.
Earthworks
An American art form that emerged in the 1960s. .
1-Racism Consider the two films shown in class Night and Fog,.docxcatheryncouper
1-Racism:
Consider the two films shown in class "Night and Fog", and "Mr. Tanimoto's Journey". What do you think are the salient similarities, if any? What are the crucial differences? Why?
2- Slavery New & Old
Bales notes that New Slavery is very different from Old Slavery. What are some of the differences he describes? What are the links between New Slavery and the Globalized Economy?
Bales also notes that there are things we each can do to end slavery, but that this requires taking a "very dispassionate look at slaves as a commodity" (Bales 250). Why?
Finally, he suggests that activism without a broad-based explanatory framework is worse than none at all. Why does he think so? Do you agree? Why or why not?
3- Human- The Film
How, if at all, does the film "Human" resonate with or reflect themes explored in What Matters? Which of the characters was most compelling to you, and why?
4- Culture and Power Create Scarcity
Recognize that power and culture are inseparable, one does not exist without the other, and currently the dominant form of culture is based upon industrial production requiring essentially infinite energy supplies – which do not in fact exist. So we collectively face a terrible problem. And yet the greatest burden of this problem is being borne by those least able to do anything about it, while at the same time those who benefit most from the economic inequalities imposed by the culture of industrial production and imposed scarcity are unwilling or unable to recognize that things cannot continue as they are. This is our dilemma; one we must solve now or ignore and risk facing unimaginable chaos later.
Concerned about the ultimate implications of his theories about space, time and energy, Einstein pointed out that 20th century problems would never be solved by 19th century thinking. Indeed, by the same token, 21st century problems will not be solved with 20th century thinking either. The same can be said for oversimplified false dichotomies between 'conservatives' and 'liberals' and particularly 'capitalism' and 'communism'. The latter pair of binary opposites are 19th century ideas while the former are legacies of the 20th century.
We are well beyond the political and economic circumstances that informed such artificially limited conceptualizations of the human condition in many, many ways. And yet, these same tired inaccurate philosophical cages are still supposed to encompass the almost infinite variety and subtleties of contemporary global and local political economies? This is essentially the problem Einstein was concerned with when he noted the conceptual poverty of such willed ignorance. Our technological capacity has outstripped our cultural mechanisms of maintaining social control (consider greed: how much is enough?) and exacerbated our ability to impose physically violent solutions to complex and entirely negotiable problems. Our challenge now is to reassert the primacy of compassion and respect for differenc.
The document provides an overview of major American art movements from the 19th century Hudson River School to late 20th century Abstract Expressionism. It traces the evolution from romanticized landscapes to grittier urban scenes to non-representational abstraction. Key artists discussed include Thomas Cole, George Bellows, Edward Hopper, Jackson Pollock, Mark Rothko, and Willem de Kooning. The focus on light and luminosity can be seen as a through line from Hudson River School to Color Field painting.
Chapter 20 playing by the rules1960s abstractionPetrutaLipan
Clement Greenberg was the most influential art critic of the 20th century who shaped Abstract Expressionism through his support of artists like Jackson Pollock. He focused on formal elements of art and introduced concepts like "kitsch" and "flatness." Artists in the 1960s like Helen Frankenthaler, Morris Louis, and Kenneth Noland built on Greenberg's ideas and developed Color Field painting using techniques like Frankenthaler's soak-stain method. Minimalism emerged in the 1960s with artists like Donald Judd, Frank Stella, and Robert Morris rejecting metaphorical associations and symbolism in their work.
Robert Rauschenberg was an American artist born in 1925 who helped pioneer the Neo-Dada artistic movement and was a bridge into Pop Art. He was influenced by Dadaists like Marcel Duchamp and Joseph Cornell as well as Kurt Schwitters. Rauschenberg created "Combines" which employed non-traditional materials in innovative ways and pushed boundaries in his works like Bed and Monogram. He had a significant influence on other artists like Jasper Johns and Roy Lichtenstein and helped move art in a new direction with his use of everyday objects and pop culture imagery. Rauschenberg challenged notions of what art could be and helped establish concepts that shaped several subsequent decades of art.
Roy Lichtenstein was a prominent American pop artist known for his large-scale paintings that emulated the style of comic strips and advertisements from popular magazines. Some of his most famous works include "Girl with Ball" from 1961, which simplified and enlarged comic imagery to create a monumental style. His 1963 painting "WHAAM" depicted violent imagery from war comics in a mechanical, removed style. Lichtenstein often used techniques like benday dots, solid colors and outlines to mimic the look of mass reproduction. His work commented on themes like violence, love and the intersection of popular and high art.
Abstract Expressionism was a mid-20th century art movement centered in New York City. Artists applied paint forcefully and non-geometrically to large canvases to express inner emotions and feelings. There were two main techniques - action painting involving dripped and splattered paint, and color field painting using solid fields of color. Pioneering artists included Jackson Pollock, famous for his drip paintings, Willem de Kooning, and Mark Rothko known for his blocks of color. Abstract Expressionism emphasized individual expression and made New York a new center for art.
- Wassily Kandinsky was a pioneer of abstract art who believed color had a direct spiritual effect on viewers' souls. He experienced synesthesia, seeing colors when hearing musical notes.
- In 1910, he published Concerning the Spiritual in Art, arguing color was the most direct means for art to access the spirit. He founded the Blue Rider group to promote these ideas.
- Kandinsky's early works became increasingly abstract, culminating in the first fully non-objective paintings that depicted no recognizable objects. He believed art did not need objects to spiritually impact viewers.
- Kandinsky had a major influence on the development of abstract art in the early 20th century and promoted these
From Object to concept: environment, performance, and installation artDeborahJ
This document provides an overview of postmodern art movements that emerged in response to modernism, including minimalism, conceptual art, performance art, body art, earthworks, and installation art. It discusses how these genres emphasized ideas over visual forms, incorporated elements of theatre and audience participation, and challenged definitions of art. Key artists mentioned include Robert Morris, Joseph Kosuth, Vito Acconci, Chris Burden, Richard Serra, Michael Heizer, Robert Smithson, and Bruce Nauman. It also summarizes Michael Fried's criticism of minimalism and Rosalind Krauss' theory of sculpture's "expanded field."
The document summarizes the Abstract Expressionist movement in American art during the 1950s. It describes how artists such as Pollock, de Kooning, and Rothko rejected traditional techniques and subjects to create large-scale, gestural and abstract works expressing inner experiences. These works emphasized spontaneity, process, and either energetic brushwork or fields of color. The movement played a key role in establishing American art on the global stage.
This exhibition focuses on Helen Frankenthaler's work from 1962-1963, a transitional period where she moved from more graphic, sparse works to paintings that filled the canvas with color. During this time, Frankenthaler experimented with acrylic paint and composed with larger areas of color. She created "reversed" paintings where the back of the canvas was turned to the front, flooding the surface with color. These works anticipated her bold, assertive compositions of the mid-1960s that were structured around the entire canvas surface. While Frankenthaler was influenced by movements like Color Field painting, she maintained an independent vision through her interest in art history and embracing of chance in her process.
Minimalism emerged as an art movement in the 1960s that aimed to dismantle illusionism and focus on the inherent properties of materials. Artists like Donald Judd, Carl Andre, and Dan Flavin created simple sculptures and structures using industrial materials. Around the same time, Conceptual art developed with works centered around ideas rather than aesthetic forms, inspired by Duchamp's readymades. Site-specific artworks of the period engaged with natural environments on a large scale, with works by Robert Smithson and Michael Asher sited outdoors.
Chapter 16 abstract expressionism and the new american sculpturePetrutaLipan
This document provides an overview of Abstract Expressionism and its emergence as the first American art movement to achieve worldwide influence in the mid-20th century. It discusses major Abstract Expressionist artists like Jackson Pollock, Willem de Kooning, Mark Rothko, and Barnett Newman who developed new approaches to non-representational painting in New York during the 1940s-1950s. It also covers the movement's expansion to include constructed sculpture and biomorphic forms through the works of artists such as David Smith, Louise Bourgeois, and Joseph Cornell.
Photography developed from the camera obscura and was pioneered by Louis Daguerre in the 1830s. Daguerre discovered the daguerreotype process of developing latent images on light-sensitive plates. Pablo Picasso and George Braque were pioneers of Cubism in Paris in the early 1900s, experimenting with abstracting and breaking down recognizable forms. Robert Rauschenberg and Jasper Johns challenged the previous generation of Abstract Expressionists in the 1950s by incorporating popular culture and everyday objects into their assemblages and collages.
Chapter 6 expressionism in germany and austriaPetrutaLipan
The document provides information on several German and Austrian expressionist artists that were part of the Die Brücke and Der Blaue Reiter movements in the early 20th century. It discusses key figures like Ernst Ludwig Kirchner, Erich Heckel, Emil Nolde, Vasily Kandinsky, Franz Marc, Gabriele Münter, and Marianne von Werefkin. It describes their expressive styles using color and form to convey emotion, as well as symbols and subjects important in their work like animals and landscapes. It also gives biographical details and contexts around the founding and influences of the Die Brücke and Der Blaue Reiter groups on the development of German expressionism
Discuss the relationship between photography and printmaking with particular ...eleanor18
1) Robert Rauschenberg was an influential American artist in the 1960s who worked predominantly with printmaking processes like screen printing and lithography. He combined these processes with photography by transferring photographic images onto different surfaces.
2) One of Rauschenberg's early works was an "Automobile Tire Print" from 1951, created collaboratively with John Cage by inking a tire and having a car drive over paper. This challenged definitions of printmaking and the artist's role.
3) Rauschenberg is known for his "Combines" from the 1950s, which combined painting, sculpture, photography and other media. He incorporated found photographs and news images to comment on popular culture and
Artwork ReviewAnswer all three of the following questions p.docxalfredai53p
Artwork Review
Answer
all three
of the following questions
per work
of art shown below. You should reference your book to aid you in answering these questions. Answers should be in essay format, be a minimum of three-five sentences each, and include at least three terms from the glossary for each work.
The following are glossary terms for the week to be used with your work this week. You do not need to utilize them all; however, you need to utilize at least three of these terms per assignment response. Please note that some terms are carried over from previous weeks as they apply. Still, you should review all terms each week.
Abstract Expressionism
Also known as the New York School. The first major American avant-garde movement, Abstract Expressionism emerged in New York City in the 1940s. The artists produced abstract paintings that expressed their state of mind and that they hoped would strike emotional chords in viewers. The movement developed along two lines: gestural abstraction and chromatic abstraction.
Action painting
Also called gestural abstraction. The kind of Abstract Expressionism practiced by Jackson Pollock, in which the emphasis was on the creation process, the artist's gesture in making art. Pollock poured liquid paint in linear webs on his canvases, which he laid out on the floor, thereby physically surrounding himself in the painting during its creation.
Assemblage
An artwork constructed from already existing objects.
Chromatic abstraction
A kind of Abstract Expressionism that focused on the emotional resonance of color, as exemplified by the work of Barnett Newman and Mark Rothko.
Color field painting
A variant of Post-Painterly Abstraction in which artists sought to reduce painting to its physical essence by pouring diluted paint onto unprimed canvas, allowing these pigments to soak into the fabric, as exemplified by the work of Helen Frankenthaler and Morris Louis.
Conceptual art
An American avant-garde art movement of the 1960s that asserted that the "artfulness" of art lay in the artist's idea rather than its final expression.
Deconstruction
An analytical strategy developed in the late 20th century according to which all cultural "constructs" (art, architecture, and literature) are "texts." People can read these texts in a variety of ways, but they cannot arrive at fixed or uniform meanings. Any interpretation can be valid, and readings differ from time to time, place to place, and person to person. For those employing this approach, deconstruction means destabilizing established meanings and interpretations while encouraging subjectivity and individual differences.
Earthworks
An American art form that emerged in the 1960s. Often using the land itself as their material, Environmental artists construct monuments of great scale and minimal form. Permanent or impermanent, these works transform some section of the environment, calling attention both to the land itself and to the hand of the artist. Sometimes referred.
This document discusses how painting has evolved to belong to and visualize networks. It analyzes works by Jutta Koether, Stephen Prina, Cheyney Thompson, and Wade Guyton that demonstrate painting's "transitivity", or ability to circulate through and translate between different contexts. These artists actualize the behavior of objects within networks by showing painting's passage through time and translation between social and cultural spheres. Their work offers a way to move beyond critiques of painting's relation to commodification by demonstrating how artworks can circulate in networks rather than become permanently arrested objects.
Abstract Expressionism emerged in New York City in the 1940s-1950s as an American art movement focused on spontaneous, emotional, and abstract qualities rather than objective representation. Key figures included Jackson Pollock, whose action painting involved dripping and splattering paint, as well as Mark Rothko, whose color field paintings used large areas of color without edges. The movement emphasized personal expression and the act of painting over recognizable imagery, influencing later art styles through its rejection of realism.
Answer all three of the following questions per work of ar.docxlisandrai1k
Answer
all three
of the following questions
per work
of art shown below. You should reference your book to aid you in answering these questions. Answers should be in essay format, be a minimum of three-five sentences each, and include at least three terms from the glossary for each work.
“Painting”
Who is the artist?
Which event does this respond to and what statement does it make?
What may have inspired the image of the male figure?
“Flowers on Body”
What issues did this artist address in her work?
What series does this particular image belong to?
What themes does this image address?
“Backs”
What materials did the artist use in her works?
How is this representative of her work?
What do the forms suggest in this work?
you need to utilize at least three of these terms per assignment response. Please note that some terms are carried over from previous weeks as they apply. Still, you should review all terms each week.
Abstract Expressionism
Also known as the New York School. The first major American avant-garde movement, Abstract Expressionism emerged in New York City in the 1940s. The artists produced abstract paintings that expressed their state of mind and that they hoped would strike emotional chords in viewers. The movement developed along two lines: gestural abstraction and chromatic abstraction.
Action painting
Also called gestural abstraction. The kind of Abstract Expressionism practiced by Jackson Pollock, in which the emphasis was on the creation process, the artist's gesture in making art. Pollock poured liquid paint in linear webs on his canvases, which he laid out on the floor, thereby physically surrounding himself in the painting during its creation.
Assemblage
An artwork constructed from already existing objects.
Chromatic abstraction
A kind of Abstract Expressionism that focused on the emotional resonance of color, as exemplified by the work of Barnett Newman and Mark Rothko.
Color field painting
A variant of Post-Painterly Abstraction in which artists sought to reduce painting to its physical essence by pouring diluted paint onto unprimed canvas, allowing these pigments to soak into the fabric, as exemplified by the work of Helen Frankenthaler and Morris Louis.
Conceptual art
An American avant-garde art movement of the 1960s that asserted that the "artfulness" of art lay in the artist's idea rather than its final expression.
Deconstruction
An analytical strategy developed in the late 20th century according to which all cultural "constructs" (art, architecture, and literature) are "texts." People can read these texts in a variety of ways, but they cannot arrive at fixed or uniform meanings. Any interpretation can be valid, and readings differ from time to time, place to place, and person to person. For those employing this approach, deconstruction means destabilizing established meanings and interpretations while encouraging subjectivity and individual differences.
Earthworks
An American art form that emerged in the 1960s. .
Similar to Rauschenberg, Robert (Milton Ernest)(b Port Arthur, TX, 22 Oct 1.docx (20)
1-Racism Consider the two films shown in class Night and Fog,.docxcatheryncouper
1-Racism:
Consider the two films shown in class "Night and Fog", and "Mr. Tanimoto's Journey". What do you think are the salient similarities, if any? What are the crucial differences? Why?
2- Slavery New & Old
Bales notes that New Slavery is very different from Old Slavery. What are some of the differences he describes? What are the links between New Slavery and the Globalized Economy?
Bales also notes that there are things we each can do to end slavery, but that this requires taking a "very dispassionate look at slaves as a commodity" (Bales 250). Why?
Finally, he suggests that activism without a broad-based explanatory framework is worse than none at all. Why does he think so? Do you agree? Why or why not?
3- Human- The Film
How, if at all, does the film "Human" resonate with or reflect themes explored in What Matters? Which of the characters was most compelling to you, and why?
4- Culture and Power Create Scarcity
Recognize that power and culture are inseparable, one does not exist without the other, and currently the dominant form of culture is based upon industrial production requiring essentially infinite energy supplies – which do not in fact exist. So we collectively face a terrible problem. And yet the greatest burden of this problem is being borne by those least able to do anything about it, while at the same time those who benefit most from the economic inequalities imposed by the culture of industrial production and imposed scarcity are unwilling or unable to recognize that things cannot continue as they are. This is our dilemma; one we must solve now or ignore and risk facing unimaginable chaos later.
Concerned about the ultimate implications of his theories about space, time and energy, Einstein pointed out that 20th century problems would never be solved by 19th century thinking. Indeed, by the same token, 21st century problems will not be solved with 20th century thinking either. The same can be said for oversimplified false dichotomies between 'conservatives' and 'liberals' and particularly 'capitalism' and 'communism'. The latter pair of binary opposites are 19th century ideas while the former are legacies of the 20th century.
We are well beyond the political and economic circumstances that informed such artificially limited conceptualizations of the human condition in many, many ways. And yet, these same tired inaccurate philosophical cages are still supposed to encompass the almost infinite variety and subtleties of contemporary global and local political economies? This is essentially the problem Einstein was concerned with when he noted the conceptual poverty of such willed ignorance. Our technological capacity has outstripped our cultural mechanisms of maintaining social control (consider greed: how much is enough?) and exacerbated our ability to impose physically violent solutions to complex and entirely negotiable problems. Our challenge now is to reassert the primacy of compassion and respect for differenc.
1-http://fluoridealert.org/researchers/states/kentucky/
2-
3-School fluoridation studies in Elk Lake, Pennsylvania, and Pike County, Kentucky--results after eight years.
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1229128/?page=1
4-American Association for Dental Research Policy Statement on Community Water Fluoridation
http://journals.sagepub.com/doi/abs/10.1177/0022034518797274
5- Ground-Water Quality in Kentucky: Fluoride - University of Kentucky
http://www.uky.edu/KGS/pdf/ic12_01.pdf
6-Kentucky Oral Health Program Brochure - Cabinet for Health.
https://chfs.ky.gov/agencies/dph/dmch/cfhib/Oral%20Health%20Program/beigebrochureoralhealth80107.pdf
7-
8-
9-
PIIS00028177146263
98.pdf
746 JADA, Vol. 131, June 2000
Enamel fluorosis is a hypomineralization of the
enamel caused by the ingestion of an amount of
fluoride that is above optimal levels during
enamel formation.1,2 Clinically, the appearance of
enamel fluorosis can vary. In its mildest form, it
appears as faint white lines or streaks visible
only to trained examiners under controlled exam-
ination conditions. In its pronounced form, fluo-
rosis manifests as white mottling of the teeth in
which noticeable white lines or streaks often
have coalesced into larger opaque areas.2,3 Brown
staining or pitting of the enamel also may be
present.2,3 In its most severe form, actual break-
down of the enamel may occur.2,3
In recent years, there has been an increase in
the prevalence of children seen with enamel fluo-
A B S T R A C T
Background. Few studies have evaluated the
impact of specific fluoride sources on the prevalence of
enamel fluorosis in the population. The author con-
ducted research to determine attributable risk percent
estimates for mild-to-moderate enamel fluorosis in two
populations of middle-school–aged children.
Methods. The author recruited two groups of
children 10 to 14 years of age. One group of 429 had
grown up in nonfluoridated communities; the other
group of 234 had grown up in optimally fluoridated
communities. Trained examiners measured enamel
fluorosis using the Fluorosis Risk Index and meas-
ured early childhood fluoride exposure using a ques-
tionnaire completed by the parent. The author then
calculated attributable risk percent estimates, or the
proportion of cases of mild-to-moderate enamel fluo-
rosis associated with exposure to specific early fluo-
ride sources, based on logistic regression models.
Results. In the nonfluoridated study sample,
sixty-five percent of the enamel fluorosis cases were
attributed to fluoride supplementation under the pre-
1994 protocol. An additional 34 percent were
explained by the children having brushed more than
once per day during the first two years of life. In the
optimally fluoridated study sample, 68 percent of the
enamel fluorosis cases were explained by the children
using more than a pea-sized amount of toothpaste
during the first year of life, 13 percent by having
been inappropriately given a fluoride supple.
1. Consider our political system today, in 2019. Which groups of peo.docxcatheryncouper
1. Consider our political system today, in 2019. Which groups of people are
excluded from participating in the political process?
Please identify at least two groups of people who are excluded and engage with at least one of your colleagues and explain why you either agree or disagree with the group of people that they identified. As always, use your critical thinking skills to answer this.
2.
What speech is protected under the
first amendment
and what speech is
excluded
from first amendment protection? And why?
.
1-Ageism is a concept introduced decades ago and is defined as .docxcatheryncouper
1-Ageism is a concept introduced decades ago and is defined as “the prejudices and stereotypes that are applied to older people sheerly on the basis of their age…” (Butler, Lewis, & Sutherland, 1991).
DQ: What are some common misconceptions you have heard or believed about older adults? What can you do to dispel these myths?
2-Please use textbook as, at least, one reference.
3-Please abide by APA 7th edition format in your writing.
4-Answers should be 2-3 Paragraphs made up of 3-4 sentences each
UNIT 1 CHAPTER 4 LIFE TRANSITIONS AND HISTORY (ATTACHED)
.
1. Create a PowerPoint PowerPoint must include a minimum of.docxcatheryncouper
1.
Create a PowerPoint:
PowerPoint must include a minimum of 12 slides (including Title Slide and Reference slide). Ensure that information is cited in-text throughout the presentation. Use inspirational quotes, graphics, visual aids, and video clips to enhance your presentation. Ensure that information included on your slides is properly paraphrased and cited; the use of direct quotes is prohibited. A minimum of three sources should be included (your textbook counts); ensure sources are credible.
Once you have chosen your format, choose a type of stress (schoolwork, family, job, a relationship, etc) and answer all of the following questions:
1. Give examples that causes the stress.
2. Describe healthy coping mechanisms you can use to help with stress.
3. Discuss of the warning signs of stress is in your life.
4. Describe the short-term effects stress can have on an individual.
5. Describe the long-term effects stress can have on an individual.
.
1. Compare vulnerable populations. Describe an example of one of the.docxcatheryncouper
1. Compare vulnerable populations. Describe an example of one of these groups in the United States or from another country. Explain why the population is designated as "vulnerable." Include the number of individuals belonging to this group and the specific challenges or issues involved. Discuss why these populations are unable to advocate for themselves, the ethical issues that must be considered when working with these groups, and how nursing advocacy would be beneficial.
2.
How does the community health nurse recognize bias, stereotypes, and implicit bias within the community? How should the nurse address these concepts to ensure health promotion activities are culturally competent? Propose strategies that you can employ to reduce cultural dissonance and bias to deliver culturally competent care. Include an evidence-based article that address the cultural issue. Cite and reference the article in APA format.
.
1. Complete the Budget Challenge activity at httpswww.federa.docxcatheryncouper
1. Complete the Budget Challenge activity at: https://www.federalbudgetchallenge.org/challenges/20/pages/overview
a. Keep a record of your selections and why you decided to select them and not the other options. ( keep a record of your selections in piece of paper so you can go back and reflect on your choices in your write-up. For instance, the first choice is about investments. So, on a piece of paper write down whether you selected any of the investment choices and a quick note about why you chose (for example) to spend $30B to establish a National Infrastructure Bank but didn't select to invest in the other options.) your selections as those reflect your own personal, subjective, choices. I will grade the assignment based on whether you have provided a thoughtful written response that answers the questions posted on the instructions.
b. When you’ve finished, save your results summary page.
2. Write a 2.5+ page summary overview of your experience, discussing your budget selections and analyzing your responses. Use the following questions to guide your response, but don't be limited by them:
a. What was challenging?
b. What was easy?
c. What do your selections say about your policy priorities and political ideologies?
** source: (Author Last Name, Year, pg.)
June 2003: WAY IN THE MIDDLE OF THE AIR
“Did you hear about it?”
“About what?”
“The niggers, the niggers!”
“What about ’em?”
“Them leaving, pulling out, going away; did you hear?”
“What you mean, pulling out? How can they do that?”
“They can, they will, they are.”
“Just a couple?”
“Every single one here in the South!”
“No.”
“Yes!”
“I got to see that. I don’t believe it. Where they going — Africa?”
A silence.
“Mars.”
“You mean the planet Mars?”
“That’s right.”
The men stood up in the hot shade of the hardware porch. Someone quit lighting a pipe. Somebody else spat out into the hot dust of noon.
“They can’t leave, they can’t do that.”
“They’re doing it, anyways.”
“Where’d you hear this?”
“It’s everywhere, on the radio a minute ago, just come through.”
Like a series of dusty statues, the men came to life.
Samuel Teece, the hardware proprietor, laughed uneasily. “I wondered what happened to Silly. I sent him on my bike an hour ago. He ain’t come back from Mrs. Bordman’s yet. You think that black fool just pedaled off to Mars?”
The men snorted.
“All I say is, he better bring back my bike. I don’t take stealing from no one, by God.”
“Listen!”
The men collided irritably with each other, turning.
Far up the street the levee seemed to have broken. The black warm waters descended and engulfed the town. Between the blazing white banks of the town stores, among the tree silences, a black tide flowed. Like a kind of summer molasses, it poured turgidly forth upon the cinnamon-dusty road. It surged slow, slow, and it was men and women and horses and barking dogs, and it was little boys and girls. And from the mouths of the people partaking of this tide came the sound of a river. A summer-.
1. Connections between organizations, information systems and busi.docxcatheryncouper
1. Connections between organizations, information systems and business processes.
2. There are a number of benefits associated with cutting edge business analytics.
3. Three conditions that contribute to data redundancy and inconsistency are:
4. Network neutrality
5. Simple Object Access Protocol (SOAP).
6. Outsourcing IT-advantages and disadvantages
7. The security challenges faced by wireless networks
.
1-Experiences with a Hybrid Class Tips And PitfallsCollege .docxcatheryncouper
1-Experiences with a Hybrid Class: Tips And Pitfalls
College Teaching Methods & Styles Journal, 2006, Vol.2(2), p.9-12
Notes
This paper will discuss the author's experiences with converting a traditional classroom-based course to a hybrid class, using a mix of traditional class time and web-support. The course which was converted is a lower-level human relations class, which has been offered in both the traditional classroom-based setting and as an asynchronous online course. After approximately five years of offering the two formats independently, the author decided to experiment with improving the traditional course by adopting more of the web-based support and incorporating more research and written assignments in "out of class" time. The course has evolved into approximately 60% traditional classroom meetings and 40% assignments and other assessments out of class. The instructor's assessment of the hybrid nature of the class is that students are more challenged by the mix of research and writing assignments with traditional assessments, and the assignments are structured in such a way as to make them more "customizable" for each student. Each student can find some topics that they are interested in to pursue in greater depth as research assignments. However, the hybrid nature of the class has resulted in an increased workload for the instructor. The course has been well received by the students, who have indicated that they find the hybrid format appealing.
2-Undergraduate Research Methods: Does Size Matter? A Look at the Attitudes and Outcomes of Students in a Hybrid Class Format versus a Traditional Class Format.
Author
Gordon, Jill A.
Barnes, Christina M.
Martin, Kasey J.
Publisher
Taylor & Francis Ltd
Is Part Of
Journal of Criminal Justice Education, 2009, Vol.20 (3), p.227-249
Notes
The goal of this study is to understand if there are any variations regarding student engagement and course outcomes based on the course format. A new course format was introduced in fall of 2006 that involves a hybrid approach (large lecture with small recitations) with a higher level of student enrollment than traditional research methods courses. During the same time frame, the discipline maintained its traditional research methods courses as well. A survey was administered to all students enrolled in research methods regardless of course format in fall 2006 and spring 2007. Student responses are discussed, including information concerning the preparation, design, cost and benefits of offering a hybrid research methods course format.
3- Distance Education: Linking Traditional Classroom Rehabilitation Counseling Students with their Colleagues Using Hybrid Learning Models.
Author
Main, Doug
Dziekan, Kathryn
Publisher
Springer Publishing Company, Inc.
Is Part Of
Rehabilitation Research, Policy & Education, 2012, Vol.26 (4), p.315-321
Notes
Current distance learning technological advances allow real and virtual classrooms to unite. In this .
RefereanceSpectra.jpg
ReactionInformation.jpg
WittigReactionOfTransCinnamaldehye.docx
Wittig Reaction of trans-Cinnamaldehyde
GOAL: Identify the major isomer of the Wittig reaction
E,E-1,4-diphenyl-1,3-butadiene OR E,Z-1,4-diphenyl-1,3-butadiene
Attached are the:
1. Drawing of the overall reaction
2. Drawing of the structure of the two possible isomers
3. Reference NMR spectra of what is labeled trans, trans-1,4-diphenyl-1,3-butadiene
4. IR spectra
5. UV vis spectra
6. 1H NMR not-detailed
7. 1H NMR detailed
8. BASED ON # 4, 5 and 7 Identify the major isomer of the Wittig reaction, can the integration values of the NMR be used to give approximate percent of each isomer
IR.jpg
UV-visSpectra.jpg
NMR.jpg
NMR-DeterminePredominantIsomer.jpg
...
Reconciling the Complexity of Human DevelopmentWith the Real.docxcatheryncouper
Reconciling the Complexity of Human Development
With the Reality of Legal Policy
Reply to Fischer, Stein, and Heikkinen (2009)
Laurence Steinberg Temple University
Elizabeth Cauffman University of California, Irvine
Jennifer Woolard Georgetown University
Sandra Graham University of California, Los Angeles
Marie Banich University of Colorado
The authors respond to both the general and specific con-
cerns raised in Fischer, Stein, and Heikkinen’s (2009)
commentary on their article (Steinberg, Cauffman, Wool-
ard, Graham, & Banich, 2009), in which they drew on
studies of adolescent development to justify the American
Psychological Association’s positions in two Supreme
Court cases involving the construction of legal age bound-
aries. In response to Fischer et al.’s general concern that
the construction of bright-line age boundaries is inconsis-
tent with the fact that development is multifaceted, variable
across individuals, and contextually conditioned, the au-
thors argue that the only logical alternative suggested by
that perspective is impractical and unhelpful in a legal
context. In response to Fischer et al.’s specific concerns
that their conclusion about the differential timetables of
cognitive and psychosocial maturity is merely an artifact of
the variables, measures, and methods they used, the au-
thors argue that, unlike the alternatives suggested by Fi-
scher et al., their choices are aligned with the specific
capacities under consideration in the two cases. The au-
thors reaffirm their position that there is considerable
empirical evidence that adolescents demonstrate adult lev-
els of cognitive capability several years before they evince
adult levels of psychosocial maturity.
Keywords: policy, science, adolescent development, chro-
nological age
In our article (Steinberg, Cauffman, Woolard, Graham,& Banich, 2009, this issue), we asked whether therewas scientific justification for the different positions
taken by the American Psychological Association (APA) in
two related Supreme Court cases—Hodgson v. Minnesota
(1990; a case concerning minors’ competence to make
independent decisions about abortion, in which APA ar-
gued that adolescents were just as mature as adults) and
Roper v. Simmons (2005; a case about the constitutionality
of the juvenile death penalty, in which APA argued that
adolescents were not as mature as adults). On the basis of
our reading of the extant literature in developmental psy-
chology, as well as findings from a recent study of our own,
we concluded that the capabilities relevant to judging in-
dividuals’ competence to make autonomous decisions
about abortion reach adult levels of maturity earlier than do
capabilities relevant to assessments of criminal culpability,
and that it was therefore reasonable to draw different age
boundaries between adolescents and adults in each in-
stance.
In their commentary on our article, Fischer, Stein, and
Heikkinen (2009, this issue) raised both general and spe-
cif ...
Reexamine the three topics you picked last week and summarized. No.docxcatheryncouper
Reexamine the three topics you picked last week and summarized. Now, break out each case into a list of ethical and legal considerations that might help to analyze each case—summarize the considerations in two paragraphs for each case.
For each case, also ask one legal and one ethical question that might present. Consider the principles of ethics from Week 1 and the laws addressed this week. You should also use outside references to dig deeper into each case for your list.
3 topics identified in paper below from last week
· The Principal of Justice
· Autonomy
· Non-maleficence
Health Care Ethics
Health care ethics is a set of beliefs, moral principles and values that guide health care centers and related institutions to make choices with regard to medical care. Some health ethics include: respect for autonomy, justice and non-maleficence (Percival, 1849).
The principle of justice in health care ensures that there is respect for people’s rights, fair distribution of health resources and respect for laws that are morally acceptable. There are mainly two elements in this principle; equity and equality. Equity ensure that are all cases have equal access to treatment regardless of the patients’ status in ethnic background, age, sexuality, legal capacity, disability, insurance cover or any other discriminating factors.
It is important to study this ethical issue of justice since there have been an increasing report of doctors and medical staff failing to administer certain treatment services to certain kind of patients. Consequently, there have been debates in countries such as the UK over the refusal to give expensive treatment to patients who are likely to benefit from the treatment but cannot afford it. One ethical in the principle of justice is as to whether the health care center is creating an environment for sensible and fair use of health care resources and no particular type of patients are shun away or stigmatized. The legal question is whether the health care center is breaking the law against inequality and discrimination particularly racism, tribalism, gender insensitivity and other discrimination noted and prohibited in the country’s constitution.
The second area of health care ethics is respect for autonomy. Autonomy means self-determination or self-rule. Hence, this principle stipulates that one should be allowed to direct their health life according to their personal rationale. The patients have a right to determine their own destiny freely and independently as well as having their decision respected (Pollard, 1993).
This principle is important for study because not many people would not want to be treated as those with dementia; a disease involving loss of mental power. Many people are afraid of the prospect of not being able to decide their own fate and exercise self-determination. An ethical question in this principle of respect for autonomy is whether the health care center ensures that the patient is provided with ...
Reconstruction
Dates:
The Civil War?_________
Reconstruction? ________
9-9-12
*
*
9/7/2010
Foner Chapter 15
"What Is Freedom?": Reconstruction, 1865–1877
*
After the Civil War, freed slaves and white allies in the North and South attempted to redefine the meaning and boundaries of American freedom. Freedom, once for whites only, now incorporated black Americans. By rewriting laws, African-Americans, for the first time, would be recognized as citizens with equal rights and the right to vote, even in the South. Blacks created their own schools, churches, and other institutions. Though many of Reconstruction’s achievements were short-lived and defeated by violence and opposition, Reconstruction laid the basis for future freedom struggles.
Introduction: Sherman Land
From the Plantation to the Senate
*
After the Civil War, freed slaves and white allies in the North and South attempted to redefine the meaning and boundaries of American freedom. Freedom, once for whites only, now incorporated black Americans. By rewriting laws, African Americans, for the first time, would be recognized as citizens with equal rights and the right to vote, even in the South. Blacks created their own schools, churches, and other institutions. Though many of Reconstruction’s achievements were short-lived and defeated by violence and opposition, Reconstruction laid the basis for future freedom struggles.
Click image to launch video
Q: Chapter 15 includes a new comparative discussion on the aftermath of slavery in various Western Hemisphere societies. You see important commonalities in the struggle over land and labor in post-Emancipation societies. How do you situate the experiences of former slaves in the United States in this borrowed content.
A: Well, just as slavery was a hemispheric institution, so was emancipation. It’s useful for us in thinking about the aftermath of slavery in the United States, the Reconstruction era and after to see what happened to other slaves in places where slavery was abolished. What you see is a similar set of issues and conquests taking place everywhere slaves desire land of their own—this is the No. 1 thing, they want autonomy, they want independence from white control. All of these regions are agricultural, everywhere former slaves demand land. In some places they get land fairly effectively, like in Jamaica, West Indies, where there’s a lot of unoccupied land they can take. In some places they don’t, but that battle to who’s going to have access to land and economic resources is a commonality in the aftermath of slavery. So too is the effort of local plantation owners trying to get the plantation going again and to force slaves to work back on the plantations, or if not, to bring labor from somewhere else—in the West Indies they bring workers from China, from India, from southeast Asia to replace slaves who were moving off on land of their own. They can’t quite do that in the United States—they tried to bring ...
Record, Jeffrey. The Mystery Of Pearl Harbor. Military History 2.docxcatheryncouper
Record, Jeffrey. "The Mystery Of Pearl Harbor." Military History 28.5 (2012): 28-39.Academic Search Complete. Web. 10 Dec. 2013.
According to the article "The Mystery of Pearl Harbor," it briefly examines the reason why Japan starts a war with the United States. On December 7th, 1941, Japan with about 182 aircrafts from the first assault invade U.S. Pacific fleet of Pearl Harbor. Japan's ultimate goal was to overthrow East Asia. The main point of this article is mainly for Japan's goal for economic security and determined to achieve their goal to conquer East Asia. Moreover, they wouldn't let U.S. stop them. Japan was humiliated to be dependent on the United States, including American imported oil. Ultimately, they fought a war that could not won since U.S. was more superior. United States outproduce Japan in every category of ammunition and armaments. If someone were to ask me what this article was about, I would say that this article is an inevitable defeat from Japan.
I believe this source was definitely helpful. This article made me realize how important Pearl Harbor is. If anything, we could have lost to the Japanese and everything would change. Personally, I believe our army played a significant role during the war between Japan and United States. I believe that this source is reliable. This source can be slightly biased because in the article, it says “If the Pacific War was inevitable, was not Japan's crushing defeat as well? If so, then why did Japan start a war that, as British strategist Colin Gray has argued, it "was always going to lose?”
This article can clearly be used for a American history classes. Several of the first paragraphs include a clear understanding and a great topic for students to discuss. This would benefit students who does not know anything about Pearl Harbor. This would be appropriate for students to realize what America has been through during the 1940’s. I admit I now have a better understanding of Pearl Harbor, this article enhanced my perspective and changed the way I view it.
Hanyok, Robert J. "The Pearl Harbor Warning That Never Was." Naval History 23.2 (2009): 50-53. Academic Search Complete. Web. 11 Dec. 2013.
This article particularly argues that Americans believe that the surprising attack from Japan Navy planes could not have happened without some sort of conspiracy or warning. Without a doubt, Americans thought that U.S. political and military leaders kept this serious warning from Pearl Harbor’s commanders. Furthermore, the National Security Agency Documentary, “West Wind Clear seemed to be not found. Robert Hanyok’s attempted to clear up the issue and as a result, the warning for the chief Navy doe- breaker was just a figment of his imagination.
I believe that this article offers reliable sources. Hanyok provides source documents for historical scholars and researchers. This article was extremely helpful due to the controversy with the “West Wind Clear. The goal of this article was basically des ...
Reasons for Not EvaluatingReasons from McCain, D. V. (2005). Eva.docxcatheryncouper
Reasons for Not Evaluating
Reasons from McCain, D. V. (2005). Evaluation basics. Arlington, VA: ASTD Press, pp. 14-16.
Below are reasons to not evaluate, but there are things you can do to overcome these reasons!
· Click Edit (upper right on the tool bar) to get into edit mode.
· Add at least 2 ideas to the page to overcome one or more of these reasons for not evaluating. Please explain in enough detail that someone reading this wiki will be able to understand it!
· Add your name in parenthesis after your idea so we know who contributed which idea!
· Click Save (upper right on tool bar) to save your changes.
1. Evaluation requires a particular skill set.
· Doing evaluation requires no particular skill. It only requires a desire to look into it a course or program and ask the right questions that would answer the whether or not the course was effective. There are many tools that would help in doing an evaluation. (D. Clark)
· Skills can be learned. Learning to evaluate is simply another avenue of training. If the skills to evaluate do not exist in your organization then the training may need to start at the Trainer level before moving on to more organizational specific training, (D Casper)
2. Evaluation is not a priority.
· In order to make progress in any learning environment, it is necessary to initiate check points and measurements producing an evaluation of knowledge (Valle)
· Evaluation is never a priority until things are going bad and the reason is not clear, Evaluation helps us understand where the issues are. (Jim K)
3. Evaluation is not required.
· Currently, as students we are being evaluated to check in our progress ion order to measure our understanding of the tasks given. We get a grade, it is required for this course.(Valle)
· Why are you only providing what is required? Why not go a little further and make the training better? (J. Sprague)
4. Evaluation can result in criticism.
· In order to grow as a person or a company we all need criticism, of course this needs presented in a positive light and in a way that people can learn and grow. (Jim K)
· In today's culture where everybody gets a trophy or everybody gets an "A" no matter how they perform it is not "PC" to criticize someone and hurt their feelings! Criticism is what motivated me to succeed and go beyond just what is normal! We need to stop equating "Criticism" with "Fault Finding" and realize we do more harm than good by not pointing out shortcomings and errors. (D Casper)
5. You can't measure training.
· In my place of work in the industry, we had to measure training. Time was spent in educating employees into new ways to create a product, cost effectiveness, supply management chain and distribution. Measuring effectiveness of the training was in direct correlation with the success of the given product into market.(Valle)
· You can always measure whether or not the training was successful. The key is to look for the right types of measurements. It may be measured ...
Recognize Strengths and Appreciate DifferencesPersonality Dimens.docxcatheryncouper
This document provides information about personality types based on the Personality Dimensions system. It discusses introverts and extraverts, analyzing the key differences in their preferences, strengths, challenges, and tips for thriving at work. Introverts are described as preferring solitary activities to recharge, while extraverts gain energy from social interaction. The document also provides a detailed analysis of the Inquiring Green personality type, including their needs, strengths, challenges, and tips for managing them at work.
Real-World DecisionsHRM350 Version 21University of Phoe.docxcatheryncouper
Real-World Decisions
HRM/350 Version 2
1
University of Phoenix Material
Real-World Decisions
Read the following scenarios, which represent real-world decisions, and respond to each in 150 to 200 words.
Scenario One
You are the director of production at a multinational company. Your position is in Tokyo, Japan. Recently, this division experienced production quota problems. You determine that you must identify a team leader who will lead the work team to tackle the problem. You identify several possible team leaders, including Joan, a manager who is an expatriate US citizen and has recently arrived in your company’s Japanese office. You are also aware of Bob, a European national who has worked at the facility for about a year. His experience includes reengineering production processes at one of the company’s production facilities in Europe. The final candidate is Noriko, a Japanese national who has been at the facility for several years.
Questions
The team you assemble is composed of American expatriates and Japanese nationals. Compare the three candidates for the position. Based on cultural norms and traditions, what cultural factors and management styles may benefit or present obstacles for others on the team? Explain.
Response
Scenario Two
You have been assigned to an overseas position with your company. The local government of the host country offers gifts periodically to senior management as a way of thanking them for opening a facility and employing locals. These gifts include cash or merchandise into the thousands of dollars. Typically, to refuse a gift is considered an insult. Your country’s policy is to prohibit employees from accepting anything from clients and customers of more than $50. Your employer values its relationship with the host country and government officials, and it intends to continue operating in the venue.
Questions
How would you address a situation where you are presented with a gift of more than $50? Explain your rationale. How could your actions affect your company? How could your decision affect your working relationship with your company’s and the host country’s officials?
Response
Scenario Three
Christine, the leading expert in information technology (IT) organizational design, works for a large consulting firm and has been asked to work on a temporary assignment in Saudi Arabia. One of her firm’s biggest revenue-generating customers is embarking on an initiative to redesign the IT structure to improve efficiency and effectiveness, and to align the business unit’s output with the organization’s strategic objectives. The customer has read research reports and articles Christine has published, and the chief executive officer has asked Christine to handle this project. She is excited about the professional challenge of the assignment, but she is unsure of adopting customs and practices in a Muslim country.
Questions
Discuss the ethical considerations for Christine and her company. What implications m ...
Real Clear PoliticsThe American Dream Not Dead –YetBy Ca.docxcatheryncouper
Real Clear Politics
“The American Dream: Not Dead –Yet
By Carl M. Cannon and Tom Bevan
March 6, 2019
Solid pluralities of Americans think their country is heading in the wrong direction, have lost faith in its prominent public institutions, and believe both major political parties are an impediment to realizing the American Dream. Nonetheless, that dream persists – threatened, yes, but not nearly dead.
These are the findings in the latest poll from RealClear Opinion Research, focusing on how Americans view their future possibilities and how much economic guidance and oversight should be provided by government. The answers provide a road map for the 2020 election season.
Nearly four times as many respondents say the American Dream is “alive and well” for them personally (27 percent) as those who say it’s “dead” (7 percent). The overwhelming majority express a more nuanced outlook. Two-thirds of those surveyed believe the American Dream is under moderate to severe duress: 37 percent say it is “alive and under threat” while another 28 percent say it is “under serious threat, but there is still hope.”
“In this poll, most people are telling us that the American Dream isn’t working as they believe it should be,” said John Della Volpe, polling director of RealClear Opinion Research. “The overwhelming number of people are not seeing the fruits of working hard, whether it’s through a professional (finances) or a personal (happiness) lens.”
The panel of 2,224 registered voters was probed for its views on other foundational aspects of 21st century American civic life, including their views of capitalism and socialism, and how they see the future unfolding for the younger generation of Americans.
Asked, for example, whether the American Dream is alive for those under 18 years of age, the attitudes were decidedly pessimistic -- especially among Baby Boomers and the so-called Silent Generation (Americans born between the mid-1920 and mid-1940s), those who have been in control of our public and private institutions for decades. While 23 percent of Baby Boomers and Silent Generation voters say the American Dream is alive for them (already the lowest percentage among all age groups) only 15 percent say they believe it will be there for the next generation.
Measuring attitudes about the American Dream means different things to different people. For this survey, RealClear Opinion Research defined it for the poll respondents by using Merriam-Webster’s dictionary, which describes the American Dream as “a happy way of living that can be achieved by anyone in the U.S. especially by working hard and becoming successful.”
As one would expect, perceptions of the health of this idea differ by party, age, education and class. Among the most striking findings in the survey were the variances by ethnicity. Asian-Americans are the most likely to say the American Dream is working for them (41 percent) – twice the percentage as Hispanics. Despite such differences, ...
Recommended Reading for both Papers.· Kolter-Keller, Chapter17 D.docxcatheryncouper
Recommended Reading for both Papers.
· Kolter-Keller, Chapter17 Designing & Managing Integrated Marketing Communications
· Kolter-Keller, Chapter18 Managing Mass Communications: Advertising, Sales Promotions, Events & Experiences and Public Relations
· Kolter-Keller, Chapter19 Managing Personal Communications: Direct and Interactive Marketing, Word of Mouth and Personal Selling
· PDF link to Kolter_keller 14th edition :
· http://socioline.ru/files/5/283/kotler_keller_-_marketing_management_14th_edition.pdf
· Keller,K.L.(2001).Mastering the Marketing Communications Mix: Micro and Macro Perspectives on Integrated Marketing Communication Programs. Journal of Marketing Management, Sep2001, Vol. 17 (7/8), 819-84.
· Luo, Xueming and Donthu, Naveen; Marketing's Credibility: A Longitudinal Investigation of Marketing Communication Productivity and Shareholder Value; The Journal of Marketing. Oct., 2006, Vol. 70, Issue 4, p70-91.
· Wright, E., Khanfar, N.M., Harrington, C., & Kizer,L.E. (2010). The Lasting Effects Of Social Media Trends On Advertising.Journal of Business & Economics Research, Vol. 8 (11), 73-80
Grading Rubric for both papers
· Identifies all or most of the key issues presented by the case.
· Discussion of issues reflects strong critical thinking and analytical skill.
· Discussion/analysis makes all or most of the recommendations called for by the case issues.
· Recommendations are supported by data from all or most of the relevant case facts and exhibits data.
· Data are creatively manipulated and applied. Discussion and recommendations are presented clearly, logically, and succinctly with no or few grammatical or other errors.
· Discussion/analysis reflects strong understanding of principles presented in course readings/materials.
· Where relevant, discussion/analysis employs proper APA style. Length limitations and other form/format requirements (if any) are followed.
1.The Changing Communications Environment 2 pages
Emerging media technologies have vastly empowered customers to decide whether or how they want to receive commercial content. Consumers are no longer passive recipients of marketing communications and the real challenge for a marketer is how to regain the customers’ attention through the clutter.
1 Web-based technologies can be combined with traditional media to build a successful marketing communication campaign. Cite two specific examples of companies/brands using this combination approach and discuss what made these campaigns successful. Did the two use similar techniques?
With the help of relevant examples, can you describe how modern technologies can be used to promote interactivity between the product and the customers? In this context discuss the use of social media to generate excitement around a brand. Can you cite any recently launched new products that have managed to achieve this?
2.Personal Application Paper, one and a half pages
Provide a detailed overview of Procter and Gamb ...
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
Physiology and chemistry of skin and pigmentation, hairs, scalp, lips and nail, Cleansing cream, Lotions, Face powders, Face packs, Lipsticks, Bath products, soaps and baby product,
Preparation and standardization of the following : Tonic, Bleaches, Dentifrices and Mouth washes & Tooth Pastes, Cosmetics for Nails.
Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
-------------------------------------------------------------------------------
Find out more about ISO training and certification services
Training: ISO/IEC 27001 Information Security Management System - EN | PECB
ISO/IEC 42001 Artificial Intelligence Management System - EN | PECB
General Data Protection Regulation (GDPR) - Training Courses - EN | PECB
Webinars: https://pecb.com/webinars
Article: https://pecb.com/article
-------------------------------------------------------------------------------
For more information about PECB:
Website: https://pecb.com/
LinkedIn: https://www.linkedin.com/company/pecb/
Facebook: https://www.facebook.com/PECBInternational/
Slideshare: http://www.slideshare.net/PECBCERTIFICATION
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
Assessment and Planning in Educational technology.pptxKavitha Krishnan
In an education system, it is understood that assessment is only for the students, but on the other hand, the Assessment of teachers is also an important aspect of the education system that ensures teachers are providing high-quality instruction to students. The assessment process can be used to provide feedback and support for professional development, to inform decisions about teacher retention or promotion, or to evaluate teacher effectiveness for accountability purposes.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
How to Fix the Import Error in the Odoo 17Celine George
An import error occurs when a program fails to import a module or library, disrupting its execution. In languages like Python, this issue arises when the specified module cannot be found or accessed, hindering the program's functionality. Resolving import errors is crucial for maintaining smooth software operation and uninterrupted development processes.
The simplified electron and muon model, Oscillating Spacetime: The Foundation...RitikBhardwaj56
Discover the Simplified Electron and Muon Model: A New Wave-Based Approach to Understanding Particles delves into a groundbreaking theory that presents electrons and muons as rotating soliton waves within oscillating spacetime. Geared towards students, researchers, and science buffs, this book breaks down complex ideas into simple explanations. It covers topics such as electron waves, temporal dynamics, and the implications of this model on particle physics. With clear illustrations and easy-to-follow explanations, readers will gain a new outlook on the universe's fundamental nature.
The simplified electron and muon model, Oscillating Spacetime: The Foundation...
Rauschenberg, Robert (Milton Ernest)(b Port Arthur, TX, 22 Oct 1.docx
1. Rauschenberg, Robert (Milton Ernest)
(b Port Arthur, TX, 22 Oct 1925; d Captiva Island, FL, 12 May
2008).
American painter, sculptor, printmaker, photographer,
and performance artist. While too much of an individualist ever
to be fully a part of any movement, he acted as an important
bridge between Abstract Expressionism and Pop art and can be
credited as one of the major influences in the return to favour of
representational art in the USA. As iconoclastic in his invention
of new techniques as in his wide-ranging iconography of
modern life, he suggested new possibilities that continued to be
exploited by younger artists throughout the latter decades of the
20th century.
1. Training and early work, to 1953.
Rauschenberg studied at Kansas City Art Institute and School of
Design from 1947 to 1948 under the terms of the GI Bill before
travelling to Paris, where he attended the Académie Julian for a
period of about six months. On reading about the work of Josef
Albers he returned to the USA to study from autumn 1948 to
spring 1949 at BLACK MOUNTAIN COLLEGE, where he was
taught byAlbers and his wife Anni Albers; he moved in spring
1949 to New York, where he attended the Art Students League
until 1952. During this period he continued to visit Black
Mountain College, where he came into contact with members of
the department of music and dance, in particularJOHN
CAGE and MERCE CUNNINGHAM, who helped shape his own
ideas and in particular his reliance on chance methods, daily
experiences and found material as elements of his art.
In the early 1950s, just as Abstract Expressionism was being
recognized as the most important avant-garde movement to have
emerged in the USA, Rauschenberg produced several series of
abstract paintings: a group of White Paintings (1951; e.g.
artist’s col., see 1980–81 exh. cat., p. 259), followed by Black
Paintings (1951–2; e.g. artist’s col., see 1976–8 exh. cat., p. 67)
2. and Red Paintings (1953; e.g. Beverly Hills, CA, Frederick R.
Weisman priv. col., see 1976–8 exh. cat., p. 75). His concern,
however, was not so much to project his personality through the
individuality of the brushwork, as in action painting, but to
present the textured surfaces of these essentially monochromatic
works as screens whose appearance changed in response to the
lighting conditions and the shadows cast on them by the
spectators.
The first of Rauschenberg’s monochromes, some of which were
painted on multiple panels measuring over 3 m in width overall,
were made as backdrops for dance performances. While their
austerity of form prefigures Minimalism of the 1960s, they were
thus conceived largely in relation to the human figure.
Rauschenberg’s importance and influence, in fact, were centred
from the beginning on the highly original ways in which he
reintroduced recognizable imagery. From 1949 to 1951 he and
his wife, Susan Weil, whom he had met as a fellow student in
Paris and married in 1950, produced a group of large-scale
monoprints by shining a sun-lamp over a nude model resting
directly on blueprint paper; Female Figure
(Blueprint) (2670×910 mm, c. 1949; artist’s col., see 1980–81
exh. cat., p. 57) is one of the most imposing of these works. In
combining elements of photography, printmaking, and painting
in a single image, these experimental works presaged the
deliberate blurring of the boundaries between different media
that quickly became one of the characteristic features of
Rauschenberg’s art.
A desire to assimilate but also transcend the lessons of Abstract
Expressionism was a strong motivating force in Rauschenberg’s
early work. In a collaboration with John Cage, Automobile Tire
Print (ink on paper mounted on canvas, 420×6720 mm, 1951;
artist’s col., see 1976–8 exh. cat., p. 65), he elaborated two of
the movement’s essential concerns—that of revealing the
process by which the marks are made and of working on an
environmental scale—while simultaneously parodying them and
stripping them of their pretensions to grandeur and sublimity.
3. Instead of suggesting that the marks are the result of an
existential struggle between the artist and his or her materials,
he presents the imprint made by a car driven into wet ink and
then on to the paper; the extensive scale similarly functions on
an equally literal, even banal, level, as the image as a whole can
be apprehended only through the spectator’s actual movement
over a period of time.
2. Combine paintings and transfer drawings, 1954–61.
In 1953 Rauschenberg asked Willem de Kooning for a
substantial drawing with the express intention of rubbing it out
so that only faint traces of the original could be seen. While this
act (Erased de Kooning Drawing; artist’s col., see 1976–8 exh.
cat., p. 75) of simultaneous homage and sabotage towards one
of the most esteemed artists of the time has generally been seen
as a sign of Rauschenberg’s debt to Dada, his purpose was not
to make an anti-art gesture but to open up the possibilities about
what art could be.
Among the Dadaists Rauschenberg’s greatest affinity was with
Kurt Schwitters, whose Merzcollages had suggested the
possibility of finding beauty through the retrieval of refuse and
humble materials gathered together while wandering the streets.
In 1954 Rauschenberg began to produce paintings such
as Charlene (1954; Amsterdam, Stedel. Mus.), which
combined objets trouvés, postcards, and other printed materials
into a frantic and physically substantial surface as a way of
alluding to what he referred to as the ‘gap’ between art and life.
Robert Rauschenberg: First Landing Jump, cloth, metal, leather,
electric fixture,…Rauschenberg called these works ‘combines’
because of their mixture of techniques, but at their most
sculptural it was clear that their debt was to traditions not only
of collage but of ASSEMBLAGE(see fig.). Their reliance on
discarded materials and frequently squalid appearance made
them influential examples of JUNK ART, especially in the case
of free-standing works such as Odalisque(1955–8; Cologne,
Mus. Ludwig). Certain works, such as Bed (1955; New York,
MOMA), executed at the same time as the paintings of flags by
4. Jasper Johns, who had a studio in the building also occupied by
Rauschenberg from 1955 to 1958, influenced the emergence
of POP ART in their identification of the work of art with a real
object.
Rauschenberg used great ingenuity in alluding to personal and
shared experiences. There is often a sense that his works are to
be regarded as collaborative ventures with the spectator, as
inBlack Market (1961; Cologne, Mus. Ludwig), which consists
not only of a painting but also of a suitcase containing objects
meant to be used by the viewer in completing the work. Another
‘combine’, Pilgrim (1960; Berlin, R. Onnasch priv. col., see
1976–8 exh. cat., p. 110), consisting of a paint-smeared chair
resting against a broadly painted canvas, relates to a black-and-
white photograph he took in 1949, Quiet House—Black
Mountain (see Robert Rauschenberg Photographs, pl. 1), in
which a shaft of light falls across one of two chairs seen
frontally against a bare wall.
During this period Rauschenberg also developed a transfer
drawing technique, by which he dissolved printed images from
newspapers and magazines with a solvent and then rubbed them
on to paper using a sharp pencil. The process allowed him
freely to combine images from a variety of sources on a single
surface. He used it to particular effect in a series of 34
Drawings for ‘Dante’s Inferno’ (1959–60; New York, MOMA).
The methods of free association by which he built up these
compositions, indebted in part to Surrealism, remained an
essential ingredient of his later art.
3. Screenprinted paintings and installations, 1962–70.
Robert Rauschenberg: Estate, oil and silkscreen ink on canvas,
2.44×1.78…Rauschenberg stopped making combine paintings in
1962, when he found a way of adapting his method of transfer
drawing to canvas by applying found images through the
photomechanical process of screenprinting. Often he painted
over this printed surface in oils, for example in Estate (1963;
Philadelphia, PA, Mus. A.), and he remained interested in
textural effects and in apparently spontaneous methods of
5. organizing his imagery, which gave these works a more personal
touch than that sought by Andy Warhol in his screenprinted
paintings of the same date. It was nevertheless in these works
and in editioned prints, such as Breakthrough II (colour
lithograph, 1965; New York, MOMA), that he came closest in
spirit toPop art.
Rauschenberg won, with some controversy, the grand prize for
painting at the Venice Biennale in 1964, but after that date his
interest shifted from painting to performances and more
elaborate sculptures and installations. Until 1965 he travelled
with Merce Cunningham’s company, for which he had designed
sets and costumes from 1954 and acted as lighting director and
stage manager from 1961. He staged his own performances from
1963, with the première of Pelican, which he choreographed and
designed, through to 1967. The dramatic aspects of these live
events were translated into sculptural installations such
as Oracle (1965; Paris, Pompidou), a ‘sound environment’
consisting of five motor-operated objects.
The battered appearance of such works, still aligned with junk
art, soon gave way to more elegant and pristine
installations. Soundings (2.44×10.97×1.37 m, 1968; Cologne,
Mus. Ludwig), for instance, consists of three rows of nine
Perspex panels, each with screenprinted photographs of chairs
taken from different angles; electric lights within the work are
activated by sounds made by visitors in a darkened gallery,
encouraging prolonged applause in a deft metaphor rewarding
the artist for his performance.
4. Works after 1970.
In the early 1970s Rauschenberg embarked on Cardboard
Series (e.g. see 1986–7 exh. cat., pp. 27–31), each of which
consists simply of the configurations created by opening out the
sides of cardboard boxes and laying them flat against the wall.
Like the Arte Povera artists working at that time in Europe, he
stressed the ordinary and humble quality of his materials in an
even more exaggerated manner than had been the case in his
earlier work; these constructions, however eccentric and
6. complex in form, contain no additional handmade or painted
marks. In calling attention to the creative act as the
restructuring of an objet trouvé, they take as their theme the
process by which they have been called into being. In this they
were also aligned with developments of the time, particularly
with PROCESS ART.
In 1974 Rauschenberg began his Hoarfrost Series (e.g. see
1986–7 exh. cat., pp. 33–7), which consists of layers of
transparent gauze-like fabric laid over each other like veils and
combined in some cases with more substantial collage elements.
His use here of soft materials that find their form only when
hung on the wall again relates to aspects of process art, such as
the felt pieces made by Robert Morris (ii) in the late 1960s,
while synthesizing aspects of his own earlier art into works of
extraordinary delicacy and subtlety. There is a suggestion in
particular of the evanescent quality of images momentarily
imprinted on our consciousness: the photographic images are
drawn from a variety of sources and impregnated into the cloth
by solvent transfer, a technique adapted from the drawings he
had made from the late 1950s and casually related to each other
by collage-like methods of composition.
In later works Rauschenberg continued to develop the principles
on which he had operated from the 1950s, frequently combining
elements of painting, sculpture, photography and printmaking
with such thoroughness as to make redundant the conventional
demarcations from one medium to another. In Spray Shield
Marathon (1977; Aachen, Neue Gal.), for instance, images are
impressed on to the back of a sun tent hung parallel to a sheet
of polished aluminium, so that they can be seen only in
reflection, while in Suzerain (1979; Mainz, Landesmus.) a
plethora of images is printed or collaged on to canvas and on to
a wooden panel mounted on to a movable sculptural object
placed on the floor.
While Rauschenberg did not create any radically new directions
in the 1980s, he continued to develop provocative variations on
his standard methods, notably in a series of wall-mounted works
7. entitled Gluts (see 1987 exh. cat.) that were assembled from
found pieces of crushed or battered metal. The extended series
of works that he devised around the world from 1985 to 1990 as
part of an ambitious project, the Rauschenberg Overseas Culture
Interchange, revealed the extent to which he continued to regard
his art as an agent of social interchange and communication. In
these and other works of the period he demonstrated
conclusively that he had lost none of his ability to bring
together images, shapes, and textures with an unerring intuitive
grasp of their interrelationships. Having long since escaped the
confines of style, as understood by most artists of his
generation, and even the distinction between abstract and
representational art, he recognized no rules other than those he
had himself invented as the basis for his art.
Bibliography
D. Ashton: ‘Rauschenberg’s Thirty-four Illustrations
for Dante’s Inferno’, Metro, 2 (May 1961), pp. 52–61
J. Cage: ‘On Robert Rauschenberg, Artist and his Work’, Metro,
2 (May 1961), pp. 36–51; also
in J. Cage:Silence (Middletown, 1961), pp. 98–108
Robert Rauschenberg (exh. cat. by A. Solomon, New York, Jew.
Mus., 1963)
Robert Rauschenberg: Paintings, Drawings and Combines,
1949–1964 (exh. cat., essays H. Geldzahler, J.Cage,
and M. Kozloff; London, Whitechapel A.G., 1964)
C. Tomkins: The Bride and the Bachelors: The Heretical
Courtship in Modern Art (New York and London,1965), pp.
189–237
D. G. Seckler: ‘The Artist Speaks: Robert Rauschenberg’, A.
America, liv/3 (1966), pp. 72–84
A. Forge: Robert Rauschenberg (New York [1969])
Robert Rauschenberg: Prints, 1948–1970 (exh. cat., intro. E.
A. Foster; Minneapolis, Inst. A., 1970)
Robert Rauschenberg (exh. cat., text L. Alloway; Washington,
DC, N. Col. F.A.; New York, MOMA; San Francisco, MOMA;
Buffalo, Albright–Knox A.G.; Chicago, A. Inst.; 1976–8)
8. C. Tomkins: Off the Wall: Robert Rauschenberg and the Art
World of our Time (Garden City, NY, 1980)
Robert Rauschenberg: Werke, 1950–1980 (exh. cat.,
essays L. Alloway, G. Adriani, and D. M. Davis; Berlin, Staatl.
Ksthalle; Düsseldorf, Städt. Ksthalle; Humlebæk, Louisiana
Mus.; Frankfurt am Main, Städel. Kstinst.; Munich,
Lenbachhaus; London, Tate; 1980–81)
Rauschenberg photographe (Paris, 1981); Eng. trans. as Robert
Rauschenberg Photographs (London,1981) [incl. interview
by A. Sayag]
Robert Rauschenberg: Work from Four Series (exh. cat.,
essay L. L. Cathcart; Houston, Contemp. A. Mus.; San Antonio,
TX, McNay A. Inst.; Dallas, Mus. A.; Corpus Christi, A. Mus.
S. TX; 1986–7)
B. Rose: An Interview with Robert Rauschenberg (New
York, 1987)
Robert Rauschenberg: Gluts (exh. cat., London, Waddington
Gals, 1987)
M. L. Kotz: Rauschenberg: Art and Life (New York, 1990)
Robert Rauschenberg: The Silkscreen Paintings, 1962–64 (exh.
cat. by R. Feinstein, New York, Whitney,1990)
Rauschenberg Overseas Culture Interchange (exh. cat.,
ed. M. Yakush; Washington, DC, N.G.A., 1991)
Robert Rauschenberg: The Early 1950s (exh. cat. by W. Hopps,
Washington, DC, Corcoran Gal. A.; Houston, TX, Meril Col.;
Chicago, IL, Mus. Contemp. A.; San Francisco, CA, Mus. Mod.
A.; 1991–2)
Robert Rauschenberg (exh. cat., ed. A. Zweite; Düsseldorf,
Kstsamml. Nordrhein-Westfalen, 1994)
L. Steinberg: Encounters with Rauschenberg: A Lavishly
Illustrated Lecture (Chicago, 2000)
B. W. Joseph, ed.: Robert Rauschenberg (Cambridge,
MA, 2002)
B. W. Joseph: Random Order: Robert Rauschenberg and the
Neo-Avant-Garde (Cambridge, MA, 2003)
Robert Rauschenberg: Combines (exh. cat., Los Angeles, CA,