Latest Breaking News On - ரியான் கடினமான - Page 1 : comparemela.com
May 4, 2021
Jim Dine, Lakeside, 1998
PULLMAN, Wash. – The Jordan Schnitzer Museum of Art WSU is collaborating with Pullman Regional Hospital using virtual exhibitions, current exhibitions, and resources from the permanent collection to engage the Pullman community in a conversation about art, health, and healing.
This collaboration is in keeping with the 5‑year Memorandum of Understanding signed by Pullman Regional Hospital and Washington State University in November 2018.
“Research shows that experiencing art reduces stress and anxiety, increases positive emotions, and decreases the likelihood of depression,” said WSU President Kirk Schulz. “What a wonderful antidote for the current pandemic. We’re delighted to partner with Pullman Regional Hospital to offer this uplifting program to our community.“
Ryan-hardesty
Kirk-schulz
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Scottk-adams
Kristin-becker
Alison-weigley
Washington-state-university
School-of-music
Schnitzer-museum
National-hospital-week
Jim Dine, Lakeside, 1998
PULLMAN, Wash. – The Jordan Schnitzer Museum of Art WSU is collaborating with Pullman Regional Hospital using virtual exhibitions, current exhibitions, and resources from the permanent collection to engage the Pullman community in a conversation about art, health, and healing.
This collaboration is in keeping with the 5-year Memorandum of Understanding signed by Pullman Regional Hospital and Washington State University in November 2018.
“Research shows that experiencing art reduces stress and anxiety, increases positive emotions, and decreases the likelihood of depression,” said WSU President Kirk Schulz. “What a wonderful antidote for the current pandemic. We’re delighted to partner with Pullman Regional Hospital to offer this uplifting program to our community.”
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Jim-dine
Jordan-schnitzer-museum-of-art
Jordan-schnitzer-museum
Pullman-regional-hospital
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Healing-virtual-exhibitions
University
Ryan
Washington
April 2, 2021
Exhibition Date: April 5, 2021 – Ongoing
Dreamlike and wonderous, yet gravely dark and harrowing, are all descriptors associated with Francisco José de Goya y Lucientes’ (1746-1828) last major print cycle, Los Disparates (or Los Proverbios). Published in 1864, thirty-six years after the artist’s death, these masterful etchings are still considered to be enigmatic and ambiguous, eluding definitive explanation and interpretation. While the Spanish term “disparate” translates imperfectly to “folly”, in Goya’s time the term held harsher connotations closer in meaning to stupidity or madness. And yet, Los Disparates were born of specific circumstances referencing fanatic religious practices of the day, the plight of political prisoners, and the decadence of court life and the aristocracy. Within these remarkable etchings is a realm of witches, ghosts, and fantastical creatures that invade the mind; Goya’s troubled visions remain a potent warning aga
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