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U N I V E R S I D A D A U T O N O M A OF. N U E V O L E O N Secretarla Académica

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AUTHORS

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This text was developed in a project sponsored by Secretaría Académica

of The Universidad Autónoma de Nuevo León.

The material was written by the members of the English Committer

Evaristo Munguía Panti

Preparatoria No. 2

Rubén Cepeda Montes

Preparatoria No. 9

Sara Alicia Ancira Aréchiga

Preparatoria No. 15

María de Jesús Puente Grunerht

Preparatoria No. 16

Laura Esthela García Alvarez

Preparatoria No. 23

Contents

Unit Topic

Page

1

T h e A r t s

S p a c e T e c h n o l o g y

M e a n d T h e m

L o v e

T h e F u t u r e

A c h i e v e m e n t s

H i s t o r y

T r e n d s

1

29

66

93

111

139

165

191

F O N D O

UNIVERSITARIO

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ACKNOWLEDGEMENTS

p. 2 " H i g h - T e c h A r t M a t e r i a l s , " T h e A r t i s t M a g a z i n e , A p r i l 1994. p. 5 D a r t A. K. E S L G r a m m a r W o r k b o o k s , P r e n t i c e H a l l , I n c . p. 8 "The A r t o f M a k i n g V i d e o s , " A m e r i c a n A r t i s t , A u g u s t 1994. p. 14 " F e a t u r e s , " A R T n e w s , A p r i l 1994.

p. 16 " T h e K a h l o C u l t , " A R T n e w s , A p r i l 1994. p. 2 1 I b i d e m .

p. 2 3 " D i g i t a l M u s e u m s , N o w , " A r t & A n t i q u e s , A u g u s t 1 9 9 4 . p. 2 5 " S h o w s & E x h i b i t i o n s , " A r t & A n t i q u e s , A u g u s t 1994. p. 3 0 " G o i n g to t h e M o o n , " P o p u l a r S c i e n c e M a g a z i n e , A p r i l 1994 p. 3 7 A m e r i c a n E n g l i s f f W e b s t e r D i c t i o n a r y , 1988.

p. 4 0 "The M o o n : L u n a L a n d e r s , " P o p u l a r S c i e n c e M a g a z i n e , F e b r u a r y 1994.

p. 4 6 A m e r i c a n E n g l i s h W e b s t e r D i c t i o n a r y , 1988.

p. 5 0 "Telescope f o r H i r e , " P o p u l a r Science M a g a z i n e , F e b r u a r y 1994.

p. 5 8 " M a k i n g Space A f f o r d a b l e , " P o p u l a r Science M a g a z i n e , M a y 1994.

p. 6 1 A m e r i c a n E n g l i s h W e b s t e r D i c t i o n a r y , 1988. p. 6 2 I b i d e m .

p. 6 7 " O v e r a l l s , " , T h e N e w Y o r k T i m e s , M a y 9, 1994. p. 7 4 "Tracey Gold," S h a p e , M a y 1993.

p. 7 8 " S t o p p i n g t h e B i o l o g i c a l C l o c k a n d a n I n d e x , " N e w s w e e k T h e I n t e r n a t i o n a l N e w s m a g a z i n e , F e b r u a r y 1994.

7 9 80

8 5

86

9 5

102

112

119

126

132

136 143 149

157 162

166

I b i d e m . I b i d e m .

" B o d y ] i ne : S h e gets h e r kicks.." S e v e n t e e n Magazine. S e p t e m b e r 1994.

I b i d e m .

e.e. C u m m i r i g s , " S o m e w h e r e I h a v e never travelled," J o h n H a y w a r d (ed). T h e P e n g u i n B o o k of E n g l i s h Verse.

" H i g h - T e c h R o m a n c e , " Seventeen M a g a z i n e . F e b r u a r y 1992.

" W a t e r : R i s i n g S o u r c e o f V i o l e n c e , " T h e F u t u r i s t M a g a z i n e , J u l y / A u g u s t . 1994.

" C u s t o m e r Sendee E m e r g e s as a Profession," T h e F u t u r i s t M a g a z i n e , J u l y / A u g u s t 1994.

" R e s p o n s i b i l i t y for t h e F u t u r e , " T h e F u t u r i s t M a g a z i n e . J u l y / A u g u s t 1994.

" C a r e e r s M a n a g e m e n t for t h e y e a r 2 0 0 0 a n d B e y o n d . " T h e F u t u r i s t Magazine, J u l y / A u g u s t 1994.

A m e r i c a n E n g l i s h Webster D i c t i o n a r y , 1988. " W h a t m a k e s a g r e a t s c h o o l , " Life, O c t o b e r 1994.

" H o w t o L a n d a J o b , " Psychology T o d a y , S e p t e m b e r / O c t o b e r 1994.

" T a l k a b o u t I n i t i a t i v e ! , " T E E N M a g a z i n e , O c t o b e r 1994. " F o r T h i s - H a l l of F r a m e r - Success No B o u n d s , " B u s i n e s s S t a r t - U p s , O c t o b e r 1994.

" C o k e , " P o p u l a r A m e r i c a n R i t u a l , New York; H a r m o n y B o o k s .

' T h e b e g i n n i n g of C o s t u m e s , " P o p u l a r A m e r i c a n R i t u a l , New-Y o r k , H a r m o n y B o o k s .

p. 180 " C o r n F l a k e s , " P o p u l a r A m e r i c a n R i t u a l . New Y o r k . H a r m o n y B o o k s .

p. 1 8 7 " J e a n s , " P o p u l a r A m e r i c a n R i t u a l . N e w Y o r k , H a r m o n y B o o k s .

p. 192 " C h i n a : S u s p i c i o n s o f D r u g s Use C o n f i r m e d , " N e w s w e e k . D e c e m b e r 1994.

p. 192 " M o b y D i c k , " H e r m a n M e l v i l l e , S i g n e t C l a s s i c . 1 9 8 0 .

p. 192 " B e t t e r t h a n S t o r e - B o u g h t , " S e v e n t e e n M a g a z i n e , F e b r u a r y 1992

p. 192 " N e w s m a k e r s , N e w s w e e k , " D e c e m b e r 1994.

p. 192 " B a s i c L o g i c " , R a y m o n d M c C a l l , ( 2 n d ed.) B a r n e s & N o b l e , p. 199 " M o b y D i c k , " H e r m a n M e l v i l l e , S i g n e t C l a s s i c , 1 9 8 0 . p. 2 0 0 " H e a d l i n e s , , U S A T o d a y , O c t o b e r 10, 1 9 9 4 .

p. 2 0 1 I b i d e m .

p. 2 0 2 " H e a d l i n e s , " U S A T o d a y , O c t o b e r 10, 1 9 9 4 . p. 2 0 3 " T o d a y D e b a t e , " U S A T o d a y , O c t o b e r 10, 1 9 9 4 . p. 2 0 4 I b i d e m .

p. 2 0 9 " H o t D a t e s i n S o u t h A f r i c a n H i s t o r y , " M a d e m o i s e l l e M a g a z i n e S e p t e m b e r 1 9 9 4 .

p. 2 1 0 " N e w V i c t i m i n S o u t h A f r i c a : T h e E c o l o g y . " T h e N e w s . O c t o b e r 6 , 1 9 9 4 .

p. 2 1 2 " S o u t h A f r i c a . " M a d e m o i s e l l e M a g a z i n e , S e p t e m b e r , 1 9 9 4 .

p. 2 1 6 S w i s s A r m y w a t c h p u b l i c i t y ,

p. 2 1 7 J a e g e r - L e C o u l t r e w a t c h p u b l i c i t y .

P i l o t o s / B r a w i n g s

P- 2 T h e A r t i s t ' s M a g a z i n e A p r i l 1 9 9 4 . P- 7 A m e r i c a n A r t i s t , A u g u s t 1 9 9 4 . p. 2 2 A r t & A n t i q u e s , A u g u s t 1 9 9 4 .

n 9 « T a s c h e n , B e n e d i k t . Post C a r d B o o k , G e r m a n y 1992 P- 2 « I b i d e m .

P- 2 9 El N o r t e , F e b r u a r y 2 0 , 1 9 9 5 .

P- 3 2 A s t r o n o m y news, S e p t e m b e r 1994. P- 3 8 A s t r o n o m y n e w s , S e p t e m b e r 1994. P- 4 3 A s t r o n o m y n e w s , S e p t e m b e r 1 9 9 4 . p. 4 9 A s t r o n o m y n e w s , S e p t e m b e r 1994. p. 5 3 A s t r o n o m y n e w s , S e p t e m b e r 1994. P- 5 9 A s t r o n o m y n e w s , S e p t e m b e r 1994. p' R e v i s t a C o n t e n i d o , D e c e m b e r 1 9 9 4 P. 6 6 Case, D o u g . E n g l i s h p u z z l e s 3, 1 9 9 1 .

W r i g h t , A n d r e w , 1 0 0 0 , P i c t u r e s for T e a c h e r s t o C o p y , C o l l i n s .

P- 6 7 T h e N e w Y o r k T i m e s , S u n d a y , M a y 9 1994 p . 7 1 S e v e n t e e n M a g a z i n e , A u g u s t 1 9 9 0

P- 7 2 S h a p e , M a y 1993. P- 7 3 S h a p e , M a y 1993. P- 7 7 S h a p e , M a y 1993.

P' o ^ N e w s w e e k M a g a z i n e , F e b r u a r y 11, 1 9 9 4 P- 9 4 S e v e n t e e n M a g a z i n e , F e b r u a r y 1 9 9 2 p. 102 S e v e n t e e n M a g a z i n e , F e b r u a r y 1 9 9 2 P- H O A r t n e w s , A p r i l 1 9 9 4 .

p. 111 N e w s w e e k M a g a z i n e , F e b r u a r y 11 1 9 9 4 P- 1 1 4 E l N o r t e , F e b r u a r y 14, 1 9 9 5 .

p. 1 1 7 E l N o r t e , F e b r u a i y 14, 1 9 9 5 . p. 118 B u s i n e s s l e t t e r f o r a l l . 1 9 9 1 . p. 127 E l N o r t e , F e b r u a r y 6 , 1 9 9 5 p. 1 2 8 I b i d e m .

P- 1 3 1 I b i d e m .

p. 136 N e w s w e e k M a g a z i n e , J a n u a r y 1 9 9 5 P- 138 M o r n i n g N e w s , 1 9 9 5 .

P- 139 S u p e r W o r l d Circle, D e c e m b e r 1 9 9 4 P- 147 S e a r c h - A - W o r d p u z z l e s , J u l y 1 9 9 4 p. 148 W a t c y n - J o n e s , Peter S t a r t T e s t i n g y o u r

v o c a b u l a r y , P e n g u i n , 1 9 8 2 .

P- 159 S u p e r W o r l d Circle, D e c e m b e r 1 9 9 4 P- 1 7 4 H o w a r d W i l l i a m s D e i r d r e a n d H e r d

C y n t h i a' W o r d G a m e s w i t h E n g l i s h 1 1 9 9 0 p. 178 I b i d e m .

P- 186 S h a p e M a g a z i n e , 1 9 9 3 .

UNFIT OTJUECTTIIVIES

U N I T I T H E A R T S

P r e s e n t a t i o n

T h i s c o u r s e c o n t a i n s m a t e r i a l s to h e l p you m a n t a i n p r o g r e s s in y o u r l a n g u a g e l e a r n i n g , a n d to

f i n d s o l u t i o n s t o p r o b l e m s in y o u r a c a d e m i c a n d p r o f e s s i o n a l life. It will h e l p y o u to a c q u i r e

s t r a t e g i e s a n d s k i l l s n e c e s s a r y for e x t r a c t i n g i n f o r m a t i o n f r o m t e x t s w r i t t e n in E n g l i s h .

T h e r e a r e a l o t o f p r a c t i c a l a c t i v i t i e s in w h i c h u n d e r s t a n d i n g w r i t t e n E n g l i s h is a n e c e s s i t y , a n d

p e r h a p s y o u h a v e a l r e a d y h a d e x p e r i e n c e of s o m e of t h e m .

F o r e x a m p l e :

1 U n d e r s t a n d i n g the i n s t r u c t i o n s of m o d e r n v i d e o - g a m e s , s u c h as:

S u p e r - N i n t e n d o , S e g a - G e n e s i s , p o c k e t g a m e s , etc.

2 U n d e r s t a n d i n g m a n u a l s o f P C P r o g r a m s .

3 U n d e r s t a n d i n g i n s t r u c t i o n s to install a n d u s e i m p o r t e d articles.

4 R e a d i n g the l a b e l s on i m p o r t e d p r o d u c t s .

5 U n d e r s t a n d i n g s o n g s .

T h e s e are o n l y a f e w e x a m p l e s in w h i c h w e c a n see h o w u s e f u l it is t o k n o w E n g l i s h , a n d it is

c l e a r that t h e m o s t i m p o r t a n t of all is having a c c e s s to the vast a m o u n t of i n f o r m a t i o n a v a i l a b l e

o n l y in this l a n g u a g e .

OBJECTIVES: The learner will be able to use the stated or implied information in the text in onier to infer ideas of a text and to "read between lines."

GOALS: Read a minimum of 4 texts inferring ideas from them.

Identify the use of Present Perfect Tense in at least 10 sentences. Use the Past Participle verbs in 5 sentences.

CONTENT: Inferring ideas and reading between lines. Past Participle verbs.

VOCABULARY: Verbs:

Nouns and Adjectives:

use used used sell sold sold

paint painted painted creep crept crept

work worked worked say said said

invest invested invested become became become

enjoy enjoyed enjoyed come came come

stage staged staged run ran run

play played played _go went gone

attach attached attached write wrote written

tell told told see saw seen

hang hung hung be (is/are) was/were been

have had had speak spoke spoken

make made made read read read

buy bought bought put put . put

cut cut cut

gadget marketing high-tech pot clay set

curator passerby auction fake tool tide

available masterpiece appeal grunge huge ironic superfluous handicapped goddess item

UNIT 2 S P A C E T E C H N O L O G Y

OBJECTIVES: The learner will be able to use the dictionary correctly after analyzing each part of it. GOALS: Read a minimum of 4 texts with the help of the dictionary.

Identify the Present Perfect Passive Voice in the first text and practice it in other exercises. CONTENT: Present Perfect Passive Voice structure. Dictionary Skills material.

Prefixes un- de- and suffixes -able -ize in context.

W e h o p e t h a t t h e m a t e r i a l f u l f i l l s y o u r e x p e c t a t i o n s at the s a m e t i m e o f f e r y o u n e w e x p e r i e n c e s ^ ^A BU L A R Y :

w h i c h will i n c r e a s e y o u r k n o w l e d g e a n d d e v e l o p the s t r a t e g i e s a n d skills f o r l e a r n i n g E n g l i s h . Nouns

and Verbs:

counterpart network launch support download

research measurement demythologize bring back unsurmountable

tongue skygazer d e v i c e success goal design chunk guidance

UNIT 3

M E A N D T H E M ; ' ... ... • - ....

•

-

I

OBJECTIVES: The learner will be able to identify and use exemplification expressions in order to strengthen * ^ ' " m ) l b e *blc t 0"g u e s s m e a n i ng f r o m c o n f f x' a f ! c r analyzing different structures.

s e l f - c o n f i d e n c e i n his/her ability t o understand l o n g texts in English. | GO A. LS: R e a d 4 t e x t s g u e s s i n g m e a n i n g w h e n p o s s i b l e . I d e n t i f y the P o n d i W F u t u , - . d u r e in c o n t e x t . ' *•

GOALS: Read a minimum of 3 texts. Identify and use exemplification expressions in a given text. Use

superiority and inferiority comparatives appropriately in 10 sentences. Write 2 descriptions c o n t e n t including physical or personal characteristics. Identify and name at least 10 clothing items. Write

a description of his/her personal traits

can may might would must should

CONTENT:

C o n d i t i o n a l F u t u r e s t r u c t u r e .

P r a c t i c e m a t e r i a l f o r g u e s s i n g m e a n i n g .

W r i t i n g skill and oral p r a c t i c e m a t e r i a l s ,

Main idea. Modals:

V O C A B U L A R Y :

Verbs: start wear follow make grow up publish spend hide buy enjoy describe compare Nouns: nightmare carpenter clothes male

boyfriend suspenders tuxedo female junior high high school pocket style Adjectives: attractive handsome girlish fashionable

brainy golden slim fat

call dance

try kill fight

Nouns

and

Verbs:

c h a l l e n g e a p p l i c a t i o n

p o l l u t i o n i n s t a b i l i t y

h o l d back remarle

n e i g h b o r h o o d d o u b t b e n c h m a r k h e a l t h

fate

s t r u g g l e

e n d u r e m a n a g e r

e m p l o y e e

playwright. c l a i m

s o u r c e

s c a r c i t y a g r e e

v i e w f l o o d

store c o m m i t

g r o w t h

salary lifestyle

s h o r t a g e

e m p l o y e r s h r i m p

m i s b e h a v e luck hire

g u e s s s w e e p r e a s o n

s a t i s f y

pleasant

s u r v i v a l

s p e c i a l t y c o o k

m e a n s d a m

s e w a g e

d r o u g h t

fountain

debt hint t r i p

UNIT 6

UNIT 4

LOVE

A C H I E V E M E N T S

OBJECTIVES: The learner will recognize the cause-effect relationship in a given text; identify and use ^ t Z Z t

conditional clauses (1st. conditional) and vocabulary related to love and compound words with t r c a s c h ! S / h c r d b l , l ty f o r **»»ng comprehension.

new and -made. GOALS:

GOALS: Read 2 texts. Write a love message/poem and a magazine text.

CONTENT CONTENT: Cause-effect (One reason why, as a result, as a consequence, consequently, so, since, as, because)

First conditional clauses ( I f l r m a plays, we will win this game)

VOCABULARY:

VOCABULARY: ®erbs:

Verbs: close compel kiss enclose shut love unclose feel

R e a d a m i n i m u m o f 4 texts. I d e n t i f y the m a i n ideas. U s e the a u x i l i a r y had + Past P a r t i c i p l e in

a n o r m a l c h r o n o l o g i c a l s e q u e n c e in 5 stories. P

M a i n ideas.

P a s t P e r f e c t T e n s e .

Nouns:

Compound: Expressions:

girlfriend moonlight gestures candlelight husband wishes

joy boyfriend

wife

firelight gifts

t h o u g h t

f o r g o t t e n

a n s w e r e d

realized

e n t e r e d

c o m p e t e d

w o r t h b u r d e n left true a g r e e w e n t

s h o u t o w n m a d e t o o k wrote d r o v e w a n t e d called stolen f o u n d looked got

new-born new-found self-made home-made tailor-made hand-made

blush to the roots of your hair hold hands

walk arm in arm

look into each other's eye

touns:

e d u c a t i o n l a b o r a t o r y i n s t i t u t i o n i n v o l v e m e n t c o m p e t i t i o n m a r k e t i n g

i n t e r v i e w b u i l d i n g s

p a r e n t s

e x c e l l e n c e a p p o i n t m e n t j o b s e m p l o y m e n t a c h i e v e m e n t s f i e l d s

s c h o o l t e a c h e r s e a r c h kids

class f o o d story s c h o o l

s t u d e n t c l o v e r f i r m s l u c k y

Xll

O B J E C T I V E S : T h e l e a r n e r will i d e n t i f y the m a i n ideas of a text, e x t r a c t i n g salient p o i n t s to s u m m a r i z e a text.

( • O A L S : R e a d a m i n i m u m of 4 texts.

S u m m a r i z e i n f o r m a t i o n f r o m texts and w r i t e o n e s u m m a r y .

I d e n t i f y and write 10 p a s s i v e s e n t e n c e s in P r e s e n t and Past P e r f e c t .

C O N T E N T : S u m m a r i z i n g .

P r e d i c t i o n and i n f e r e n c e .

P r e s e n t a n d Past P e r f e c t P a s s i v e . C o l l o c a t i o n .

V O C A B U L A R Y : Verbs:

Nouns: Adjectives:

d o m a k e tell s a y

b e v e r a g e f r a n c h i s e

ride d r i v e

f e l l o w s h i p beret kilt p e d d l e r

r u n - d o w n

e n t h u s i a s t i c about

d i f f e r e n t f r o m

interested in a p o p l e c t i c k e e n o n

k i n d to r o u g h

s o u r

rotten s t i c k y acrid

U N I T 8 T R E N D S

O B J E C T I V E S : T h e l e a r n e r will be able to d e t e c t the w r i t e r ' s i n t e n t i o n and attitude, and to j u d g e the c o m m u n i c a t i v e v a l u e o f a text d i s c r i m i n a t i n g b e t w e e n facts and o p i n i o n s .

G O A L S : R e a d a m i n i m u m o f 6 t e x t s to d i s t i n g u i s h facts f r o m o p i n i o n s and to u n d e r s t a n d the c o m m u n i c a t i v c

i n t e n t i o n of the a u t h o r in o r d e r to a c q u i r e a critical r e a d i n g ability. I d e n t i f y and use the structure

of used to in 5 s e n t e n c e s . D e d u c e the m e a n i n g of v o c a b u l a r y in c o n t e x t , at least in 2 texts.

C O N T E N T : P r e j u d i c e and b i a s , a n d f a c t vs o p i n i o n in texts.

E x p r e s s i n g h a b i t s (used to...) S u f f i x e s -ment, -sion, -Hon.

V O C A B U L A R Y : Verbs:

Nouns:

used to

d e t a c h m e n t a c c u r a c y

to p u n i s h

s y m p a t h y

c a s u a l t i e s

to a m u s e to s l a n t

c o n c e r n p o l i c y

c o m m i t m e n t g o s s i p

l e g a c y b i a s

IRREGULAR VERBS COMMONLY USED

liase I o r n i lici'omo begin

b e n d

b l o w

b r e a k b r i n g b u i l d

b u y

c i i i e l i e l h >< i s c c o m e c o s t d e a l d o d r a w d r i n k d r i v e e a t f a l l f e e d f e e l

fight

find f l y l o r g e t g e t g i v e

go

g r o w h a v e h e a r h i d e hit h o l d h u r t k e e p

k n o w

l e a d l e a v e let

l i e ( t o r e c l i n e )

l i e ( n o t t o tell t h e t r u t h ) l o s e

m a k e

mean

m e e t p a y p u t r e a d r i d e r i n g r i s e r u n s a y s e e s e l l s e n d s e t s h o w s h r i i l k si n g s i n k sit s l e e p s p e a k s p e n d s p i n s p l i t s p r e a d s p r i n g s t a n d s t e a l s w i m t a k e t e a c h t e l l t h i n k t h r o w u n d e r s t a n d w a k e w e a r w i n w i t h d r a w x w r i t c

Past F o r m

w ; i s b e e a m e b e g a n b e n t b l e w b r o k e b r o u g h t b u i l t

b< Might

c a u g h t c h o s e c a m e c o s t d e a l t d i d d r e w d r a n k d r o v e a l e f e l l f e d f e l t f o u g h t f o u n d H e w f o r g o t g o t g i v e w e n t g r e w h a d h e a r d h i d hit h e l d h u r t k e p t k n e w l e d

l e f t

let

l a y ( t o r e c l i n e )

l i e d ( n o t t o t e l l t h e t r u t h ) l o s t

made

m e a n t m e t p a i d p u t

r e a d ( p r o n o u n c e d " r e d " ) r o d e

r a n g r o s e r a n s a i d s a w s o l d s e n t s e t s h o w e d

s h r a n k , s h r u n k s a n g

s a n k s u n k s a t

s l e p t s p o k e s p e n t s p u n s p l i t s p r e a d

s p r a n g , s p r u n g s t o o d

s t o l e s w a m l o o k t a u g h t t o l d t h o u g h t t b r e w u n d e r s t o o d w o k e , w a k e d w o r e

w o n w i t h d r e w w r o t e

P a s t P a r t i c i p l e

b e e n b e c o m e b e g u n

bent

b l o w n b r o k e n b r o u g h t b u i l t h< n i g h t c a u g h t c h o s e n c o m e c o s t d e a l t d o n e d r a w n d r u n k d r i v e n e a t e n f a l l e n f e d f e l t f o u g h t f o u n d f l o w n

f o r g o t t e n ( B r i t i s h f o r g o t ) g o t t e n

g i v e n ( B r i t i s h g o t ) g o n e

g r o w n h a d h e a r d h i d d e n hit h e l d h u r t k e p t k n o w n l e d l e f t l e t

l a i n ( t o r e c l i n e )

l i e d ( n o t t o t e l l t h e t r u t h ) l o s t

m a d e m e a n t m e t p a i d p u t

r e a d ( p r o n o u n c e d " r e d " ) r i d d e n

r u n g r i s e n r u n s a i d s e e n

sold

s e n t

set

s h o w n , s h o w e d s h r u n k

s u n g s u n k s a t s l e p t s p o k e n s p e n t s p u n s p l i t s p r e a d s p r u n g s t o o d s t o l e n s w u m t a k e n t a u g h t t o l d t h o u g h t t h r o w n u n d e r s t o o d

w a k e n , w a k e d , w o k e w o r n

w o n w i t h d r a w n w r i t t e n •

••«is ? !•: w S i :i i Si?:*:- 5 :.• lift's?-: ft •:;: -ift*'

J1 The Arts

Time to read!(i)

Find the last names of the following famous painters:

Pablo Frida

Rafael Diego

Salvador

Julio Remedios A n d y

A _R M K P M C A R

P _I C A S S _{0 L E}

E _{V E H V A R 0 S}

N _{E G L S I 0 M 0}

A _{R A O F E N A L}

D _{A L I P A E S}

U

I _W A R H O L C B

HIGH- TECH ART MA TER!ALS

BY DAVID PYLE

P e r s o n a l digital a s s i s t a n t s , a u t o m a t i c b r e a d m a c h i n e s , e l e c t r i c n o s e - h a i r t r i m m e r s . . . . T h e tide of gadgetry in the world all a r o u n d us rages on. But we artist types c o n t i n u e to s c r a p e about with t h e s a m e b r u s h e s and p a i n t s w e ' v e u s e d f o r d e c a d e s , c e n t u r i e s e v e n . W h e r e ' s o u r g a d g i - t r o n i c p r o g r e s s ? How a r e w e to k e e p up with t h e cul-ture-at-large w i t h o u t s o m e p r e c o c i o u s contraption-ism of o u r o w n ? H e r e arc p r o d u c t s t h a t , at t h e v e r y l e a s t , will allow us to s t a k e a claim to o u r s h a r e of do-thingies and whatchamacallits.

N o w you can c r e a t e as fast a s you can think! T h e s e skintight n e o p r e n e gloves h a v e a n e s s e n t i a l a r t - m a k i n g t o o ! a t t a c h e d to each finger. A set includes: • four b r u s h e s (two on each hand) • one palette knife

• o n e utility blade (watch out!) • o n e mini tape d i s p e n s e r • one graphite lead holder • o n e charcoal holder • one fingertip color wheel

• o n e mini am I'M radio w i t h a n t e n n a ( b a t t e r i e s not included).

Also available: T h e Clip-On Wrist

Pal-e t t Pal-e . . T h e p h o n e rings. By t h e time you've

s c r a m b l e d (or a rag, wiped paint from y o u r h a n d s , a n d s n a p p e d up t h e r e -c e i v e r , t h e -caller has hung up. N e v e r again with the T e l e - b r u s h ! Just p r e s s t h e a n s w e r button on the brush f e r r u l e t o c o n n e c t w i t h a call. And w i t h t h e s p e a k e r option, t h e r e ' s no need to lift the b r u s h to your m o u t h .

Available in portable and cellular m o d e l s f o r u s e w h e n p a i n t i n g in t h e g r e a t o u t - o f - d o o r s . W h e n y o u o r d e r , d o n ' t forget to tell u s sable or tele-hog bristle.

¿ N e v e r m i s p l a c e a t u b e of p a i n t o r a b r u s h again! Just slip t h e elastic Vet-era*" band around your painting tools a n d " s t i c k - e m - a l l " t o t h e m a t c h i n g s m o c k . C a r r y your paints on t h e shoul-d e r s , your b r u s h e s at the waist. You'll be a walking art materia! arsenal!

D o n ' t f o r g e t t o a s k a b o u t t h e " S t i c k - e m - A l l " bandolier and cap! This handy, window s h a d e - s t y l e roll

at-taches to t h e t o p of any standard-size c a n v a s o r w a t e r c o l o r b l o c k . W h e n y o u ' r e painting in public, this p r o d u c t is g u a r a n t e e d t o i m p r e s s a n y n o s y p a s -serby. Quick as you can say " a w e s o m e a r t i s t s all u s e a u r e o l i n f ' pull t h e roll cover o v e r y o u r painting and —presto! — y o u ' r e w o r k i n g on a m a s t e r p i e c e for the ages! Available in your favorites: • In-progress da Vinci: Morn Lisa. • I n - p r o g r e s s M i c h a e l a n g e l o : Sistine Ceiling ( d o e s n ' t include The Last

Judg-ment).

• I n - p r o g r e s s Rodin: graphite s t u d y for

77ie Thinker.

• I n - p r o g r e s s Picasso: Les Demoiselles

d'Avignon.

During his 12 years in the art materials business, Denver-based David Pyle has seen the best and worst art-related products available.

96 THF. ARTISTS MAGAZINE T a s k 1

R e a d each paragraph as quickly as you can. T h e n match t h e m with the s u b h e a d i n g s .

Careful!

5 paragraphs, but only 4 sub-headings.

( ) TELE-BRUSH —

Tick the right completion, according to the meaning in the paragraph.

1 Something which is handy (paragraph 2) is 0 easily used. j I hardly used. 1 I difficult to use.

2 Something which is available (paragraph 2,3, 5) is j I hard to obtain. j I readily obtained. i I difficult to obtain.

An arsenal (paragraph 4) is

A set (paragraph 5) is

f I an establishment for storing w e a p o n s . { | a quantity of something on hand. i ~ 1 an English football team.

0 a package of art materials. j I a g r o u p of similar things. 1 I a part of a g a m e of tennis.

Something which is in progress (paragraph 2) is [ I unfinished. | | finished. j j difficult to finish.

D

Choose one of the painters on page 1.

Skill:

Inferring

( r e a d i n g b e t w e e n lines)

T a s k

A c c o r d i n g to t h e p a r a g r a p h s , tick t h e c o m p l e t i o n y o u t h i n k is best.

1 T h e articles are w r i t t e n in a

T h e t o n e t h e a u t h o r u s e s in t h e article is

T h e g a d g e t s d e s c r i b e d are

H i g h - T e c h art m a t e r i a l s are

All t h e s e p r o d u c t s are

L J s e r i o u s t o n e D scientific style j I h u m o r o u s w a y

Q s w e e t t J scientific j I ironic

u

utilitarian

u n e c e s s a r y O s u p e r f l u o u s

• c o m m o n p r o d u c t s n o w a d a y s t J easily f o u n d in t h i s city 1 I u n n e c e s s a r y for a g o o d artist

i 1 u s e l e s s i t e m s i I useful g a d g e t s j | i n t e r e s t i n g t o o l s

Clearing it up

T a s k 1

Look at this p h r a s e f r o m t h e text.

"... The same brushes and paints we've used for decades...

This s t a t e m e n t implies t h a t :

Y/©S5 •

n

•

_•

Artists u s e d b r u s h e s a n d p a i n t s b e f o r e n o w . Artists u s e b r u s h e s a n d p a i n t s now.

The a n s w e r t o b o t h q u e s t i o n s is yes, so... _now

< e

the past have used

Now look at t h e s e s e n t e n c e s . T h e y all d e s c r i b e activities that b e g a n in the p a s t a n d still continue.

This verb form is called the present perfect. It is formed

by using the auxiliary or and the

participle of the verb.

1 I h a v e lived in M o n t e r r e y s i n c e I w a s born.

2 I h a v e b e e n in H i g h S c h o o l for 3 s e m e s t e r s .

3 W e h a v e s t u d i e d E n g l i s h since J u n i o r H i g h .

4 B u t w e h a v e n ' t h a d a n E n g l i s h c l a s s for a y e a r .

5 M y sister h a s h e l p e d m e to k e e p practicing.

6 S h e h a s s p o k e n E n g l i s h all her life.

T a s k 2

?P™S

f

.

t h e s e s e n t e n c e s a r e n o t c o r r e c t . M a r k the w r o n g o n e s w i t h a ( j Q re-write t h e m correctly.

The earth has been in existence for millions of years. | — |

Latin has been a dead language since the decline of Rome. Q ]

Israel has been a state since 1948.

Islam have been the most important religion in the Middle East for many years. r i

Buddhism has been a major religion in the Far East for more than two thousand years. •

The Sun has was in the center of our solar system for millions and millions of years. •

Washington, D.C., hasn't been the capital of the United States since 1800. Q ]

The Red Cross have been an important international organization since 1864. i

Words at work

Ts

Add the past participles from the box to the other parts of these verbs.

use used paint painted -work -worked _ invest invested, enjoy enjoyed. stage staged play played

been crept

made worked

run said tell

hang told hung told bought _{have had}

used gone make made

painted put buy

sell

bought sold

had sold _{creep crept}

written hung say said

read come

gone staged

enjoyed played invested cut spoken become

become come run

became came ran

read read put put cut cut

go went write wrote see saw

be (is/are) was/were speak spoke

What can y o u say about the past participle form of each group of verbs?

Time to read! (2)

Answer the following questions.

The Art of Making Videos

by Mel Stabin

What do you expect this text will be about?

This text appeared in American Artist magazine on the page d e v o t e d to "Watercolor". These visuals were with the text.

T a s k

Read the text. Use information in it to complete the chart o n the next page. The phrases yoi need are mixed up o n the right of the chart.

The Art of

Making Videos

In this age of technology, videos are not only entertain-ment outlets but are valuable educational tools. Here's how you can make a semi-professional video following a few simple steps.

H O W I M A D E M Y V I D E O

A f t e r a y e a r of t h i n k i n g a b o u t m a k i n g a p r o f e s s i o n a l v i d e o on w a t e r c o l o r p a i n t i n g o n l o c a t i o n , I d e c i d e d to p r o d u c e o n e d u r i n g a w o r k s h o p 1 c o n d u c t e d o n B l o c k Island, R h o d e Island.

L u c k i l y , m y f r i e n d a n d s t u d e n t D o n T o r t o r i e l l o is a f i l m d i r e c t o r . W h e n h e o f f e r e d h i s s e r v i c e s , m y r e s p o n s e w a s i m m e d i a t e a n d e n t h u s i a s t i c . H e c o n t a c t e d a c a p a b l e p r o d u c t i o n facility in N e w Y o r k City a n d p u t t o g e t h e r a b u d g e t a n d s c h e d u l e . I r o u g h l y s k e t c h e d a s t o r y b o a r d of h o w I e n v i s i o n e d t h e v i d e o u n f o l d i n g - s p o n t a n e o u s l y b u t in a n a t u r a l , d o c u m e n t a r y s t y l e f o r m -a n d the p r o j e c t w -a s b o r n .

T h e P l a n

A f t e r s e v e r a l m e e t i n g s with the p r o d u c t i o n c o m p a n y , w e d e c i d e d to fly the v i d e o c r e w f r o m N e w York to B l o c k Island on a c h a r t e r e d p l a n e and h a v e t h e m t a p e a d a y o u t o f t h e w e e k - l o n g w o r k s h o p . U p o n arrival, D o n a n d I

- , by Mel Stabin

s c o u t e d the island for s u b j e c t matter. A l t h o u g h f i v e b e a u t i f u l spots c a u g h t o u r interest, w e settled upon the S o u t h h e a s t L i g h t h o u s e . M e a n -w h i l e , t h e -w o r k s h o p p a r t i c i p a n t s , w h o ' d all a g r e e d to b e in the v i d e o , r e s t e d b a c k a t t h e h o t e l a f t e r t r a v e l i n g o v e r by f e r r y .

Day O n e

I c o n d u c t e d the first day of t h e w o r k s h o p w i t h a d e m o n s t r a t i o n , p e r s o n a l instruction f o r the students, a n d a c l a s s c r i t i q u e of the w o r k d o n e . T h e s t u d e n t s ' spirits w e r e h i g h , c o m p l e m e n t i n g t h e n i c e w e a t h e r , a n d g o o d h u m o r w a s p l e n t i f u l . K n o w i n g that the w e a t h e r f o r e c a s t f o r t h e w e e k w a s f a v o r a b l e , D o n a n d I d e c i d e d t o b e g i n p r o d u c t i o n the f o l l o w i n g day. L a t e r t h a t e v e n i n g , o v e r d i n n e r , w e d i s c u s s e d l a s t m i n u t e c o n c e r n s a b o u t t h e v i d e o , e a s i n g m y a n x i e t i e s .

D a y T w o

A t 8 : 3 0 A . M . , the f o u r - m a n v i d e o c r e w - t w o c a m e r a m e n , a s o u n d m a n , a n d a g r i p ( t h e p e r s o n w h o h a n d l e s t h e e q u i p m e n t ) -a r r i v e d -at the S o u t h e -a s t L i g h t h o u s e . T h e c r e w , u n d e r D o n ' s d i r e c t i o n , b e g a n f i l m i n g o u r b e a u t i f u l s u r r o u n d i n g l a n d s c a p e of f l o r a , f a u n a , j a g g e d b l u f f s , a n d t h e l i g h t h o u s e in t h e d i s t a n c e .

A f t e r I a r r i v e d on location

at 10 A . M . , D o n , the c a m e r a m e n , and

I d e c i d e d the best position f o r the c a m e r a s as w e b e g a n lo choreograph w h a t I'd b e d o i n g . For s o u n d , a discrete l a v a l i e r e m i c r o p h o n e w a s clipped tu m y shirt to r e c o r d my voice o v e r th b a c k g r o u n d of wind, surf, and seagulls T h e f i l m i n g w e n t s m o o t h l y with little d i s t r a c t i o n .

B y 2 P . M . , the t a p i n g of ray i n s t r u c t i o n a l p a i n t i n g p r o c e s s was c o m p l e t e . A f t e r f i v e m o r e t a k e s of me d i s c u s s i n g t h e j o y s o f p a i n t i n g o u t d o o r s , w e b r o k e for a late lunch anc t a l k e d a b o u t t h e p o s t p r o d u c t i o n s c h e d u l e .

A r o u n d 5 P . M . , t h e crew f i l m e d the c l o s i n g s c e n e to the video a c l o s e - u p of the h a r b o r bathed in a f t e r n o o n light. S o o n a f t e r , D o n and d r o v e t h e c r e w b a c k to the airport. A f t e r f o u r m o r e w o r k s h o p - f i l l e d days, w e all f l e w h o m e .

The Postproduction Process

P o s t p r o d u c t i o n c o n s i s t s of e d i t i n g t o r e m o v e a n y e r r o r s that o c c u r r e d d u r i n g f i l m i n g . T h a n k s to a c a r e f u l l y p l a n n e d c o l l a b o r a t i v e effort, t h e v i d e o a n d a u d i o r e p r o d u c e d b e a u t i f u l l y . T h e talented crew was able to m a k e m y i n s t r u c t i o n c o m e a c r o s s as s p o n t a n e o u s a n d r e l a x e d , the way I h o p e d it w o u l d . All the v i d e o really n e e d e d to m a k e it c o m p l e t e w e r e sonic s m a l l c u t s , the a d d i t i o n of classical

a Work in small groups.

Write an advertisement to people interested in helping you to make a video. In

your ad, take into consideration these applicant characteristics: active teenagers,

summer job, hard working, able to travel, student visa.

Then, interview the interested persons. The interview should collect the following

information: age, availability, experience. You should give this information:

duration of job, filming schedule / location, payment ($!), etc.

Skill:

Inferring ideas

T a s k

Check the following Y e s or No. Underline in the text the words or sentences that help you to make your decisions.

1 It is possible to m a k e an educational video without any help.

2 Only professionals in communication c a n m a k e educational videos.

3 T o m a k e a semi-professional video y o u just point the c a m e r a a n d shoot. 4 T h e weather is not a n important consideration w h e n shooting videos outs

5 The material you shoot is the final version of the video. 6 Mel Stabin, the author, is a n imaginative, creative person.

Y e s No

CD EZ3

C=3

•

CZ3 EZ3

EZ3 c m CZ3 C D

C=J C=J

Complete the following exercise using verbs in parentheses Example:

Wajercolor painting has become (become) a recognized artwork all over the world since the

Since Thursday, the crew—

Don Tortiello always The producers

(spend) hours filming the last scene. _ (work) with highly-professional producers. (include) classical music in all their videos since they got involved in this type of work.

The director (choose) seascope locations for all his videos.

1 (w r i t e) a l 1 ^ e basic story lines since I began to work here.

Words at work

Work in teams. T a s k 1

Put these w o r d s into three groups. (Use 3 of the words as a title for each group. For example-S ^ S ^ ^ T S a r e t G X t- 'f y°U C a m 0 t f i n d S O m e o f and d o n o t understand them, ask other teams or check in a dictionary.

When you have finished, check with other t e a m s to see if you agree, and explain your reasons. watercolor

surf crew

scenery palette jagged bluffs budget

painting sketch seagulls schedule

s tory board easel production

G R O U P # 1 fíROIIP ä 0

PAINTING G R O U P # 3

Answer the following questions:

If you could, what kind of artist would you like to be?

Painter

u

_Sculptor

u

Photographer

u

Poet

•

Author

u

_Musician

u

Singer

a

_Actor

u

W h y ?

What kind of painter, musician, etc. w o u l d you be?

What would you need to do to b e c o m e this kind of artist?

What kind of things would you need for your job?

Have you heard of the s e v e n forms of art? C a n you mention t h e m ?

1 music

2 __ 3

4 5 6

7 cinema Why is "cinema" number 7?

Have you ever heard about the following artists? C a n you match these columns?

I Miguel Angel Buonarroti _Dancing

• Octavio Paz _{C i n e m a}

• Steven Spielberg _Painting

winiam bnakespeare • Pablo Picasso

Sculpture Literature

1 Wolfgang Amadeus Mozart _Music

* Rudolph Nureyev

• Theater

Time to read! (3)

Y o u have bought the magazine A R T n e w s . Here is the content page. VOLUME 93. NUMBER 4

FOUNDED 1902

APRIL 1994

F E A T U R E S

MEXICO

1 2 6 THE KAH10 CULT

Frida Kahlo, considered marginal when she died in 1954, is now a superstar and her paintings command multimillion-dollar prices. Ilow did it happen '' J U D D T U L L Y

1 3 4 MYTHS, MAGIC, GRUNGE, AND G L A M O U R

Funky artists mix with hiyh society, alternative spaces »ith commen tal ours, and yovemment with business "More artistv live off their an than ten veins ago.' 'says an observer M A R Y S C H N E I D E R E N R I Q U E ' / .

1 3 9 MEXICO'S TOP 2 5 COLLECTORS

A R T n e w s interviewed art dealers, auctioneers, an historians, art consultants, critics, and artists to compile this list ofSlexuos foremost collectors

1 4 0 "CALL IT A MID-LIFE CRISIS"

Jeopardizing his success as a Minimalist. Brice Maiden took a dramatic turn in the mid-'HOs toward a more gestural abstraction. "I don't know if I'm good." he says. "Inn I'm beginning to like the work more and more' P A U L G A R D N E R PHOTOGRAPHY

1 4 4 OUT OF THE GHETTO?

While postmodernism and digital imaging offer a way out of the "ghetto" of tradi-tional photography, those working in the modernist vein are continuing to enrich the medium' P E P E K A R M E L

1 5 0 NOT YOUR TYPICAL SOCIALLY CONCERNED PHOTOGRAPHER

Sebastido Salgado's images of workers throughout the world present a portrait of the end of the industrial age C H A R L E S H A G E N 1 5 4 THE LOVED ONES IN THE CASTLE

Since they were teenagers Franz Joseph and Hons van der Crimen have been col-lecting art. especially by Joseph Bettys. Now the collection is moving across the moat and into the castle to a museum of its own J O H N D O R N B E R G

D E P A R T M E N T S

2 7 V A S A R I

"Ftnmy, Rcally Funny": Virtual Plaees: An Artist at My Table: A Queen for Queens; The Seif Enclosed

3 3 A R T M A R K E T

Colleetors' Choices; New York: Case Ciosed. but Questions Linger; London: The Crandee and Her Chubby OatiglUer; Stock-holm: A Warnung Trend

4 1 N A T I O N

New York: A Master "Empiricist", Brook-lyn: "No, My Boy. Iis a Fete Champetre": Washington. D.C.: Sexist. Rucist. or Other-wisse Offensive. O' is for O'KeefJe: Chicago: The Cily Wasn't Going to Burn: New York: Confrontation on H)5tli Street 5 1 I N T E R N A T I O N A L

Bremen: "S'evei Look a <>ij: lh»\e in iln Shmth": Sara/evo. Tiiking ihc PUh e OJ •\rnnes: l-'lnrence: l.ites <>f the I <r\'< . y > . A'i'./j.vi<••,

ereil Raphael—Ma\lie, Berlin Ii s a U iup

7 1 S P O T L I G H T

Kinshasha Haltnau ConwUl: Against the Odds 8 1 L O O K I N G AT A R T

Francisco Goya. The Spanish Royal Family, Warts and All

1 0 1 STUDIO

Heather Hutchison • Gravity and Ligiii 1 0 9 B O O K S '

How to Get Kills to Lock at a Rembrandt 1 5 9 R E V I E W S

New York. Washington, D C.: Boston: Los Angeles: Santa Monica: Beverly Hills, San Francisco: Chicago: Santa I'e: Sewickley, Pa.: Atlanta. Philadelphia: Memphis: Zui ich: Cologne: Munich: Paris; London. Koine: Madrid. Santiago; Stockholm 1 9 0 P E R S P E C T I V E

How Dm hump Riule 'he l-.leviilris COVER: Priila '-villi (Y...v*sl Ann-. .u*i km:-.'-.

/ I s ©/<<"•i.ii. I WV'Vrc/ Crime ('.eta

Stellweg (taller , Sir's hecm. ,,tt p,r.;r I .V, _{PACE 126}

On what pages would you expect to find an answer to the following questions?

1 Are there any books on art and artists for children?

2 What is new in the art world in Mexico?

W h o ' s w h o in Mexico about art collection?

What does Frida Kahlo and w o m e n ' s liberation in the 70's have in c o m m o n ? How has a changing world been photographed?

T a s k I

Read the following text as quickly as you can a n d tick the right completion. The text is about:

• Art marketing through the selling of T-shirts, clocks, pins posters, etc.

• How a female painter has attracted a big group of followers for the last t w o decades.

• H o w l i f e a n d artistic works of an u n k o w n artist become famous all a r o u n d the world because of a bus accident. • The m e m b e r s of a religion founded by a mexican artist.

The text probably c o m e s from:

a weekly newspaper •

a specialized magazine I 1 an art book | |

A R T N E W S

jgBIITIHIWWWillH

A p r i l

IVI E X I O

THE KAHLO CULT

B Y J U D D T U L L Y

Jsrrixiaïsri ycll l U-t-fiA-jo. S n o o

^niiA yoU.

XWrCth. y J'Àj.ti.. (Ì vycacasn t •J'ijl/i

i Lililc Frida's, y0 can order a "Frida Salad radicehio. olives, avi r;u|n. and oihrr vcih.-i«

K | . . v i I !(:• n . - n V I " y

ioIk illi decor i.s basedi "(';is;i A/ul." Frida Kahlo's Iioik

ami nuisemn in M a n o Ci!\ 1'here arc postcards and T-shirts i buy, loo. "We're thinking ol stan uic a Frida Kahlo merchandism l i '111p;i!"\ vv;:h .!i• 'XOfi' ll'.linhot says co-owner Una Hoyadpan

Little Frida's is but one outpov in an amorphous merchandise empiie that grinds 0:1! T-shirts. e:n rings, aprons. <.|o< ks, [tins, calon dars. posters.. nd postcards hcarin: Kah!o\ iifiu \vf,i Id •lantous in jiys, 1:11li •> l| - pn;! rail

III addition i d lilts |m. - ! \H\ I ' l l '

m/.ed industry devoted to popul culture., a number of serious Knhl biographic-- ino\| of them pi lusely illusirated clog the shch ol' bookstores and museum shop1 Major work', ha\c lv.cn written Spanish. Hndish. ('¡eivnan. Fiem and Japanese. Thi/ie's even .1 vh dren's hiography of the artist (.«'<'

pa,i>e 109). Several high-profile

Hol-lywood figures, including Madonna have invested sizable sums in hopes of bringing Kahlo's mythic

T a s k 2 " ' - * ;

Mark these statements T (true) or F (false) according to the information of the text. Underline

the sentence (s) on which you based your answer.

1

Kahlo's self-portraits are well known all around the world.

T

•

F

•

2

Frida Kahlo's house became a museum.

•

•

3

Kahlo's biographies are written only in Spanish.

•

•

4

Many people admire Frida Kahlo.

•

•

5

Frida Kahlo was born in 1954.

•

•

6

_{Nowadays, Kahlo's worfcs are high-valued.}

•

•

7

"Casa Azul" is a Kahlo's painting.

•

•

Check your answers with a partner.

story to the silver screen.

What is it about this strikingly beautiful but tragically handicapped artist (she suffered a near-fatal bus accident! a teenager in Mexico city in which she was literally impaled on a metal pole), who eventually painted her painful and romanti life story on tin and Masonite, that has inspired a huge cult to grow up around her? How was Kahlo, who died at the ageo' 47 in 1954, transformed from the "wife of Diego Rivera" (as her brief obituary read) to the art world's version of Sylvia Plalk And how did her jewel-like paintings come to command multimillion-dollar prices?

FRIDA K A H L O , CONSIDERED A M A R G I N A L FIGURE W H E N SHE DIED IN 1954

IS NOW A SUPERSTAR. HER IMAGE A D O R N S T-SHIRTS, H O L L Y W O O D STARS

OPTION HER BIOGRAPHY, A N D HER PAINTINGS C O M M A N D MULTIMILLION

D O L L A R PRICES. HOW DID IT H A P P E N ?

Skill:

Inferring ideas

T a s k 1

Decide which inference you can make about the text and underline the information which give you the answer.

1 We can say that Little Frida's is a

EZ3 museum EZ3 hospital • restaurant • bank

at Little Frida's is

abstract glass objects

painted clay pots

pop ast paintings tubular steel furniture 2 The décoration we expect to find

• c •

• • - •

3 Frida Kahlo appeal is to

• Hispanic® exclusively

• high sodsty art-collectors

O jus? about everybody

Q movie stars a i d other artists 4 We can assume from the text that Frida's life was

EZJ rich

O easy • difficult • boring

5 When Frida died in 1954 she was

a cult figure

O an annonymous artist

Q well-known by her artistic talent

f r ^ just a housewife

Clearing it up

•••'ask l a

Look at this p h r a s e f r o m t h e text....

"... Hollywood figures, including Madonna, have invested sizeable sums..."

1 T i f t M P

• • ,s this s o m e t h i n g that b e g a n in t h e past a n d c o n t i n u e s n o w ?

C H C H D o w e k n o w w h e n M a d o n n a i n v e s t e d t h e m o n e y ?

Look! W e still h a v e t h e auxiliary v e r b f o r m have + , but the m e a n i n g is different.

T a s k l b

Read t h e s e s e n t e n c e s a n d u n d e r l i n e the v e r b s .

a) I h a v e visited F r i d a K a h l o ' s M u s e u m . I w e n t last s u m m e r .

b) I h a v e h u n g a F r i d a K a h l o ' s p o s t e r o n m y b e d r o o m wall. I put it t h e r e last w e e k .

c ) I h a v e s e e n a lot of F r i d a K a h l o ' s p a i n t i n g s . I w e n t to h e r exhibition at M a r c o last y e a r .

• Which s e n t e n c e s tell y o u w h e n t h e action h a p p e n e d ?

• The verb f o r m s in t h e s e s e n t e n c e s are in the t e n s e .

Match both columns in order to form coherent paragraphs. Work in pairs.

T a s k 3

Complete the table.

1 M a d o n n a h a s b o u g h t s o m e Kahlos.

2 Perhaps, FridaKahlo's work has been more successful in US and Europe than in Mexico.

3 Kahlo exhibitions have circled the globe, from Australia to Tokio. 4 Fakes have also crept into the market, according to several Kahlo experts.

5 Kahlos have gone m u c h higher about prices.

6 Robert Xavier Rodriguez has written an opera a b o u t the Mexican painting goddess.

Negative Interrogativ© [ I Frida: The story of Frida Kahlo staged wi!

— puppets, elaborate cutouts, and mask played at the Houston Gran Opera las June.

I I The Houston Museum of Fine Arts organize 1—1 "The World of Frida Kahlo" last summe

l/pu/ttofthey | ! have worked I .

Ho/cnc/ft ¡ H e ™ , He hasn't Has he ?

i ; O n e appeared in Houston's "World of Frio Kahlo" from a Spanish collection in 1990. I | Magda Carranza (a curator at the Centre

Cultural/Arte Contemporaneo in Mexic; City) said in 1992: "...Frida became a American invention and a marketing thing.. I I She paid one million dollars in a private salt 1 1 in 1992 for "Self-Portrait with Monkey iron

1940".

f ^ ] In May 1991, at Christies's sold to a private Mexican collector from Monterrey for the current auction record of 1.65 million.

Words at work

Write the missing words. Read carefutiy the text and try to guess which words 111

r

era mm tesi mm sum rammna ira m v a ms m

The resurrection of Kahlo „ _{in the 70's, when}

1 B work began to generate excitement m the women's

movement. In 1973, Gloria Orenstein

T a s k 2 b

Write down from each paragraph the verb u s e d (activity) and if the specific time of the activity (if stated).

>p®@Bffl!© filtai

g a pioneering articlein the Feminist Art Journal entitled "Frida Kahlo: g Painting for Miracfas." The piece was sparked by a small Kahlo S retrospective at the Museum of Modern Art in Mexico City. *Har artistic

jj — is not

c o m m e n s u r a t e v\sth stature and her jj importance," wrote Orenstesn. a teirmmt scholar. " a d d r e s s e d

g herself directly, intimately and visperaiiy to all , Vvas the I first artist ta give the aesthetic form to the drama of her I bioiogical existence."

1

i — a battiest® rages over who first raised the flag of Kahlo. jj Ramon Favela, associate professor of history at the University of I California at Santa Barbate and the author of the forthcoming The Early

I L i f e an d Times of Diego Rivera, questions the "white Europäers feminist

I 'discovery' of Frida" and "subsequent elevation of Frida to the level of I cult figure and sainthood," arguing that _ a n d I Latinos in California fomented __ _{in Kahlo's work..}

ffisa Est» e/;, ««¡as tant sua ues max tra axa mm mm CT» usa gma

Have you ever vi$it®d a museum?

What did/didnt yea Hke abouî it?

what exhibitions have you s®©n in Marco since it was opened?

How couid you "visit" museums without i&avrng your home?

Before you read th# text, "Digsmt ma®

possible. Work with your grouo. Then

Mqw?"

make a list of ideas of how this could be

the text

and

check if your ideas are included.

Have you been to Marco?

Time t o re&dil! (4)

M A Y ' S

M E W S A N D N O T E S

Edited by Bethany Tarbell

Digital Museums, Now?

u s e urns a c r o s s the c o u n t r y , at t h e u r g i n g of Microsoft chair-man Bill Gates, a r e d i g i t i z i n g t h e i r c o l l e c t i o n s , p r o d u c -ing a r t - f i l l e d l a s e r d i s k s , a n d t a l k i n g v i r t u a l r e a l i t y . T h o u g h this is one w a y to bring the past into the future, does it mean that v a n G o g h ' s s w e e p i n g p a i n t s t r o k e s a r e d e s t i n e d to b r e a k d o w n into dinky, winking pixels?

T h e c u r r e n t t e c h n o l o g i c a l landscape at the Whitney Muse-um of American Art includes Ed-v a r d H o p p e r ' s c a t a l o g u e rai-s o n n é on a f i v e - i n c h c o m p a c t disk (which can store the equiva-lent of 330,000 pages of printed text). "The information is updat-able a n d k e p t f r e s h so scholars can track paintings," says

muse-um d i r e c t o r D a v i d R o s s , al-though traditionalists can still

leal t h r o u g h an i n k o n -paper version. Also on the

electronic d r a w i n g board is the p a y - p e r - v i e w con-cept, w h a t Ross calls the Virtual Reality W i n g . A b a n k of d i g i t a l i m a g e s w o u l d be a v a i l a b l e f o r people "tocall up at home."

At t h e A r t I n s t i t u t e of Chicago, an interactive laser disk can spew out electronic images of 2 5 0 p a i n t i n g s a c c o m p a n i e d by poems and music. Director J a m e s W o o d says, " I t ' s an a t t e m p t to c r e a t e the u l t i m a t e visit to the m u s e u m . " A v a i l a b l e in the g i f t

s h o p , t h e $ 8 0 With Open Eyej d i s k

allows visitors to touch a comput-er s c r e e n ( o r click a m o u s e a t home) for details of a painting.

By 1995 the National Called-in W a s h i n g t o n , D.C., h o p e s to build a Micro Gallery, where vis-itors would engage in an interac-tive v i d e o . R u s t y P o w e l l , t h e m u s e u m ' s director, says visitors would be able to get "depth in-formation, more than they would bibliographically." Already avail-able is a $99.95 laser disk filled with the m u s e u m ' s 2,600 Ameri-can paintings and s c u l p t u r e .

T a s k I

Read the text as quickly as you can, and tick the right completion. 1 The article is about:

I I new technology I I different museums I I pay per view information \ I new computers on the market I I computer museums

I I art collections reproduced on interactive software 2 The text probably c o m e s from:

| | a monthly magazine | — j a book

I I an encyclopaedia 3 The author of the text is:

I I Bethany Tarbell • Peter Deeg

4 S o m e art critics state that the original artwork is becoming: I I less interesting

I I more interesting U 3 more valuable

T a s k 2

Match the m u s e u m names to the descriptions.

1 Art Institute of Chicago. f This museum expects to build a Micro Gallery 2 Whitney Museum of American Art. | | This museum has the pay-per-view concept.

National Gallery. | | This museum has interactive laser disk with images and paintings.

O Work in groups. Read the example notices of museums in California and

New York. Write a notice giving information about a museum in Monterrey.

S H O W S & E X H I B I T I O N S

C A L I F O R N I A

LA J O L L A - 1 4 T H A N N U A L LA J O L L A A N T I Q U E S S H O W & S A L E , M A Y 20, 21, & 2 2 , 1 9 9 4 . A d m i s -sion-$6.00. F r i d a y 12-8 p.m., S a t u r d a y

11 a.m - 7 p . m . civ' S u n d a y l l a . m . - 5 p . m . La J o l l a H i g h S c h o o l , 7 6 0 N a u t i l u s Street, La «.Jolla, C A . F i n e a n t i q u e s p r e sented in d e c o r a t e d r o o m s e t t i n g s . O p e n -ing d a y l e c t u r e / p r e v i e w & C o n t i n e n t a l breakfast, F r i d a y , M a y 2 0 t h 9 : 0 0 a . m . $25.00. " T h e E n d l e s s H u n t : A n I n s i d e r ' s View of C o l l e c t i n g a n d D e c o r a t i n g w i t h Antiaues" b y B a r b a r a M i l o O h r b a c h , noted a u t h o r of b o o k s a b o u t d e c o r a t i n g , N e w Y o r k . F o r i n f o r m a t i o n o r t i c k e t s call ( 6 1 9 ) 4 5 4 0 7 1 5 o r 4 5 7 1 9 0 0 . B e n efits the La J o l l a H i g h S c h o o l S c h o l a r -ship F o u n d a t i o n a n d T h e F o u n d a t i o n of I-a J o l l a H i g h S c h o o l . D u r i n g S h o w Hours ( 6 1 9 ) 4 5 4 - 3 0 8 5 o r 4 5 4 - 3 0 8 7 .

N E W Y O R K

N E W Y O R K N E W Y O R K A R -! \ \ O R Y A N T I Q U I C S S H O W M a y 4-8, S e v e n t h Regiment A r m o r y a t 6 7 t h Street a n d P a r k A v e n u e . W e d n e s d a y : 4 to 9 p m ; T h u r s d a y - S a t u r d a y : n o o n t o 9 p m : S u n d a y : n o o n t o 6 p m . Admission S 10.00. 100 d e a l e r s f r o m U . S . , C a n a d a a n d F r a n c e f e a t u r i n g C o n t i n e n t a l . A m e r i c a n a n d English 1 8 t h a n d 19th c e n t u r y f u r n i -t u r e a n d accessories, silver, j e w e l r y , r u g s , r a r e b o o k s , p a i n t i n g s a n d m o r e . . . s o m e t h i n g for every'one. " Q u a l i t y a n t i q u e s at a f f o r d a b l e prices." W e n d y

M a n a g e m e n t . F o r f u r t h e r i n f o r m a t i o n : ( 9 1 4 ) 6 9 8 - 3 4 4 2 .

Monterrey

Clearing it up

/ . a s k

C o m p l e t e t h e s p a c e s with t h e a p p r o p r i a t e f o r m of have a n d t h e v e r b s in p a r e n t h e s e s .

Museums (increase) the amount of information they store every year.

and artwork copies not (reduce) the number of people who want to see the originals.

Although culture critics (say) that museums will be empty on

weekends, traditional museums (become) more interesting since new digital disks appeared. In Monterrey, we know that thousands of people

(visit) Marco each season.

Words at work

T a s k

Fill in t h e m i s s i n g w o r d s using t h e p a s t participle of t h e verbs.

Present Past Participle

hear heard

write wrote

forget forgot

find found

spend spent

buy bought

win won

bring brought

eat ate

II Follow t h e s e instructions:

a ) With a partner, make a list of all the m o d e s of transport that y o u know b ) N o w decide which one is the fastest, the slowest, the most expensive a n d the c h e a p e s t

2 Space Technology

Time t o read!

(1)

WHAT WAS THE WORLD LIKE?

W e have b e c o m e u s e d t o all t y p e s of m o d e r n d e v i c e s w h i c h make life easier for us such as cellular phones, computers, satellite dishes. But, how did our g r a n d parents visualize their w o r l d ? Let's look at s o m e n e w s published many years ago:

APRIL 1919

A n e x p r e s s train c o u l d t r a v e l the 2 4 0 , 0 0 0 - m i l e distance to the m o o n in six months, but the E a r t h ' s gravitational force presents an unsurmountable obstacle to lunar travel. H u g e guns, sky rockets, dynamite, nitroglycerine and T N T have all been rejected as possible w a y s to generate the 4 1 4 , 0 0 0 horsepower required to fly to the moon.

C O M M E N T : P e r h a p s y o u k n o w that the Apollo 11 rocket w h i c h carried the first m e n to the m o o n in 1969 w a s p o w e r e d by a c o m b i n a t i o n of l i q u i d o x y g e n , l i q u i d h y d r o g e n a n d kerosene. In m o d e r n times, you and all your friends of the s a m e age know that:

Jupiter has been photographed.

The pictures have been sent back to Earth. They have been studied exhaustively.

30

2 Space Technology

Time t o read!

(1)

Write the numbers 1 to 5 in the p a r e n t h e s e s according to the chronological order of when these means of transportation were first used by man.

II Follow these instructions:

a ) With a partner, make a list of all the modes of transport that you know b) Now decide which one is the fastest, the slowest, the most expensive and the cheapest