Posts Tagged ‘Art’
Deepen your understanding of how learning takes place in and through the arts. Examine the role of engagement, connections, collaborations and communities in learning.
Presented in collaboration with The Silk Road Project Inc.What You Will Learn
Deepen your understanding of how learning takes place in and through the arts. Examine the role of engagement, connections, collaborations and communities in learning. → Read more
Elaine Cimino Studios
Registration for Art Classes July through December 2012
at the North Valley Senior Center
Please check a class and spark your creativityo Learn Watercolor –July 17th –September 11th for 8 wks Cost: $75.00 o Pastel Workshop – September 18th– October 30th for 6wks Cost: $65.00 o Drawing for the Holidays and Special Occasions- November 6th -December 18th for 6 wks Cost: $65.00
All Classes will be on Tuesday Afternoons at 4:30pm – 6:30pm
Method of payment
Cash, Check: Make payable to: Elaine Cimino Studios
Use SASE available at Senior Center Office
or use PayPal http://www.paypal.com for online payment
Instructions for PayPal, Go to PayPal website.
Click “send money” Button You will send to my email address
Contact me through this website
is the theme of Sawmill Community Land Trust’s upcoming Door Show and Auction. The Show will take place on April 6th on St. Clair Winery /Bistro’s East Patio and the auction occurs on Thursday April 26th, 2012 at Hotel Albuquerque. participating artists will create their vision of the theme on 32″ x 80″ interior slab doors. The doors are intended to be blank canvases and the donors will end up with the option to hang them as art pieced of transform them into doors.
A door is a symbol of new opportunity, hope and promise.
“No place like home”
Follow the progress on Www.ElaineCiminosSudios Website as she creates the work in progress and participates in the auction.
The donations for this event goes to the Sawmill Community land Trust which is a nNGO that works to break the cycle of poverty and revitalize neighborhoods through the creation of quality, affordable housing and sustainable economic opportunities for low -to moderate income individuals and families in Bernalillo County.
We invite you to read the NYT article by Nicolas Kristof. There have been other studios that Elaine Cimino Studios has been working with who have seen the Born to Draw iBooks and have commented on the environmental aspects of the books and said they would not want to stress these type of issues in their children’s educational programming. I am glad to see that this article was published and that it gives others the courage to teach sustainability in their classrooms.
I am teaching children how to draw by shape relationships emphasizing aesthetic valuing, perception and creative expression. Showing children the historical and cultural context of how different peoples come to their beliefs systems enables children to grasp the world around them and prepares them for their uncertain futures. The affects that climate change will have on future generations is substantial and they will have their challenges to overcome because our generation will have failed them by not raises our voices to the problems all humanity faces.
Yes! we can change the world by changing our communities right where we live and teaching our children they do have a voice. There is nothing so radical as teaching a child how to draw a Koala Bear, Bottle-nosed Dolphin, or African Elephant! After Recess: Change the World By NICHOLAS D. KRISTOF
A BATTLE between a class of fourth graders and a major movie studio would seem an unequal fight.
So it proved to be: the studio buckled. And therein lies a story of how new Internet tools are allowing very ordinary people to defeat some of the most powerful corporate and political interests around — by threatening the titans with the online equivalent of a tarring and feathering. http://www.nytimes.com/2012/02/05/opinion/sunday/kristof-after-recess-change-the-world.html?_r=1
Take Ted Wells’s fourth-grade class in Brookline, Mass. The kids read the Dr. Seuss story “The Lorax” and admired its emphasis on protecting nature, so they were delighted to hear that Universal Studios would be releasing a movie version in March. But when the kids went to the movie’s Web site, they were crushed that the site seemed to ignore the environmental themes. → Read more
I completed my presentation to the schools, teachers and parents and now working on collateral materials. When the new Web site is finished this will be a stellar art education website that will hopefully be of value to teachers, students and parents. Please follow me on Twitter @ciminostudios and on our Facebook page. Elaine Cimino Studios and on www.borntodraw.com and Facebook Born to Draw Children’s Art Education. And where ever you can please like us to your Facebook Friends. Thanks for your support.
A woman looks at Mexican painter Diego Rivera’s ‘Indian Warrior’ displayed during a preview at New York’s Museum of Modern Art, November 8, 2011.
In 1931, the fledgling Museum of Modern Art chose Mexican muralist Diego Rivera for its second major show, inviting him to New York to create “portable” murals onsite. Now, some of the works he created in six feverish weeks are again on display at MoMA.
They are aggressive and vibrant, testimony to Rivera’s fascination with Mexican history and his loathing of capitalism.
A communist, Rivera created fiercely political works picturing Mexico’s colonial past and the struggles of indigenous peoples. Indian Warrior, for example, illustrates his anger at Spain’s conquest of Mexico in the 1600s. An Aztec warrior wearing a fearsome Jaguar costume uses a stone knife to cut down a conquistador who lies dead, still encased in his armor.
Rivera also painted scenes of what he saw as capitalist oppression in the U.S. and the struggle for workers’ rights in a rapidly industrializing America.
“He made pictures that made us think about what our society is like, about labor and class, and the inequities of our modern world,” MoMA curator Leah Dickerman said. She points to the mural, Frozen Assets, a depiction of New York City, in 1931, in the depths of the Great Depression. The mural has several tiers, with New York’s new skyscrapers towering above what looks like a subterranean morgue.
“In the top tier of the painting, you see all the most recent landmarks of modern architecture,” Dickerman says. “Under that, you see the shelter for unemployed men that was on East 25th Street. Then under that, you see a bank vault where the city’s richest citizens are waiting to count their assets.”
Rivera was already famous when he and his wife, artist Frida Kahlo, arrived in New York for the MoMA commission. Born in 1886, Rivera had studied painting in Europe in the early 1900s.
There he developed, then abandoned, an interest in Cubism in favor of realistic frescoes – paintings on wet plaster – focusing on Mexico’s revolution. At the time, murals were Mexico’s leading public art form.
The show also includes watercolors from a visit to Moscow in 1927-1928, where Rivera celebrated the tenth anniversary of the Soviet revolution.
Visitors have packed the show since its opening in November. Art historian Anna Indych-Lopez said that’s because Rivera’s message remains relevant.
“This work speaks to people today for obvious reasons,” she said. “If we just open up the newspaper and look at the events surrounding Occupy Wall Street, these are issues that have not gone away.”
“What he was showing, really, was his interest in the uprising of the common people,” says visitor Lenore Zarin. Paula Santos, also visiting the show, said as a Mexican American, she was touched by Rivera’s dedication to “people you don’t usually see, indigenous people.” “It was really poignant for me,” she said, “that even today, he could have painted those frescoes.”
The MoMA show also includes a sketch for one of Rivera’s most famous works, although few people ever saw it.
Man at the Crossroads was the title of the work commissioned in 1933 by New York’s Rockefeller family, for one of its Rockefeller Center buildings. It was supposed to illustrate the progress of “civilization” on a grand scale. But a controversy erupted in the press over Rivera’s insertion of a small portrait of Lenin. The artist refused the Rockefellers’ request to remove it, and he was dismissed. The mural was covered up and later destroyed.
Indych-Lopez, an expert on Rivera, said the artist’s radical politics, typical among Mexican artists of the time, was indulged by his patrons, including MoMA founder Abby Aldrich Rockefeller.
Indych-Lopez said the management of Rockefeller Center, charged with leasing office space in the building, strongly objected.
“They believed they had to make a public stand against this very overt visualization of communism, the fact that this was a public gesture that would have faced workers entering into the heart of capitalism day in and day out,” she said.
Dickerman and Indych-Lopez also cite reports that the Rockefellers were offended by the inclusion of a portrait that appeared to be the teetotaling patriarch, John D. Rockefeller, holding a drink, during the period of prohibition.
In the ensuing furor, Rivera lost a commission to paint at the World’s Fair in Chicago. Undaunted, he returned to Mexico City and created an almost identical mural for the Palacio De Bellas Artes.
The show at MoMA is on view until mid-May 2012.