Abdelké, Youssef (1951--)

Author(s):  
Sonja Mejcher-Atassi

Abdelké was born in Qameshli, Syria, in 1951. He graduated from the Faculty of Fine Arts in Damascus in 1976. Politically active as a member of the League of Communist Action (later renamed the Communist Labour Party), which was banned by the Syrian regime, he was imprisoned for two years and then left for France, where he continued his studies. He graduated with a diploma in etching from the École Nationale Supérieure des Beaux Arts in Paris in 1986, and obtained a PhD in Plastic Arts from the University VIII in Paris in 1989. After more than twenty-five years in exile, he returned to Damascus in 2005, where he continues to live and work today. Abdelké gives preference to drawing over painting. He has worked in different media, but has mainly focused on charcoals on paper. His drawings show still lifes: flowers, dead fish and birds, fruit, and everyday objects such as shoes, teapots, plates, and knives, with which he manages to express human tragedy in manifold ways. Closely linked to aesthetic concerns, the works explore, in the basic media of charcoal and paper, dimensions of art that have been neglected with the introduction of Western techniques—namely perspective—into modern artistic practices in the Arab world. In particular, they draw on concepts of one dimensionality and the flat surface, features that dominated Islamic miniature painting.

1978 ◽  
pp. 72-84
Author(s):  
Marion Brown ◽  
Tom Johnson ◽  
Yuji Kishimoto ◽  
Lynn Reynolds ◽  
Sumio Suzuki ◽  
...  

2009 ◽  
Author(s):  
Jean Hertzberg ◽  
Alex Sweetman

For the past six years, a course on flow visualization has been offered to mixed teams of graduate and undergraduate engineering and fine arts photography students at the University of Colorado. The course has significant technical content on flow visualization and photographic techniques, and includes some emphasis on documentation and the interpretation of results, particularly with respect to atmospheric dynamics as revealed by clouds. What makes this course unusual is the emphasis on the production of images for aesthetic purposes: for art. While a number of art/science collaborations are growing worldwide, both in professional and academic communities, typically scientists are expected to contribute technical support while artists produce art. A particularly unusual aspect of this course is that all students are expected to demonstrate both aesthetic sensibility and scientific discipline. Another is that students are not constrained to study specific phenomena or use specific techniques; instead, creativity is required. A major outcome from this course is a series of stunning images. In addition, anecdotal evidence suggests that this course has a lasting impact on students’ perception of fluid physics, which can be contrasted to the effect of traditional introductory fluids courses. This raises the question of whether this impact is significant with respect to students’ understanding and appreciation of fluid mechanics, and if so, what aspect of the flow visualization course is most important? A survey instrument is being designed to quantify whether students’ awareness of fluid mechanics in the world around them changes when they take these courses and if students’ attitudes towards fluids is changed when they take these courses.


Author(s):  
Maen Hamdan Slamah Al- Zboun

  The study aimed to know the reasons for the brain drain from the viewpoint of the faculty members at the University of Jordan and to achieve the goals of the study the researcher used the descriptive analytical approach, and the tool was represented in a questionnaire distributed to a random sample of faculty members at the University of Jordan, the number of (100) faculty members , And the SPSS program was used in statistical processing. The results of the study revealed that the overall tool obtained; the causes of brain drain on average (3.82 out of 5) with a verbal (large) estimate and at the level of fields; the field of economic reasons obtained the highest average (4.14) followed by the field of social causes with an average (3.69) and both with a verbal (large) And, thirdly, the field of political causes, with an average of (3.64), with a verbal estimate (average), There were statistically significant differences at the level of (α≤0.05) between the averages of the sample responses attributable to the variable of the college specialization, and for the benefit of the scientific colleges. Aim which enables rare minds to find their specialties within the Arab world.    


Author(s):  
Juliano Aparecido Pereira

ENGLISHThe article presents and discusses an experience in Brazil on an architectural design method of teaching created by the School of Architecture and Urban Design of the University of Sao Paulo (FAU USP). We refer to a Pedagogical Reform proposed in 1962 and its consequences on the formation of Brazilian architects. Known as the 1962 Reform and having as its leader, in association with other professors, architect and professor João Batista Vilanova Artigas (1913-1985), the proposed new model for a method of project education ended up by being adopted, in some aspects, but not all, by the majority of Brazilian schools of architecture and urban design. The reform led by Vilanova Artigas proposed an overcoming of project teaching methods based either on the traditional model of architectural composition, by way of the School of Fine Arts, or on those for the formation of architect-engineers, by way of the Polytechnics. This new teaching method would be based on parameters for the comprehension of architectural practice, pointing to a generalist formation of the architect, thus instrumentalizing him to act within the various scales of architectural production: objects, buildings, cities and visual communication. In this context is manifested the intention for the creation of a University of Design, founded on the practice of investigation and studio research, thus overcoming the boundaries of a project scale in a school of architecture, limited between the realization of a building scale and, at most, of a city. To understand this generalist and plural outlook becomes a contribution to the discussion on the formation of contemporary architects and their awareness and instrumentalization for action before the complex professional demands of present day societies. PORTUGUÊSO artigo apresenta e discute uma experiência no Brasil de método e ensino de projeto de arquitetura, elaborado pela Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo, a FAU USP. Referimo-nos a uma Reforma Pedagógica proposta no ano de 1962 e as suas consequências à formação dos arquitetos brasileiros. Conhecida como a Reforma de 1962 e tendo como seu líder, associado a outros professores, o arquiteto e professor João Batista Vilanova Artigas (1913-1985), o novo modelo proposto de método de ensino de projeto passou a ser adotado, sob alguns aspectos, mas não todos, pela maior parte das Faculdades de Arquitetura e Urbanismo brasileiras. A reforma liderada por Vilanova Artigas propunha uma superação dos métodos de ensino de projeto baseados ou no modelo tradicional de composição de arquitetura, via Escolas de Belas Artes, ou então naqueles de formação de arquitetos-engenheiros, via Escolas Politécnicas. O método de ensino proposto iria se basear em novos parâmetros de compreensão da prática da arquitetura, apostando em uma formação generalista do arquiteto, instrumentalizando-o a atuar nas várias escalas de produção arquitetônica: objetos, edifícios, cidades e comunicação visual. Nesse contexto manifesta-se a intenção de criação de uma Universidade do Projeto, fundada na prática de investigação e na pesquisa do ateliê, superando assim o limite da escala de projeto de uma Faculdade de Arquitetura, limitada entre a realização da escala do edifício e, quando muito, da cidade. Compreender essa formação generalista e plural coloca-se como contribuição à discussão da formação do arquiteto contemporâneo e a sua sensibilização e instrumentalização para ação frente às complexas demandas profissionais das sociedades atuais.


Author(s):  
Fatima Fayez Al-Herbawi

The current study aimed to define the concept of productive university. He presented models and fields of work. And know the justifications for the transformation of producing universities. Develop a suggested vision for a shift towards a productive university. The results have shown that the productive university contributes to contributing to reducing unemployment and providing trained, skilled national cadres. And achieve the requirements of continuous and sustainable development of the economy. And that there are sources of strength in our Arab world that enable universities to move towards a productive university model. Such as: constitutions, laws, political decisions, and international pressure that drive the shift towards a model of a productive university. The study recommended a set of recommendations, the most important of which are: - Reconsidering the process of preparing students in light of the changes that we live in our rapidly changing world and developments. - Opening windows and channels between the university and the community to find out about its contemporary issues and problems.


Author(s):  
Tiffany Renee Floyd

Born in Baghdad, Iraq, Suad al-Attar moved to London in 1976. She holds a prominent position within the narrative of Iraqi modern and contemporary art as one of the nation’s leading female artists. In 1965, al-Attar became the first woman to hold a solo exhibition in Baghdad. This exhibition was the beginning of a prolific career that spans several decades and geographic regions. Al-Attar began her formal education at the Academy of Fine Arts in Baghdad and at California State University. She then pursued graduate training in London at the Wimbledon School of Art, where she studied printmaking, and the Central School of Art and Design. After the completion of her studies, al-Attar taught at the University of Baghdad before moving to London. Working within a graphic aesthetic, al-Attar’s work is flat, linear, and oftentimes monochromatic. Her canvases are filled with mythical creatures set in phantasmagoric spaces. The artist’s work is characterized as a manifestation of memory, at both a personal and collective level. Her characters emerge from Iraq’s literary past, but al-Attar also creates a personalized set of symbols based on memories of her homeland. Many of her works also offer introspective laments on the destruction of Baghdad during the turbulent years of the 1990s and 2000s.


Author(s):  
Charlotte Galloway

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.


Author(s):  
Charlotte Galloway

Born in Chiang Rai, Thailand, Wong Uparaj studied Fine Arts at Silpakorn University. On completion of his degree in 1964 he received a British Council grant to study at the Slade School, London in 1964, and was later awarded a Rockefeller scholarship for an MA in Fine Arts at the University of Pennsylvania, Philadelphia, which he completed in 1969. Always interested in international art practices, Wong Uparaj traveled in Europe, India, Japan, and Australia, though Thailand was always his primary inspiration. Wong Uparaj’s works were fundamentally underpinned by his Buddhist beliefs and studying Buddhism helped him find peace in life and work. Following early experimentations with abstraction and Impressionism, he settled into a distinct realist style, creating rural and urban scenes from his own imagination that focused on a simple, almost idealized view of what life could be. There is a consistent sense of serenity and stillness in his compositions. This is balanced cleverly with his use of color, such as the inclusion of large areas of yellow, green, or blue in a number of works that, while bold, skillfully enhances the aura of calm. Wong Upararaj was a highly respected artist, working across a variety of media including tempera, acrylic, woodcut, pastel, watercolor, oil, and drawing. His works are well represented in public and private collections internationally.


1999 ◽  
Vol 24 (3) ◽  
pp. 9-11 ◽  
Author(s):  
Kathy E. Zimon

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.


2010 ◽  
Vol 35 (4) ◽  
pp. 24-28 ◽  
Author(s):  
David Pulford

The Barber Institute of Fine Arts is acknowledged as one of the finest small art galleries in Europe. It has a richly resourced library which functions both as a curatorial library for the Barber’s curators and as part of the University of Birmingham’s network of site libraries. Students of art history thus benefit from the combined resources of a specialist art gallery library and a major university library. The Barber also houses a visual resources library, music library and coin study room.


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