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.

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.

ON THE METHODS OF O. N. LOSHAKOV IN TEACHING EASEL PAINTING From his experience at the Vladivostok Art School in 1960–1962

2021 ◽  
Vol 1 (3) ◽  
pp. 16-21
Author(s):  
A. V. Khairulina ◽  
Keyword(s):  
Fine Arts ◽  
Far East ◽  
Positive Influence ◽  
Educational Process ◽  
The Far East ◽  
Shikotan Island ◽  
History Of ◽  
The 1960S ◽  
Moscow School ◽  
Art School

The article explores the first pedagogical experience of Academician of the Russian Academy of Arts, Honored Artist of the Russian Federation, Professor Oleg Nikolaevich Loshakov in Vladivostok. The work provides a brief overview on the history of the formation of professional arts education in the Far East. Positive influence of Oleg Loshakov — graduate of the Moscow State Academic Art Institute named after V. I. Surikov on improving the quality of the educational process at the Vladivostok Art School is noted. He contributed greatly to the development of fine arts in Primorsky Krai as a teacher and representative of the Moscow School of Painting. Further creative activity of O. N. Loshakov who painted landscapes on Shikotan Island together with a group of young artists that were his first graduates is described. The materials of the article expand the range of ideas about the artist's work in the Far East, and reveal new aspects of his landscape paintings of the 1960s. Special consideration is given to the monumental landscape in the master's work. The relevance of the topic is determined by the lack of materials devoted to the period of O. N. Loshakov's formation as a teacher and artist.

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.

Terry Gilliam

2021 ◽  
Keyword(s):  
Los Angeles ◽  
Don Quixote ◽  
Set Design ◽  
No Production ◽  
Brothers Grimm ◽  
Terry Gilliam ◽  
The Face ◽  
The 1960S ◽  
Definition Of ◽  
Monty Python

With a directorial career spanning over forty years, Terry Gilliam (b. 1940) remains rooted in the sensibilities of his early work in animation. Born in Minnesota and raised in the Los Angeles area, Gilliam, sometimes classified as a British filmmaker, has lived in England since the 1960s, renouncing his US citizenship in 2006. As the resident animator of Monty Python’s Flying Circus (1969–1974), Gilliam created surreal and absurd vignettes from cutout images that complemented the live sketches. After partnering with fellow Python Terry Jones in directing Monty Python and the Holy Grail (1975), Gilliam struck off on his own with Jabberwocky (1977). Many films followed in which one or more members of Monty Python appeared as actors under his direction. Though Gilliam’s works ostensibly cover diverse subjects—bureaucracy, virus outbreaks, and the gonzo journalist Hunter S. Thompson, to name only a few—all engage with questions of the power and problems of the imagination in the face of an often-grim or oppressive reality. The overall look of a Gilliam film is unmistakable as well, with off-kilter shots meant to disorient the viewer and crowded mises-en-scène. His use of wide-angle lenses is so extensive that the 14-millimeter lens has been nicknamed “the Gilliam.” Deeply involved not only in camerawork but in many other aspects of production such as costuming, set design, and scriptwriting, Gilliam would seem to fit the definition of an auteur. However, in numerous interviews, Gilliam resists that label, stressing his collaborative approach and openness to suggestions. Indeed, the process of making and distributing his films has sometimes garnered as much, if not more, attention than the films themselves. Brazil (1985), The Adventures of Baron Munchausen (1988), The Brothers Grimm (2005), and The Imaginarium of Doctor Parnassus (2014) all faced disruptions and setbacks of various kinds. No production was bedeviled so long and in so many ways as The Man Who Killed Don Quixote (2018), taking nearly thirty years to reach the screen. Frequently identifying with the main characters of his films in progress, Gilliam perhaps most resembles Don Quixote in his unstinting commitment to his vision, whether commercially successful or not, whether brilliant or baffling to critics or audiences.

Reconnecting Dance and Physical Education through Dance Science

2022 ◽  
Vol 79 (1) ◽  
Author(s):  
Melonie B. Murray ◽  
Steven Ross Murray
Keyword(s):  
Physical Education ◽  
International Association ◽  
Academic Discipline ◽  
Fine Arts ◽  
Education Programs ◽  
Academic Field ◽  
Dance Training ◽  
And Performance ◽  
The 1960S ◽  
Performance Projects

This article traces the development of dance as an academic discipline from its infancy in physical education programs to its present state, noting the significance of the burgeoning field of dance science and how it is a catalyst for the reconnecting of dance to physical education. The academic discipline of dance originated in the early 20th century in American academe, particularly in women’s physical education programs. By the 1920s, dance emerged as a discrete discipline with Margaret H’Doubler’s founding of the first baccalaureate degree in dance at the University of Wisconsin. By the 1960s, the academic discipline of dance had shifted from its original mission of movement education for everyone to focus more on professional dance training for highly skilled performers. This philosophical shift saw many dance programs move from homes in physical education to the fine arts. During this time, dance also saw an increasing disciplinary emphasis on choreographic and performance projects, a trend still evident today. Dance science began to develop as an academic field in the early 1980s, and shortly after publications and conferences in the area were born. The professional association the International Association for Dance Medicine and Science was founded in 1990. With dance science’s emergence, dance and physical education began to realign, albeit often in departments of kinesiology. Today, with the development of dance science as a burgeoning field, dance and kinesiology are coming full circle, rejoining through their historical roots.

Genetic Algorithms: A 30-Year Perspective

2005 ◽  
Author(s):  
Kenneth De Jong
Keyword(s):  
Genetic Algorithms ◽  
Los Angeles ◽  
Adaptive Systems ◽  
Simulation Models ◽  
Critical Issues ◽  
Ann Arbor ◽  
Robust Adaptive ◽  
The 1960S ◽  
The University ◽  
Traditional Approaches

I continue to be surprised and pleased by the dramatic growth of interest in and applications of genetic algorithms (GAs) in recent years. This growth, in turn, has placed a certain amount of healthy "stress" on the field as current understanding and traditional approaches are stretched to the limit by challenging new problems and new areas of application. At the same time, other forms of evolutionary computation such as evolution strategies [50] and evolutionary programming [22], continue to mature and provide alternative views on how the process of evolution might be captured in an efficient and useful computational framework. I don't think there can be much disagreement about the fact that Holland's initial ideas for adaptive system design have played a fundamental role in the progress we have made in the past thirty years [23, 46]. So, an occasion like this is an opportunity to reflect on where the field is now, how it got there, and where it is headed. In the following sections, I will attempt to summarize the progress that has been made, and to identify critical issues that need to be addressed for continued progress in the field. The widespread availability of inexpensive digital computers in the 1960s gave rise to their increased use as a modeling and simulation tool by the scientific community. Several groups around the world including Rechenberg and Schwefel at the Technical University of Berlin [49], Fogel et al. at the University of California at Los Angeles [22], and Holland at the University of Michigan in Ann Arbor [35] were captivated by the potential of taking early simulation models of evolution a step further and harnessing these evolutionary processes in computational forms that could be used for complex computer-based problem solving. In Holland's case, the motivation was the design and implementation of robust adaptive systems, capable of dealing with an uncertain and changing environment. His view emphasized the need for systems which self-adapt over time as a function of feedback obtained from interacting with the environment in which they operate. This led to an initial family of "reproductive plans" which formed the basis for what we call "simple genetic algorithms" today, as outlined in figure 1.

Hopps, Walter (1932–2005)

2018 ◽  
Author(s):  
Ken D. Allan
Keyword(s):  
New York ◽  
Los Angeles ◽  
American Art ◽  
The United States ◽  
Art Museum ◽  
Pop Art ◽  
Marcel Duchamp ◽  
Robert Rauschenberg ◽  
The 1960S ◽  
Joseph Cornell

Walter Hopps was an American art dealer and curator of modern and contemporary art. Best known for organizing the first museum retrospective of Marcel Duchamp in 1963 at the Pasadena Art Museum (now the Norton Simon), Hopps was a pioneering example of the independent, creative curator, a model that emerged in the 1960s in the United States From his start as an organizer of unconventional shows of California painters on the cultural fringe of conservative Cold War-era Los Angeles, Hopps became one of the most respected, if unorthodox, curators of his generation, holding a dual appointment at the end of his life as 20th-century curator at Houston’s Menil Collection and adjunct senior curator at the Solomon R. Guggenheim Museum in New York. Some of his noted exhibitions include: in Pasadena, a 1962 group show that helped to define pop art, The New Paintings of Common Objects; the first U retrospectives of Kurt Schwitters (1962) and Joseph Cornell (1967); Robert Rauschenberg retrospectives in 1976 and 1997 at the National Museum of American Art and Menil Collection, respectively; a 1996 survey of Edward Kienholz for The Whitney Museum of American Art; and a James Rosenquist retrospective in 2002 at the Guggenheim.

Tantisuk, Sawasdi (1925--)

2018 ◽  
Author(s):  
Charlotte Galloway
Keyword(s):  
Fine Arts ◽  
Natural World ◽  
Buddhist Philosophy ◽  
Urban Life ◽  
Art Practice ◽  
Oil Paintings ◽  
Western Art ◽  
Outdoor Scenes ◽  
The 1960S

Born in Thonburi, Thailand, Sawasdi Tantisuk is a contemporary of Tawee Nandakwang; both artists were trained at Silpakorn University and the Academy of Fine Arts in Rome. As a prominent figure in early Thai modernism, Tantisuk favored watercolor, as its unforgiving and immediate characters resonated with his approach to art practice, which drew on the Buddhist philosophy wherein each action—in this case, brushstroke—cannot be undone. Tantisuk’s early works were in the impressionist genre, but following his four years in Rome, his work became more abstracted and geometric as he absorbed some of the major trends in Western art, with color and texture being characteristics of many oil paintings of the 1960s. As his career progressed, abstraction remained his favored approach to painting, though he maintained some realist elements in his watercolor outdoor scenes. Tantisuk used color to evoke emotion in his works, depicting both the serenity and wonder of the natural world and the bustle of Thai urban life. A consistent painter, he has received many awards throughout his career and has remained involved with the art profession. He received an Honorary PhD from Silpakorn University in 1991, and was Thailand’s National Artist (painting) that same year.

Nabaa, Nazir (1938--)

2018 ◽  
Author(s):  
Anneka Lenssen
Keyword(s):  
Communist Party ◽  
Rural Schools ◽  
Art Criticism ◽  
Modern Art ◽  
Fine Arts ◽  
Fine Art ◽  
Political Mobilization ◽  
Puppet Theater ◽  
1960S And 1970S ◽  
The 1960S

Nazir Nabaa, a respected Syrian painter, made his greatest contributions to Arab modern art in the 1960s and 1970s, when he contributed to the graphic identity of progressive political causes and the Palestinian liberation struggle. He joined the Syrian Communist Party in the 1954 and in 1959 was briefly jailed for this affiliation. After his release, he traveled to Cairo on a fellowship to study painting at the Faculty of Fine Arts, there developing a heroic realist style around social and labor themes. After returning to Syria in 1964, Nabaa taught drawing in rural schools and worked with myth and folklife. Moving to Damascus in 1968, he worked as an illustrator and became involved in creative projects in support of political mobilization, including poster design, puppet theater, fine art painting, and art criticism. Between 1971 and 1975, Nabaa studied in Paris at the Academy of Fine Arts. Upon his return, he joined the faculty of the College of Fine Arts in Damascus. His later paintings became more fantastical, combining goddess figures with still lifes of fruits, tapestries, and jewelry. He also developed a parallel corpus of abstract paintings based on the exploration of texture and color.

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