Autonomous Learning for 3d Year Students. Лабораторные работы для студентов-бакалавров к «Практическому курсу английского языка. Часть 3». Учебное пос-1
.pdf3. Chose the right words and word combinations to complete the sentences.
1.The painter managed to capture ... transient expression, a) the viewer’s b) the sitter’s c) the stander’s
2.Figures in the background are usually very small or even scarcely ....
a) discernable b) invisible c) attractive
3.Royal palaces are richly decorated with... .
а) sketches b) self-portraits c) ceremonial portraits
4.Blue and green predominated in Gainsborough’s ....
a)composition b) colour set c) colour scheme
5.If a picture shows the sitter’s whole body including his feet, it’s called a ... portrait,
a)life-size(d) b) full-length c) life-like
6.My friend tends to ... everything in bright colours,
a)paint b) draw c) tint
7.His knowledge in art is so profound — he is a real art... .
a)critic b)student c)connoisseur
8.In the dim light I took that ... portrait for a human figure,
a)full length b) full -size(d) c) life-size(d)
9.Novels by JaneAusten often ... life in a provincial town,
a)depict b) colour c) express
10.If the painter’s colors are artificially bright and tasteless his colouring can be described as ... .
a)subtle b) gaudy c) low-keyed
11.Being in the third year she couldn’t ... herself as a teacher,
a)picture b) reflect c) depict
12.Fashionable artists try to ... to the taste of their time.
a)confirm b) confront c) conform
13.A(n)... portrait shows the inner world of the sitter and reflects their soul.
a)ceremonial b) intimate c) half-length
14.Gainsboroughdepictedhischaracters...ofanEnglishlandscape.
a)against the background b) in the background c) on the fore-
ground
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15.The painter ... the feelings of the sitters with moving sincerity.
a)pictures b) colours c) portrays
16.When one loves his ... no service seems too hard.
a)life b) work c) art
4.Translate the sentences from Russian into English.
1.Ей сделали укол морфия, чтобы облегчить боль.
2.Эксперты описывают состояние экономики в мрачном свете.
3.Я так часто видел их вместе, что сделал логический вывод, что они муж и жена.
4.Я не люблю фотографироваться.
5.В школе у меня достаточно хорошо шли гуманитарные предметы, но я был беспомощен в точных науках.
6.Писатель изображает жизнь в маленькой деревушке на рубеже веков.
7.Стену нужно заново покрасить.
8.Он отличный оратор, который всегда собирает толпу слушателей.
9.Нам нужен кто-то на мероприятии, кто привлечет внимание и соберет платежеспособную публику.
10.Статья дает яркую картину того, как художники совместно работали в студии.
11.Их жизнерадостность казалась довольно натянутой и искусственной.
12.Его друзья — все творческие личности: художники, музыканты и писатели.
13.Он может вернуться с деньгами завтра, но я очень сильно в этом сомневаюся.
14.«Вы говорите мне правду?» — спросил он в сомнении.
15.На голове у него была шишка размером с куриное яйцо.
16.Майкл присутствовал там, и это скрасило вечер.
17.Их музыка представляла собой старые сочинения и избранное из нового альбома.
18.Чтобы подготовить выставку, требуется много времени и усилий.
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19.Какой у Вас размер перчаток?
20.Вода и стекло бесцветны.
21.Его выбрали играть за Австралию, когда ему было только
18 лет.
22.Стирать изделие отдельно, может полинять.
23.Они не приложили никаких усилий, чтобы включить нас
вчисло участников на переговорах.
24.Чтобы приготовить это блюдо, требуется много времени, но результаты так хороши, что это оправдывает все усилия.
25.Чтобы сделать заказ, отметьте свой выбор в бланке.
5. Explain the meanings of the phrases and sentences in bold and make up a story to illustrate one of them.
1.Yes,wellIthinkwe’lljustdrawaveiloverwhatwentonlastnight.
2.Every picture tells a story, (a saying)
3.“So you don’t want to watch the football?” “To be honest I would rather watch paint dry”.
4.She is no oil painting at all.
READING SECTION
TEXT 1
1. Before you read the text try to think of how much you know about modernsculpture.Whatarethegeneraltrendsinit?Readthearticle to see if you are right.
Inventing a “New Visual Language”
By Roderick Conway Morris
The New York Times
October 13, 2010
VENICE — “We have gone beyond the stage where we can just represent things in sculpture. We have to find new means of expression,
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a new visual language,” said Tony Cragg, as he made the final adjustments to his latest exhibition at the Ca’Pesaro International Gallery of ModernArt on the Grand Canal here.
“During the last hundred years sculpture has been utterly transformed,” added Mr. Cragg, a British artist known for his adventurous use of both natural and manmade materials. “It has developed from being almost entirely figurative into a fundamental study of the material world. Sculpture has discovered so many new materials, so many new themes.”
The setting for Mr. Cragg’s show of more than 30 sculptures in bronze, steel, wood, stone, glass and plastics and a score of drawings and watercolors from the 1980s to the present day seems custom-made to drive home his point.
At one end of the second-floor hall of Ca’Pesaro, one of the grandest baroque palazzos in the city, a bronze cast ofAuguste Rodin’s “The Thinker” gravely presides over the scene, while at the other end stands a plaster cast of the French sculptor’s “The Burghers of Calais.” The walls are adorned with “La Vita Humana” (1907), GiulioAristide Sartorio’s huge Symbolist murals.
In the center of the hall are five of Mr. Cragg’s pieces, which in this context look as though they come not so much from another era as another planet.
There are the twin twisting pillars of “Hollow Columns” and striking, bright scarlet zigzag form of “Red Figure” (both from 2008). Made of thousands of plastic playing-dice, “Secretion” (1995) is an intriguing mass of undulating, serpentine folds, topped with a bowling-pin-like head reminiscent of those of the metaphysical painter Giorgio De Chirico’s faceless mannequins. And Bosch meets the sci-fi imagery of the comics and movies of the 1950s in a pair of bulbous, mottled fiberglass compositions: “Distant Cousin” (2003), a mutant life-form; and “Species” (2004), which has the arresting appearance of a winged set of male genitals that has fallen to earth.
Born in Liverpool in 1949, Tony Cragg’s first job was as an apprentice at the laboratory of the National Rubber Producers Research
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Association.When he took up drawing as a diversion, a girlfriend suggested he take time out to do an art course and he soon discovered his vocation as a sculptor. Another girlfriend was responsible for the second great turning point in his life. She was German, and when she went to Wuppertal to finish her studies in 1977, Mr. Cragg followed his wife-to-be. He has lived there ever since.
“When I first went there I was impressed with how seriously the Germans took contemporary art,” he said. “It was a means of breaking with the past and rebuilding the nation’s identity.”
More than 30 years later, Mr. Cragg still has his studio inWuppertal, where he has created a woodland sculpture park containing 20 of his large works. Having taught regularly at the Kunstakademie in nearby Dusseldorf, in 2009 he was appointed its director. (He now also has a studio on the Swedish island of Tjorn.)
Mr. Cragg first began to exhibit in London, in 1978. His early works were installations made of found materials, like the plastic detritus of domestic goods. “African Cultural Myth” (1994), a striking profile outline of an African woman, composed of these bits and pieces applied to a white wall is a later example of this technique and is on show here.
But in the early ‘80s Mr. Cragg more or less abandoned installation art and retired to his studio with the aim of simply “making things.” This was the beginning of his engagement with a wide range of materials, and his constant experimentation with their properties and possibilities has been a hallmark of his career.
His subsequent work in the studio has been, in his words, “based on ideas, feelings, emotions, moods and gestures. A mixture of method and madness. Most of the time I admit I do not know who is leading, me or the sculpture.”
The 1980s was a period when a number of artists had started to design works and rather than making them themselves were having them made by craftsmen or using industrial processes. Mr. Cragg tried this with a couple of pieces, but says he was dissatisfied because he “was not there when the work was created.” Since then he has remained very much hands-on. And even though the sheer number and scale
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of many of his projects necessitates a team of assistants, he is closely engaged in every stage of the work.
Mr. Cragg has often said that he is not religious, but he seems to have a reverential, almost animistic attitude to the materials he employs. At the heart of his idiosyncratic aesthetic is the desire to reveal the potential of seemingly inert materials to take on a dynamic life of their own, to uncover a kind of unseen, deeper reality contained within them.
His remarkable ability to lend a sense of movement to the materials — as though they are metamorphosing, growing, even gyrating before the viewer’s eyes — is
evidenced here by works such as “Hollow Columns” (2006), “Good Face” and “Chain of Events” (both 2007). In the case of “Bent of Mind” (2009), the highly polished, rippling stainless-steel surface of the sculpture reflects and distorts the images of everything around it, seeming to draw the viewer into the vortex.
The constant synthesizing of the figurative and the abstract is a key characteristic of the meta-world of Mr. Cragg’s sculpture. His aim, as stated in a kind of personal manifesto in 1985, is “the creation of objects and images that don’t exist in the natural or functional world but that are able to reflect and transmit information and sensations about the world and its very existence.”
“Red Figure” (2008) and “Elbow” (2010), for example, bring to mind layers of strata in weird geological formations and evoke surreal, dreamlike landscapes, while “Portrait” (2008) and “Woman’s Head” (2007) are formed of multiple, superimposed human profiles, which shift, rearrange and reconstitute themselves as the viewer circles the sculpture.
A playful reference to the theoretical underpinning of Mr. Cragg’s enterprise can perhaps be found in the last room of the show in “Sensory Devices” (2009), a pair of miniature listening stations with satellite dishes, cast in clear glass.
Also made of glass is the most elaborate installation in the exhibition, “Eroded Landscape” (1998).This multi-storied stack of greenish, sand-blasted glass vases, jugs, bottles, drinking glasses and ornaments
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has a calm, crystalline monumentality that contrasts with the restless energy of many of Mr. Cragg’s other productions.
The distinctive drawings and watercolors on display are not literal project designs or obviously directly related to the works on show, but are rather free-ranging imaginative exercises in composition and investigations of volumes and patterns in three-dimensional space.
In this sense, although they are more private exercises, these works on paper still share the aims of Mr. Cragg’s sculptures, which he describes as “eminently useless” but not ultimately lacking in significance.
“The difference between art and design is that design has an intended recipient,” he said. “Sculpture takes the liberty of having no specific destination.”
2.Find in the article the English equivalents for the following phrases.
1)завершил последние приготовления; 2) сделанный на заказ; 3) чтобы донести до понимания зрителя его идею; 4) один из величайших палаццо в стиле барокко; 5) авторитетно; 6)главентсвует; 7)гипсовый слепок; 8) украшены фресками; 9) напоминающие безликие манекены; 10) пестрые композиции из стекловолокна в форме луковиц; 11) занялся рисованием для развлечения; 12) отличительная особенность его карьеры; 13) делает всё своими руками; 14) с почитанием относиться к чему-то; 15) вовлечь зрителя в водоворот; 16) ссылка на теоретическое обоснование; 17) самая сложная инсталляция
3.Answer the questions.
1.What event has prompted Roderick Morris to write the article? 2. It’s a solo-exhibition, isn’t it?
3.What building houses Mr.Cragg’s show?
4.What kind of exhibits does the show present? How can you de-
scribe the five pieces in the centre of the hall?
5.What have you learnt about the start of Tony Cragg’s career as a sculptor?
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6.What materials did he use then? Describe the technique in which “African Cultural Myth” (1994) is executed?
7.What important change did Mr.Cragg make in the early ‘90s that influenced his art greatly?
8.Why does he prefer ‘ to remain very much hands-on’?
9.How can Mr.Cragg’s reverential attitude to materials he uses be explained?
10.What is the key characteristic of Mr.Cragg’s meta-world?
11.Does the sculptor try to involve the audience in active viewing or is he indifferent to their reaction?
12.Why is ‘ Sensory Devices’considered to be a playful reference to the theoretical underpinning of Mr. Cragg’s enterprise ?
13.In what way is Mr.Cragg’s most elaborate installation different from most of his other works?
14.What idea of the master do all the exhibits -drawings and watercolours including — manifest?
15.Where can you find Tony Cragg’s permanent show of works?
4.Get ready to comment on Tony Cragg’s ideas.
1.“During the last hundred years sculpture has been utterly transformed.”
2.“When I first went there I was impressed with how seriously the Germans took contemporary art. It was a means of breaking with the past and rebuilding the nation’s identity.”
3.“Most of the time I admit I do not know who is leading, me or the sculpture.”
4.“If you are not involved in making the sculpture yourself, you cannot feel and think your way through the materials.”
5.“The difference between art and design is that design has an intended recipient. Sculpture takes the liberty of having no specific destination.”
5.TranslatefromEnglishintoRussianthepassagefrom“Mr.Cragg has often said...” to “... and its very existence.”
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TEXT 2
1.Thinkofwhatyouknowaboutdigitalart?Readthearticletolearn something new.
Yota Space: The light fantastic
Behind its ramshackle facade, a disused, Stalin-era shopping centre in St Petersburg has been transformed to house a digital revolution in art
— and its most innovative pioneers are British, says Matilda Battersby
The Independent
Wednesday, 15 December 2010
A vast building completely covered in scaffolding and billboards protrudes from a busy street in St Petersburg. Its presence is a clattering contrast to the baroque architecture and frozen canals which surround it. Behind this temporary facade nestles a disused Stalin-era shopping centre, within which a surprising transformation has taken place. Exposed walls, empty shop fronts, pillars, staircases and ceilings have been painted black and swathed in blackout curtains. This rather sinister line in interior decoration is purely functional, for within its darkened folds one of the world’s biggest and most ambitious digital-arts festivals is taking place.
Billed as the “world’s greatest exhibition of digital art”,Yota Space, the brainchild of the mobile broadband firm Yota, is also Russia’s debut digital festival. It is interesting, then, that the artists invited to Russia to show the incredible things the world can do with digital art are predominantly British or working in Britain. And this is what strikes one most forcibly — that the greatest digital artists in the world at the moment are British.
The exhibition space is vast: installations cover five floors of the 15,000sqm shopping centre.Adigital festival on this scale has never been seen in the UK, where digital art is still seen more as an accompaniment to other art forms, music in particular, rather than the main event.
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Yota’s team has spent the last year researching the world’s best digital artists, inviting them to show here and commissioning new work. As such, British digital artists like Chris Levine, Jason Bruges and Brian Eno have managed to wriggle their way through the bureaucracy to bring their visions to this fantastic new space. On launch day, even the minus temperatures and a snow blizzard couldn’t dampen the excitement. Stepping through a rather unimpressive, makeshift entrance, our guide warned a posse of shivering journalists: “Be careful inside. It’s very dark and there are places you might trip.” Once accustomed to the blanketing gloom, visitors come upon Volume, an installation by British-based arts group United VisualArtists (UVA). The installation is comprised of 47 bollard-sized columns which light up and play music as censors respond to the movement of people among them. “Volume works with a motion-tracking system,” UVA producer Keri Elmsly explains. “Each column has a different set of notes composed by Massive Attack’s Robert Del Naja. It’s been composed so that as people move around it, any given set of notes work in harmony with each other.”
A floor above, another British artist’s work was getting people to behave equally strangely. Colours of varying luminescence appeared like bright ink in water on a giant cinema screen. LikeVolume, Mehmet S Akten’s Body Paint relies on human movement. Once onlookers cotton on, they begin waving their arms and jigging about, watching awestruck as their movement is translated into a riot of colour. Akten set up the Mega Super Awesome Visuals Company, another Londonbased group of artists who somehow manage to live up to their name, eight years ago.Their intention is to “hijack technology to create emotional and memorable experiences,” which, judging from the euphoria of the people doing silly dances in front of Body Paint, they’ve probably succeeded in.
English former architect Jason Bruges’Peasouper was nothing special at first glance. Three large glass cabinets, not dissimilar to the one Damien Hirst put his shark in, stand apparently empty in the darkness. But stand in front of them and something weird happens. After an unnatural delay, your own image is reflected statically back at you —
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