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4.602 Modern Art and Mass Culture (MIT) 4.602 Modern Art and Mass Culture (MIT)

Description

This class provides an introduction to modern art and theories of modernism and postmodernism. It focuses on the way artists use the tension between fine art and mass culture to mobilize a critique of both. We will examine objects of visual art including painting, sculpture, architecture, photography, and video. These objects will be viewed in their interaction with advertising, caricature, comics, graffiti, television, fashion, folk art, and so-called "primitive" art. This class provides an introduction to modern art and theories of modernism and postmodernism. It focuses on the way artists use the tension between fine art and mass culture to mobilize a critique of both. We will examine objects of visual art including painting, sculpture, architecture, photography, and video. These objects will be viewed in their interaction with advertising, caricature, comics, graffiti, television, fashion, folk art, and so-called "primitive" art.

Subjects

modern art; high art; mass culture; modernist aesthetic; modernism; 19th Century Art; 20th Century Art; modernization; urbanization; globalization; photography; cinema; painting; sculpture; postmodernism; visual arts; multimedia; pop art; popular culture | modern art; high art; mass culture; modernist aesthetic; modernism; 19th Century Art; 20th Century Art; modernization; urbanization; globalization; photography; cinema; painting; sculpture; postmodernism; visual arts; multimedia; pop art; popular culture | modern art | modern art | high art | high art | mass culture | mass culture | modernist aesthetic | modernist aesthetic | modernism | modernism | 19th Century Art | 19th Century Art | 20th Century Art | 20th Century Art | modernization | modernization | urbanization | urbanization | globalization | globalization | photography | photography | cinema | cinema | painting | painting | sculpture | sculpture | postmodernism | postmodernism | visual arts | visual arts | multimedia | multimedia | pop art | pop art | popular culture | popular culture

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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Painting the bow of 'Naess Crusader' Painting the bow of 'Naess Crusader'

Description

Subjects

sky | sky | people | people | cloud | cloud | abstract | abstract | blur | blur | industry | industry | buildings | buildings | river | river | painting | painting | daylight | daylight | interesting | interesting | wire | wire | workers | workers | construction | construction | industrial | industrial | scaffolding | scaffolding | ship | ship | unitedkingdom | unitedkingdom | crane | crane | painted | painted | debris | debris | grain | grain | platform | platform | bank | bank | rail | rail | vessel | vessel | rope | rope | calm | calm | structure | structure | historic | historic | riverwear | riverwear | cranes | cranes | deck | deck | pile | pile | maritime | maritime | bow | bow | porthole | porthole | unusual | unusual | launch | launch | shipyard | shipyard | passage | passage | shipping | shipping | majestic | majestic | plank | plank | carrier | carrier | newcastleupontyne | newcastleupontyne | fascinating | fascinating | digitalimage | digitalimage | sunderland | sunderland | observing | observing | shipbuilding | shipbuilding | industrialheritage | industrialheritage | 2015 | 2015 | wearside | wearside | northeastengland | northeastengland | blackandwhitephotograph | blackandwhitephotograph | shipbuildingheritage | shipbuildingheritage | maritimeheritage | maritimeheritage | december1972 | december1972 | keelline | keelline | obocarrier | obocarrier | northsandsshipyard | northsandsshipyard | sunderlandshipbuildersltd | sunderlandshipbuildersltd | northsandssunderland | northsandssunderland | nordicchieftain | nordicchieftain | naesscrusader | naesscrusader | turnersphotographyltd | turnersphotographyltd | sunderlandkeelline | sunderlandkeelline | 2917metreslong | 2917metreslong | naesscrusadersunderlandslargestship | naesscrusadersunderlandslargestship | angloeasternbulkshipsltd | angloeasternbulkshipsltd | obooilbulkore | obooilbulkore | largestships | largestships

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TALAT Lecture 5204: Organic Coating of Aluminium

Description

This lecture describes the different steps of the coating process and gives information about the test methods; it helps to select organic coatings for the protection of aluminium or to achieve specific surface properties. Some knowledge of corrosion protection and surface pretreatments of aluminium and familiarity with the subject matter covered in TALAT This lectures 5101, 5102, 5201, 5202 is assumed.

Subjects

aluminium | aluminum | european aluminium association | EAA | Training in Aluminium Application Technologies | training | metallurgy | technology | lecture | surface treatment | organic coating | painting | methods of application | surface preparation | pretreatment | powder coatings | paints | lacquers | electrophoretic coatings | primer | finishing paints | quality control | test methods | corematerials | ukoer

License

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TALAT Lecture 5204: Organic Coating of Aluminium

Description

This lecture describes the different steps of the coating process and gives information about the test methods; it helps to select organic coatings for the protection of aluminium or to achieve specific surface properties. Some knowledge of corrosion protection and surface pretreatments of aluminium and familiarity with the subject matter covered in TALAT This lectures 5101, 5102, 5201, 5202 is assumed.

Subjects

aluminium | aluminum | european aluminium association | eaa | talat | training in aluminium application technologies | training | metallurgy | technology | lecture | surface treatment | organic coating | painting | methods of application | surface preparation | pretreatment | powder coatings | paints | lacquers | electrophoretic coatings | primer | finishing paints | quality control | test methods | corematerials | ukoer | Engineering | H000

License

Attribution-Noncommercial-Share Alike 2.0 UK: England & Wales Attribution-Noncommercial-Share Alike 2.0 UK: England & Wales http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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'Nicola' getting a coat of paint

Description

View of ?Nicola? shortly before launch from the Southwick yard of Austin & Pickersgill Ltd, mid December 1967 (TWAM ref. DT.TUR/2/52047B). She's getting a coat of paint and you can now see her name. This set celebrates the ?Nicola?, the first in a long line of standard ships designed by the Sunderland shipyard of Austin & Pickersgill Ltd. The images document her construction from October 1967 through to her completion in February 1968. The shipbuilders commissioned the Newcastle-based firm Turners (Photography) Ltd to take weekly progress shots of the ?Nicola? and these images have given us a unique view of her development. She was the first SD14 to be completed (the name stands for ?Shelter Deck 14,000 tons deadweight?) and was designed as a replacement for the surviving ?Liberty ships?, built by American yards during the Second World War. Those Liberty ships had played a vital role in the Allied victory but by the 1960s they were fast approaching the end of their working lives. The SD14 developed by Austin & Pickersgill met the demand for economic and reliable cargo ships. The simplicity of the design meant that it could be marketed by the shipbuilders at a very competitive price. It?s success is reflected by the fact that over the course of 20 years 211 ships were built to the SD14 design by Austin Pickersgill and its licensees. Sunderland can be very proud of its remarkable shipbuilding and engineering history and the SD14 is one the City?s finest achievements. (Copyright) We're happy for you to share these digital images within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk

Subjects

nicola | industry | austinpickersgillltd | sunderland | shipbuilding | sd14 | southwick | shipyard | riverwear | painting | maritimeheritage | industrial | blackandwhitephotograph | coatofpaint | launch | ship | structure | plank | frame | plate | parts | steel | metal | december1967 | name | signage | letters | word | standard | sunderlandshipyard | construction | october1967 | completion | february1968 | commission | newcastle | turners | development | shelterdeck14000tonsdeadweight | libertyships | replacement | cargo | engineering | river | bank | water | stairs | rail | crane | window | glass | buildings | sky | cloud | landscape | wire | hook | machine | deck | cabin | pole | porthole | vegetation | intriguing | paint | coat

License

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21M.606 Introduction to Stagecraft (MIT) 21M.606 Introduction to Stagecraft (MIT)

Description

Offered annually in the spring term, Introduction to Stagecraft is a hands-on course that gets students working with the tools and techniques of theatrical production in a practical way. It is not a design course but one devoted to artisanship. Among the many remarkable final projects that have been proposed and presented at the end of the course have been a Renaissance hourglass blown in the MIT glass shop and set into a frame turned on our set shop lathe; a four harness loom built by a student who then wove cloth on it; a number of chain mail tunics and coifs; a wide variety of costume and furniture pieces and electrified period lighting fixtures. Offered annually in the spring term, Introduction to Stagecraft is a hands-on course that gets students working with the tools and techniques of theatrical production in a practical way. It is not a design course but one devoted to artisanship. Among the many remarkable final projects that have been proposed and presented at the end of the course have been a Renaissance hourglass blown in the MIT glass shop and set into a frame turned on our set shop lathe; a four harness loom built by a student who then wove cloth on it; a number of chain mail tunics and coifs; a wide variety of costume and furniture pieces and electrified period lighting fixtures.

Subjects

stagecraft | stagecraft | shop skills | shop skills | shop machines | shop machines | basic handwork | basic handwork | tools | tools | scenery | scenery | costume | costume | set constuction | set constuction | props | props | stage management | stage management | lighting | lighting | make-up | make-up | scene painting | scene painting

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21L.421 Comedy (MIT) 21L.421 Comedy (MIT)

Description

This class surveys a range of comic texts from different media, the cultures that produced them, and various theories of comedy. Authors and directors studied may include Aristophanes, Shakespeare, Moliere, Austen, Chaplin.This subject laughs and then wonders how and why and what's so funny. Sometimes it laughs out loud. Sometimes it spills into satire (and asks, what's the difference?). Sometimes it doesn't laugh at all, but some resolution seems affirmative or structurally functional, in some satisfying way (by what categoriy is Shakespeare's Romeo and Juliet a "comedy"? how can Dante call his vision of an organized universe a "Comedy"?). We read jokes, literary texts, tales, satirical paintings, and films, and we address a few theories about how comedy works (doe This class surveys a range of comic texts from different media, the cultures that produced them, and various theories of comedy. Authors and directors studied may include Aristophanes, Shakespeare, Moliere, Austen, Chaplin.This subject laughs and then wonders how and why and what's so funny. Sometimes it laughs out loud. Sometimes it spills into satire (and asks, what's the difference?). Sometimes it doesn't laugh at all, but some resolution seems affirmative or structurally functional, in some satisfying way (by what categoriy is Shakespeare's Romeo and Juliet a "comedy"? how can Dante call his vision of an organized universe a "Comedy"?). We read jokes, literary texts, tales, satirical paintings, and films, and we address a few theories about how comedy works (doe

Subjects

Comedy | Comedy | Drama | Drama | Writing | Writing | Shakespeare | Shakespeare | Twain | Twain | Wilde | Wilde | Brecht | Brecht | Nabokov | Nabokov | Heller | Heller | Chaucer | Chaucer | Milton | Milton | Allegory | Allegory | Satire | Satire | comic | comic | funny | funny | jokes | jokes | literature | literature | tales | tales | satirical paintnigs | satirical paintnigs | films | films | comedies | comedies

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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1. Introduction to the Elements of Drawing

Description

Stephen Farthing R.A. presents eight practical drawing classes using John Ruskin's teaching collections to explain the basic principles of drawing. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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2. The Tip of the Pencil

Description

Lesson 1. We use line to define spaces and things. It is not a question of magically getting the line right first time, but of first turning a contour into a line, and then systematically correcting that line until it looks right. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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3. The Edge of the Pencil

Description

Lesson 2. We use tone, light, dark and the shades in-between to create illusions of volume and depth. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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4. Toned Paper

Description

Lesson 3. How toned paper can be used to provide the mid-tone in a drawing, which records where light and shade fall as a means of picturing an object. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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5. Making a Livelier Drawing

Description

Lesson 4. Making a livelier drawing, where the line and tone have an energy because they have been applied at speed with a brush. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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6. Measured Drawing

Description

Lesson 5. Making a drawing that is dependent for its success on mathematical accuracy. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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7. With Colour

Description

Lesson 6. The most complex form of drawing. Starting with a pencil outline, the drawing is developed with a brush in clearly defined layers. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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8. Field Notes

Description

Lesson 7. Strategies for collecting information and recording ideas as an aid to memory. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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9. Creativity

Description

Lesson 8. Invention! Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing | draw | art | artist | teach | how to | learn | teaching | ruskin | painting | drawing

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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Man with a blue scarf: On sitting for a portrait by Lucian Freud

Description

Art critic Martin Gayford (A Bigger Message: Conversations with David Hockney and Man With a Blue Scarf: On Sitting for a Portrait by Lucian Freud) delivers the first annual Weinrebe lecture on Life-Writing and Portraiture. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

visual arts | portrait painting | lucian freud | visual arts | portrait painting | lucian freud

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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4.602 Modern Art and Mass Culture (MIT) 4.602 Modern Art and Mass Culture (MIT)

Description

This class provides an introduction to modern art and theories of modernism and postmodernism. It focuses on the way artists use the tension between fine art and mass culture to mobilize a critique of both. We will examine objects of visual art, including painting, sculpture, architecture, photography, prints, performance and video. These objects will be viewed in their interaction with advertising, caricature, comics, graffiti, television, fashion, folk art, and "primitive" art. This class provides an introduction to modern art and theories of modernism and postmodernism. It focuses on the way artists use the tension between fine art and mass culture to mobilize a critique of both. We will examine objects of visual art, including painting, sculpture, architecture, photography, prints, performance and video. These objects will be viewed in their interaction with advertising, caricature, comics, graffiti, television, fashion, folk art, and "primitive" art.

Subjects

modern art | modern art | high art | high art | mass culture | mass culture | modernist aesthetic | modernist aesthetic | modernism | modernism | 19th Century Art | 19th Century Art | 20th Century Art | 20th Century Art | modernization | modernization | urbanization | urbanization | globalization | globalization | photography | photography | cinema | cinema | painting | painting | sculpture | sculpture | postmodernism | postmodernism | visual arts | visual arts | multimedia | multimedia | pop art | pop art | popular culture | popular culture

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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4.651 Art Since 1940 (MIT) 4.651 Art Since 1940 (MIT)

Description

This subject focuses on the objects, history, context, and critical discussion surrounding art since World War II. Because of the burgeoning increase in art production, the course is necessarily selective. We will trace major developments and movements in art up to the present, primarily from the US; but we will also be looking at art from Europe, Asia, Africa, Latin America, and the Middle East, as well as art "on the margins" — art that has been overlooked by the mainstream critical press, but may have a broad cultural base in its own community. We will ask what function art serves in its various cultures of origin, and why art has been such a lightning rod for political issues around the world. This subject focuses on the objects, history, context, and critical discussion surrounding art since World War II. Because of the burgeoning increase in art production, the course is necessarily selective. We will trace major developments and movements in art up to the present, primarily from the US; but we will also be looking at art from Europe, Asia, Africa, Latin America, and the Middle East, as well as art "on the margins" — art that has been overlooked by the mainstream critical press, but may have a broad cultural base in its own community. We will ask what function art serves in its various cultures of origin, and why art has been such a lightning rod for political issues around the world.

Subjects

contemporary art | contemporary art | modernism | modernism | minimalist art | minimalist art | Warhol's factory | Warhol's factory | Jackson Pollock | Jackson Pollock | painting | painting | expression | expression | art and politics | art and politics | fluxus | fluxus

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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4.184 Architectural Design Workshop: Collage - Method and Form (MIT) 4.184 Architectural Design Workshop: Collage - Method and Form (MIT)

Description

This class investigates the theory, method, and form of collage. It studies not only the historical precedents for collage and their physical attributes, but the psychology and process that plays a part in the making of them. The class was broken into three parts, changing scales and methods each time, to introduce and study the rigor by which decisions were made in relation to the collage. The class was less about the making of art than the study of the processes by which art is made. This class investigates the theory, method, and form of collage. It studies not only the historical precedents for collage and their physical attributes, but the psychology and process that plays a part in the making of them. The class was broken into three parts, changing scales and methods each time, to introduce and study the rigor by which decisions were made in relation to the collage. The class was less about the making of art than the study of the processes by which art is made.

Subjects

collage | collage | modern art | modern art | painting | painting | art theory | art theory | deconstructivism | deconstructivism | semantics | semantics | syntactics | syntactics | art history | art history | id | id | ego | ego | superego | superego | psychology of art | psychology of art | meaning and representation | meaning and representation

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21M.342 Composing for Jazz Orchestra (MIT) 21M.342 Composing for Jazz Orchestra (MIT)

Description

Includes audio/video content: AV selected lectures, AV special element audio. This class explores composition and arrangement for the large jazz ensemble from 1920s foundations to current postmodern practice. Consideration given to a variety of styles and to the interaction of improvisation and composition. Study of works by Basie, Ellington, Evans, Gillespie, Golson, Mingus, Morris, Nelson, Williams, and others. Open rehearsals, workshops, and performances of student compositions by the MIT Festival Jazz Ensemble and the Aardvark Jazz Orchestra.   Includes audio/video content: AV selected lectures, AV special element audio. This class explores composition and arrangement for the large jazz ensemble from 1920s foundations to current postmodern practice. Consideration given to a variety of styles and to the interaction of improvisation and composition. Study of works by Basie, Ellington, Evans, Gillespie, Golson, Mingus, Morris, Nelson, Williams, and others. Open rehearsals, workshops, and performances of student compositions by the MIT Festival Jazz Ensemble and the Aardvark Jazz Orchestra.  

Subjects

jazz band | jazz band | large ensemble jazz | large ensemble jazz | modern jazz | modern jazz | contemporary jazz | contemporary jazz | big band | big band | swing | swing | Duke Ellington | Duke Ellington | George Russell | George Russell | Bill Lowe | Bill Lowe | Mulatu Astatke | Mulatu Astatke | Ethiojazz | Ethiojazz | Ethio-jazz | Ethio-jazz | ethiopian jazz | ethiopian jazz | Ethiopiques | Ethiopiques | Either-Orchestra | Either-Orchestra | Russ Gershon | Russ Gershon | Aardvark Jazz Orchestra | Aardvark Jazz Orchestra | Gil Evans | Gil Evans | Miles Davis | Miles Davis | Birth of the Cool | Birth of the Cool | Steve Lajoie | Steve Lajoie | jazz arranging | jazz arranging | jazz composition | jazz composition | improvisation | improvisation | Walter Thompson | Walter Thompson | Soundpainting | Soundpainting

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21M.606 Introduction to Stagecraft (MIT) 21M.606 Introduction to Stagecraft (MIT)

Description

Offered in the spring and fall terms, Introduction to Stagecraft is a hands-on course that gets students working with the tools and techniques of theatrical production in a practical way. It is not a design course but one devoted to artisanship. Among the many remarkable final projects that have been proposed and presented at the end of the course have been a Renaissance hourglass blown in the MIT glass shop and set into a frame turned on our set shop lathe; a four harness loom built by a student who then wove cloth on it; a number of chain mail tunics and coifs; a wide variety of costume and furniture pieces and electrified period lighting fixtures. Offered in the spring and fall terms, Introduction to Stagecraft is a hands-on course that gets students working with the tools and techniques of theatrical production in a practical way. It is not a design course but one devoted to artisanship. Among the many remarkable final projects that have been proposed and presented at the end of the course have been a Renaissance hourglass blown in the MIT glass shop and set into a frame turned on our set shop lathe; a four harness loom built by a student who then wove cloth on it; a number of chain mail tunics and coifs; a wide variety of costume and furniture pieces and electrified period lighting fixtures.

Subjects

stagecraft | stagecraft | shop skills | shop skills | shop machines | shop machines | basic handwork | basic handwork | tools | tools | scenery | scenery | costume | costume | set constuction | set constuction | props | props | stage management | stage management | lighting | lighting | scene painting | scene painting | student project | student project | safety | safety | knots | knots

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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Slade Lectures 2010: Week 2: Beyond painting: collage, objects, installations

Description

Dawn Ades, Professor of Art History and Theory at Essex University gives the second Slade lecture in Surrealism and Art History on 27th January 2010. The Slade Professorship of Fine Art is the oldest professorship of art at the universities of Cambridge, Oxford and London. The chairs were founded concurrently in 1869 by a bequest from the art collector and philanthropist Felix Slade, with studentships also created in the University of London. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

art history | surrealism | dali | art | painting | art history | surrealism | dali | art | painting | 2010-01-27

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http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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, Georges Bataille and Documents

Description

Dawn Ades, Professor of Art History and Theory at Essex University, gives the third lecture in the Slade lecture series on Surrealism and Art History. The Slade Professorship of Fine Art is the oldest professorship of art at the universities of Cambridge, Oxford and London. The chairs were founded concurrently in 1869 by a bequest from the art collector and philanthropist Felix Slade, with studentships also created in the University of London. Please see the following link to the Southbank's Undercover Surrealism Exhibition from 2006 - http://ticketing.southbankcentre.co.uk/minisites/docs2/undercover/ Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

art history | bataille | art | dali | surrealism | painting | art history | bataille | art | dali | surrealism | painting | 2010-02-03

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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s Angelus

Description

Fourth Slade lecture from Dawn Ades, Professor of Art History and Theory at Essex University, given on 10th February 2010. The Slade Professorship of Fine Art is the oldest professorship of art at the universities of Cambridge, Oxford and London. The chairs were founded concurrently in 1869 by a bequest from the art collector and philanthropist Felix Slade, with studentships also created in the University of London. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

art history | art | dali | surrealism | painting | film | art history | art | dali | surrealism | painting | film | 2010-02-10

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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