Abdel Aleem, Mariam (1930–2010)

2018 ◽  
Author(s):  
Sarah Dwider
Keyword(s):  
New York ◽  
Fine Arts ◽  
The United States ◽  
Bachelor's Degree ◽  
University Of Southern California ◽  
Folk Culture ◽  
Graphic Arts ◽  
Founding Member ◽  
The University ◽  
Venice Biennale

Mariam Abdel Aleem was a prominent Egyptian graphic artist known for her printed works and engraving that stitched together symbols from ancient and contemporary Egypt to create abstracted compositions. These compositions often incorporated Arabic text and featured both hand-written calligraphy and appropriated or collaged text. In addition to her printed works, Abdel Aleem also produced paintings that focused on representations of Egyptian folk culture. Abdel Aleem graduated from the Higher Institute of Art Education in Cairo with a bachelor’s degree in 1954. In the years following, she studied graphic arts at the University of Southern California and received a master’s degree in Fine Arts in 1957. While in the United States, Abdel Aleem also studied at the Pratt Institute in New York. She taught printmaking as a member of Alexandria University’s Faculty of Fine Arts from its founding in 1958, and was appointed director of the Faculty in 1981. Mariam Abdel Aleem also served as a founding member of both the Association of Fine Artists in Alexandria and the Egyptian Art of Engraving Society. She frequently represented Egypt at international biennials including the Venice Biennale, the Sao Paulo Biennial, and the Graphics Biennial in Norway.

scholarly journals James Zogby, Arab Voices: What They Are Saying To Us, And Why it Matters

ICR Journal ◽  
2012 ◽  
Vol 3 (2) ◽  
pp. 400-401
Author(s):  
Christoph Marcinkowski
Keyword(s):  
United States ◽  
New York ◽  
Human Rights ◽  
Government Policy ◽  
Executive Director ◽  
The United States ◽  
Bachelor's Degree ◽  
Temple University ◽  
Founding Member ◽  
Comparative Religions

James Zogby, the author of the book under review, has an enthralling career worth mentioning here. His ancestors emigrated to the United Stated from Lebanon. His father, a Catholic Lebanese Arab, entered the United States illegally in 1922, but eventually obtained citizenship through a government policy of amnesty. James Zogby himself was born in 1945 in Utica, New York and attended college in Syracuse, New York where he graduated in 1967 with a bachelor’s degree in economics. He went on to earn his PhD in comparative religions from Temple University in 1975. During the late 1970s, Zogby was a founding member and leader of the Palestine Human Rights Campaign. In 1980, he co-founded the American-Arab Anti-Discrimination Committee and served as executive director until 1984.

Nasiri, Rafa al- (1940–2013)

2018 ◽  
Author(s):  
Nada Shabout
Keyword(s):  
Modern Art ◽  
Fine Arts ◽  
Bachelor's Degree ◽  
Graphic Art ◽  
Founding Member ◽  
New Vision ◽  
University Of Bahrain ◽  
The University ◽  
Instrumental Role

Born in Tikrit, Iraq, Rafa al-Nasiri earned a bachelor’s degree in printmaking from the Institute of Fine Arts in Baghdad in 1959. From 1959 to 1963, he pursued further studies at the Central Academy of Fine Arts in Beijing, where he studied printmaking with Huang Yu Yi. In 1967, he received a scholarship from The Gulbenkian Foundation to study at the Gravura in Lisbon, between 1967 and 1969. After returning to Baghdad, he headed the graphics department at the Institute of Fine Arts. He was a founding member of the New Vision Group (Jama’t al-Ru’yya al-Jadidah) in Baghdad, along with artists Dia Azzawi, Mohammed Muhriddin, Ismail Fattah, Hachem al-Samarchi, and Saleh al-Jumaie. After leaving Baghdad, al-Nasiri taught at the University of Yarmouk, Jordan, and at the University of Bahrain for several years before settling in Amman, Jordan. He is the author of a number of essays and books on Iraqi graphic art and Iraqi modern art. His experiments in printmaking have influenced the subsequent generations and played an instrumental role in the development of a strong tradition of Iraqi printmaking.

Notice of transfer of figured specimens of North American Devonian cyclocystoids

1993 ◽  
Vol 67 (1) ◽  
pp. 151-151
Author(s):  
R. William Orr ◽  
Richard H. Fluegeman
Keyword(s):  
United States ◽  
New York ◽  
North American ◽  
The United States ◽  
State University ◽  
Ball State University ◽  
Geological Museum ◽  
University College ◽  
University Of Cincinnati ◽  
The University

In 1990 (Fluegeman and Orr) the writers published a short study on known North American cyclocystoids. This enigmatic group is best represented in the United States Devonian by only two specimens, both illustrated in the 1990 report. Previously, the Cortland, New York, specimen initially described by Heaslip (1969) was housed at State University College at Cortland, New York, and the Logansport, Indiana, specimen was housed at Ball State University, Muncie, Indiana. Both institutions recognize the importance of permanently placing these rare specimens in a proper paleontologic repository with other cyclocystoids. Therefore, these two specimens have been transferred to the curated paleontologic collection at the University of Cincinnati Geological Museum where they can be readily studied by future workers in association with a good assemblage of Ordovician specimens of the Cyclocystoidea.

scholarly journals “Gunpowder painting” of Cai Guo-Qiang: Chinese artistic tradition in the era of postmodernism

2020 ◽  
pp. 44-50
Author(s):  
Marina Aleksandrovna Neglinskaya
Keyword(s):  
New York ◽  
Fine Arts ◽  
The United States ◽  
Oil Painting ◽  
Chinese Tradition ◽  
State Museum ◽  
International Audience ◽  
The Subject ◽  
Traditional Paradigm ◽  
Artistic Tradition

The subject of this research is the art of Cai Guo-Qiang (born in 1957) – the modern Chinese painter who lives and works in China and the United States (New York). The object of this research is the storyline fireworks of Cai and his innovative technique of “gunpowder painting”. The first works of the painter were canvasses in oil painting, and by 1980’s he invented a new “gunpowder” technique, which was first applied in combination with oil on the canvas, and since 1990’s – with ink on the paper, as a version of modern traditional painting guo-hua. His works evolved from social realism to a distinct variation of modern expressionism, as demonstrated the first in Russia retrospective exhibition of the works of Cai Guo-Qiang that took place in the Phuskin State Museum of Fine Arts (“October”, Moscow, 2017). Authors of the exhibition catalogue justifiably note the “cosmopolitan mission” of his art, but leave out of account the traditional context. The proposed methodology, which integrates art and culturological analysis, allows seeing in the works of this prominent modern painter the version of mass art that retains mental and reverse connection with the Chinese tradition. The scientific novelty of the article is defined by the following conclusions: the art of Cai Guo-Qiang is addressed to the international audience, but concords with the traditional paradigm due to Buddhist mentality deeply rooted in the painter’s consciousness. The traditional aspect is his proclivity for harmonization of social environment. This mass art that possesses formal and substantive novelty is associated with the modern international artistic market, as well as market version of “Chinese style” (Chinoiserie) of the XVIII century.

The Universal Teacher, by J. E. Maddy and T. P. Giddings (1923)

2010 ◽  
Vol 58 (4) ◽  
pp. 384-410
Author(s):  
Phillip M. Hash
Keyword(s):  
New York ◽  
Vocal Music ◽  
Musical Instrument ◽  
Independent Learning ◽  
University Of Southern California ◽  
Class Time ◽  
The Subject ◽  
Research Questions ◽  
The University ◽  
Instrumental Methods

The Universal Teacher for Orchestra and Band Instruments ( UT), a class method by Joseph E. Maddy and Thaddeus P. Giddings published by the Conn Musical Instrument Company in 1923, was the subject of this study. Research questions focused on (1) details surrounding the writing and publishing of the UT; (2) philosophical, psychological, and pedagogical principles behind the method; (3) the influence of the UT on class teaching and subsequent books; and (4) implications of this research for modern practice. Maddy and Giddings wrote the UT from 1920 to 1922 while teaching summer methods courses together at Chautauqua, New York, and at the University of Southern California. The authors designed the book to appeal to children by applying the song method from elementary vocal music to instrumental instruction. This pedagogy differed from previous instrumental methods in that instructional material consisted entirely of melodies rather than scales and exercises. The UT also employed a detailed, systematic series of procedures intended to maximize the use of class time, hold students accountable for their progress, and allow independent learning with as little teacher intervention as possible.

doris davenport

2020 ◽  
pp. 513-519
Keyword(s):  
New York ◽  
Southern California ◽  
The State ◽  
University Of Southern California ◽  
State University ◽  
The University

doris davenport, born and reared in northeast Georgia, continues to identify as an Appalachian despite living and working outside the region. She holds degrees from Paine College (BA), the State University of New York at Buffalo (MA), and the University of Southern California (PhD) and teaches at Stillman College in Tuscaloosa, Alabama....

scholarly journals Bernard V. Bothmer: a man of honour

2013 ◽  
Vol 38 (4) ◽  
pp. 50-56
Author(s):  
Diane Bergman
Keyword(s):  
United States ◽  
New York ◽  
Fine Arts ◽  
The United States ◽  
New York University ◽  
The World ◽  
Museum Of Fine Arts ◽  
Brooklyn Museum ◽  
Library Collections

Bernard V. Bothmer left his mark on the world of Egyptology in three of the United States’ great art institutions: the Museum of Fine Arts in Boston, the Brooklyn Museum and the Institute of Fine Arts, New York University. He created gallery displays, developed library collections and founded image collections that continue to influence scholars worldwide. One can wonder how the course of American Egyptology would have developed if circumstances had not driven him out of his native Germany. Despite hardship, fear and a career interrupted, he trained and profoundly influenced at least four generations of historians of Egyptian art. BVB, as he was affectionately known to those close to him, inspired all who worked with him to the highest level of achievement, a standard which came to be known as “Brooklyn Quality”.

The Melva J. Dwyer Award

1999 ◽  
Vol 24 (3) ◽  
pp. 9-11 ◽  
Author(s):  
Kathy E. Zimon
Keyword(s):  
British Columbia ◽  
Fine Arts ◽  
Founding Member ◽  
University Of British Columbia ◽  
Canadian Art ◽  
Limited Edition ◽  
The University

The Melva J. Dwyer Award was established in honour of Melva Dwyer, a founding member of CARLIS, upon her retirement after 31 years of distinguished service on behalf of Canadian art librarianship and as Fine Arts Librarian at the University of British Columbia. The award is presented to the best Canadian art reference work, broadly interpreted, produced by a Canadian author. Unlike other awards, the Dwyer Award is a limited edition print by Calgary artist Susan Ford that incorporates both the concept and title of the prize. Eight awards have been presented so far, in addition to the first of the ten prints which was presented to Melva Dwyer in 1987.

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