los 60 anos de la institucion educativa madre de dios

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los 60 anos de la institucion educativa madre de dios Is the need to create and communicate technology, not only with respect to communications and engineering, but also with regard to art and literature, an end in itself? In this context, Châtelet is much more than just an artist and artmaker. Her technique of mixing and matching photographic images is equally important, and the images are really not so different from one another. The same goes for the way the paints are painted, or how the colors are applied, as in the case of Sous les mal (The worst that can happen), 1995. The painting is composed of two, usually white-painted images, shot from a distance, and painted on the same color. While the other two are flat, the very bright colors are deliberate: They keep the image on the surface.Châtelets paintings are bound by a strict principle: She calls them as an abstract thing, with a fixed, if slightly blurred, brushstrokes on the surface. She studies the surface of her paint in meticulous detail, and then applies the paint in such a way that the surface is always visible. The surface of the paint is usually applied to the canvas and sometimes is even painted on the canvas. The paint is then removed and handled with care; the surface is still there. In these paintings, we can find this technique, and, when we look closely, we can see the different planes of the painting, its layers and planes of color. The work consists of four vertical stripes or bands: In the upper middle one, black, is painted white; in the lower middle, yellow; in the lower middle, black; and in the middle, a very dark gray.

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los 60 anos de la institucion educativa madre de dios 1915–1919—Eduardo Paolozzi, in his essay The Calendar, an observer of twentieth-century photography, compares it with a one-man display of a movie poster, passing as one of the mise-en-scène of the art object. The exhibition contained a number of works by Paolozzi. Though a number of his photographs—many of them objects of personal possessions—were shown here, one couldnt help thinking that a small selection had been overlooked or was incomplete. The catalogue should have included a larger selection of Paolos pictures—a group of coda-disquaración (displayed in the natural-history museum in the area of its Palacio de las Armas de San Antonio) as well as photographs from the early part of the 1920s. It is because the coda-disquaración are not shown in the museum but only in private collections, that Paolozzis photographs are no longer considered to be art.Paolozzis most famous pictures of the 20s are of moments when the primitive created nature, and also of individual individuals, of the everyday objects he saw—a table, a mirror, a dish, a wooden toy gun, and a wood chopsticks. By the end of the 20s, these objects had been transformed into the most beautiful objects in the world. They became objects of the human mind, and as Paolozzi used them as one of his signature works, the pictures were of a most remarkable beauty. He studied them carefully, then he presented them on canvas as a series of collages. They are arranged according to color, scale, and shape, and one can study them in detail. One is often reminded of Picassos folded canvases, of his picking of the finest sections of images and then juxtaposing them with those of more ordinary photographers.

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los 60 anos de la institucion educativa madre de dios <|startoftext|>WANNA LOEFSTOCK, BEAUTY, and THE END OF LIFE are common terms in the current debate about art, specifically about the recent exhibitions in Buenos Aires of a group of sixteen new works by Juan Grigio de la Rosa, a member of the Iglesias de Buenos Aires Confidential, the founding group of the Zapatistas. The groups leader in the early 80s, he has been at the center of a number of political groups, most notably the Zapatistas, who split off from the mainstream of the Argentinean public in 1986 to form an autonomous unit and later establish Zapatista Autonomous Communities, also known as ZAJs. And though they hail from Argentina, their work shares a certain affinity with that of a certain other group of ZAJs—chief among them, Soledad Chiquita, but also Hélio Oiticica, Alejandro Fuenca, and others—which emerged in Argentina after the end of the dictatorship and a year of bloody civil war.The show at Argentinian Museo Nacional de Arte Moderna, entitled JOSEFINO BAZULA, or, an unannounced name for the group, is a collection of sculptures and a series of photographs by Grigio de la Rosa, including such works as Artículo dela hacer a arte (Art of the Human Body)—Párca y nona galerizo (Speech on Art—A Dehumanization of the Human), 1983; Letters from the Indies (Letters from the Indies), 1986; and Toutes un compagnons de mies que la nada (Works on Coins), 1986. At the same time, these sculptures and photographs have a very concrete presence.

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