scholarly journals The Interdisciplinary Training Mode of Master of Fine Arts Professional Degree Talents

2021 ◽  
Author(s):  
Yuanyuan Tan ◽  
Dehui Ye
Keyword(s):  
Fine Arts ◽  
Interdisciplinary Training ◽  
Master Of Fine Arts ◽  
Training Mode ◽  
Professional Degree

Out of the stacks and into the studios: A creative approach to information literacy

2018 ◽  
Vol 43 (4) ◽  
pp. 169-174 ◽  
Author(s):  
Mackenzie Salisbury
Keyword(s):  
Information Literacy ◽  
Fine Arts ◽  
Core Values ◽  
Artistic Practice ◽  
Master Of Fine Arts ◽  
Library Resources

AbstractAt the School of the Art Institute of Chicago (SAIC), Master of Fine Arts (MFA) students are often not aware of the library and its resources. As a way to address this gap, Flaxman Librarians have organized studio visits, in which librarians visit students’ studios to hear about their work and offer library resources to support it. Using the ACRL Framework and SAIC's core values as a guide, we are able to assess and address students' current methods/modes of research, as well as their artistic practice. In addition, we are able to forge new relationships with these students throughout their program and increase outreach to a program not targeted for traditional information literacy.

Soonponsri, Kamchorn (1937--)

2018 ◽  
Author(s):  
Charlotte Galloway
Keyword(s):  
Los Angeles ◽  
Fine Arts ◽  
Active Role ◽  
Art Exhibition ◽  
Master Of Fine Arts ◽  
Student Protests ◽  
Democratic Government ◽  
The 1960S ◽  
Privately Owned ◽  
Politically Active

Born in Lopburi, Thailand, Soonponsri graduated from Silpakorn University in 1962, and completed a Master of Fine Arts in sculpture and painting at the Otis Art Institute, Los Angeles in 1971. Throughout his career he has pushed the boundaries of institutional convention. While abstraction was popular with younger Thai artists such as Soonponsri in the 1960s, the National Exhibition of Art and Silpakorn University still favored more traditional works and approaches. Breakaway exhibitions arose, and Soonponsri was involved in one of the early shows held at the privately owned Bangkapi Gallery in 1964. He took on a politically active role following the pro-democracy student protests of 1973. Soonponsri became chairman of the Artists’ Front of Thailand, founded in 1974 with the aim of harnessing art in the quest to obtain democratic government. He was an organizer of the first Open Art Exhibition of Thailand, held in 1979 as a further challenge to the National Exhibition of Art. His activism contributed to significant change, and he later became a jury member for a revitalized National Art Exhibition. Soonponsri’s works are abstracted and emotive. In the early 1990s he was a lecturer at Silpakorn University with other well-known artists such as Ithipol Thangchalok.

Ahmad, Yousef (1955–)

2018 ◽  
Author(s):  
Samia Touati
Keyword(s):  
United States ◽  
Large Scale ◽  
Modern Art ◽  
Fine Arts ◽  
The United States ◽  
University Of California ◽  
Museum Of Modern Art ◽  
Art Appreciation ◽  
Master Of Fine Arts ◽  
Instrumental Role

A writer, an art advisor, and an artist, Yousef Ahmad has contributed significantly to the evolution of art in Qatar. Ahmad took upon himself the responsibility to document and archive the development of art in Qatar. Ahmad has developed an innovative style of calligraphic painting, whereby numerous letters and words are transformed into abstract signs and manifest abstract arrangements. Being more inclined to create large-scale works, Ahmad depicts Arabic words in their variety of shapes with a particular focus on the construction of his composition. In 1982, Ahmad traveled to the United States, where he received his Master of Fine Arts degree from Mills College, University of California. Following his return to Qatar, Ahmad taught art appreciation for more than twenty years at Qatar University, where he met His Excellency Sheikh Hassan bin Mohamed bin Ali Al Thani. Sharing an avid love for art with HE Sheikh Hassan, Ahmad has played an instrumental role in collecting a variety of artworks which constitute the major collections of Mathaf: Arab Museum of Modern Art and the Orientalist Museum. He also acted as the first director for Mathaf: Arab Museum of Modern Art, then named the Museum of Arab Art.

scholarly journals An Interview with Fred Frith: The Teaching of Contemporary Improvisation

2007 ◽  
Vol 3 (2) ◽  
Author(s):  
Charity Chan
Keyword(s):  
Higher Education ◽  
Fine Arts ◽  
Master Of Fine Arts

An interview with Fred Frith, guitarist/composer/improviser and the founder of the Master of Fine Arts Contemporary Improvisation program at Mills College in Oakland CA. The interview covers areas regarding gender representaiton, institutionalization of improvisation, and the difficulties and considerations of creating and establishing an improvisation program at a higher education institute.

Fragile Currency of the Last Anarchist: the Plays of Maxwell Anderson

2002 ◽  
Vol 18 (3) ◽  
pp. 276-283
Author(s):  
Russell DiNapoli
Keyword(s):  
Los Angeles ◽  
Fine Arts ◽  
University Of California ◽  
Negative Effects ◽  
New Yorker ◽  
Master Of Fine Arts ◽  
Thornton Wilder ◽  
Post War ◽  
The University ◽  
Key Largo

Maxwell Anderson's plays have been overshadowed in the American and world theatre, alike by the canonical post-war writers of the succeeding generation and by writers such as Clifford Odets and Thornton Wilder of his own, who are felt to be more representative of the prevailing mood. Russell DiNapoli argues that it was Anderson's very atypicality which merits his reconsideration. As a playwright, he steadfastly kept to his own ideological course while influenced at the same time by the changing fashions which made for success on Broadway – the resulting creative tensions having both positive and negative effects on his contemporary as on his posthumous reputation. A New Yorker, Russell DiNapoli took his Master of Fine Arts degree in Theatre at the University of California, Los Angeles, and his doctorate in Philology at the Universidad de Valencia, Spain, where he is currently a member of the Department of English and German. He has written and directed several plays in Valencia, where he has lived since 1977, the most recent being a Spanish adaptation of the Prologue in Maxwell Anderson's Key Largo.

Study on the change of teachers' role in the teaching of new art curriculum

2021 ◽  
pp. 002072092110042
Author(s):  
Xiaobing Hu ◽  
Guangyu Hu ◽  
Lihui Zhang
Keyword(s):  
Education Reform ◽  
Fine Arts ◽  
Classroom Teaching ◽  
Teaching Material ◽  
Art Curriculum ◽  
Traditional Art ◽  
Teaching Content ◽  
Training Mode ◽  
New Curriculum ◽  
Teachers And Students

The new curriculum of fine arts is a newly emerging thing in the situation of education reform. There are many facets of traditional art education which should be improved, including the fact that the teacher's classroom teaching is dull, the teaching material is limited, the training mode is single, the “classroom” is understood by the teacher as the normative teaching content instead of a platform for communication, and the teacher can not find his role. In the new curriculum, teachers must change their ideas, so that in the classroom teaching students can take advantage of the teaching materials interestingly and efficiently. Both teachers and students are supposed to find their roles in the new curriculum.

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