Thematische Bibliographien / An exhibition on Ontario Artists

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Auswahl der wissenschaftlichen Literatur zum Thema „An exhibition on Ontario Artists“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 29. Juli 2025

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Zeitschriftenartikel zum Thema "An exhibition on Ontario Artists"

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Authors and Artists, Multiple. "Soft Walls." ti< 10, no. 1 (2021): 2–8. http://dx.doi.org/10.26522/ti.v10i1.2748.

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Catalogue of art exhibition Soft Walls at City Hall, St. Catharines, Ontario.&#x0D; Artists and authors from the Centre for Studies in Arts and Culture (STAC) and the Department of Visual Arts (VISA), Marilyn I. Walker School of Fine and Performing Arts, Brock University.
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Davies, Robertson, Richard Courtney, and Alexander Leggatt. "The Stage is All the World: The Theatrical Designs of Tanya Moiseiwitsch, Shakespeare’s World of War: The Early Histories, Shakespeare’s World of Love: The Middle Comedies." Canadian Theatre Review 84 (September 1995): 77–79. http://dx.doi.org/10.3138/ctr.84.014.

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The Stage is All the World is the catalogue of an exhibition of the stage designs of Tanya Moiseiwitsch that toured North America in 1994 and 1995. It includes drawings and photographs representing all periods of her career (including her work at Stratford, Ontario, whose famous thrust stage she designed), essays on her life and art by a variety of authors, and selections from interviews with the artist herself. This material allow us to reflect on not just a distinguished career but a whole philosophy of theatre.
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Grace, Claire, and Kevin Lotery. "Artists Design Exhibitions: Introduction." October 150 (October 2014): 3–8. http://dx.doi.org/10.1162/octo_a_00197.

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In the first half of the twentieth century, exhibition design served a central and multivalent function: As spaces of the public sphere, exhibitions offered sites for aesthetic experimentation, for the confrontation with new technologies, and for the dissemination of propaganda materials. Rather than elaborating a medium per se, artists who turned to exhibition design sought tactical, site-specific—even project-specific—interventions in the pressing questions of their present, and they did so by positioning their work within the terms, materials, and technologies then active. One need only con
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Lee, Soo-jin, and Kwang-yun Wohn. "The Media-Art Exhibition TenYearsAfter_v4.0_OuterSpace." Leonardo 41, no. 5 (2008): 454–59. http://dx.doi.org/10.1162/leon.2008.41.5.454.

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TenYearsAfter is an annual media art exhibition based in Korea, begun in 2003, organized by Kwang-yun Wohn and curator Mira Kim to facilitate collaboration among engineers, scientists, artists and designers. Unlike other major media-art exhibitions, TenYearsAfter has included artworks by mainstream media artists, independent experiments, and products and research results by artists and non-artists alike. The fourth exhibition in this series, TenYearsAfter_v4.0_OuterSpace, organized by the authors, was held in 2006. This article elaborates on the process of organizing this event and contemplate
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Tsukamoto, Eri, and Eri Tsukamoto. "A Reflection on the Artists and Academics Exhibition." Exchanges: The Interdisciplinary Research Journal 4, no. 2 (2017): 227–31. http://dx.doi.org/10.31273/eirj.v4i2.159.

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On 26 November 2016, the Artists and Academics Exhibition was held at Fargo Village in Coventry. The Exhibition was a collaborative project between seventeen PhD researchers from the University of Warwick and seventeen local artists, in which each artist created a piece inspired by a research idea. The Exhibition fostered active conversation between artists, academics and the general public, thereby encouraging all participants to talk about academic works in an informal setting and to explore new ideas and perspectives. Collaborative projects like the Exhibition thus benefit all who participa
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Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition." American Behavioral Scientist 65, no. 1 (2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.

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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of art
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Grussani, Linda, Rachel E. Smith, Garance Nyssen, et al. "Exhibition Reviews." Museum Worlds 12, no. 1 (2024): 241–60. https://doi.org/10.3167/armw.2024.120118.

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In 2022, the MacKenzie Art Gallery in Regina, Saskatchewan, Canada, organized and launched the ground-breaking exhibition Radical Stitch, North America's largest ever beadwork exhibition to feature contemporary First Nations, Métis, Inuit, and Native American artists. The exhibition, which has been awarded the 2024 Canadian Museums Association/Association des Musées Canadiens Award of Outstanding Achievement, is curated by an esteemed Indigenous curatorial team comprising Sherry Farrell Racette (University of Regina), Cathy Mattes (University of Winnipeg), and Michelle LaVallee (National Galle
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Raharjo, Timbul, Suastiwi Triatmodjo, and Yulriawan Dafri. "“Guyub Trisno” Fine Art Exhibition: Donation and Recovery of The COVID-19 Pandemic." Devotion Journal of Community Service 4, no. 3 (2023): 803–12. http://dx.doi.org/10.36418/devotion.v4i3.439.

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A pandemic is like a mirror that shows us the realities of life (Teng &amp; Margaret, 2020). This fact of life is the importance of doing for humanity as did the artists of Trisno Guyub’s members. They initiated a joint exhibition for donations and recovery from the Covid-19 pandemic. This exhibition was attended by 118 artists and exhibited around 200 works of art, paintings and sculptures. The first purpose is an effort to share and the second is so that artists can fulfill their artistic expression. This study uses a qualitative method in the form of an explanation of the pandemic condition
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Mantas, Kathy, and Carole Roy. "Virtual Art Exhibition." Canadian Journal for the Study of Adult Education 32, no. 2 (2020): 165–90. http://dx.doi.org/10.56105/cjsae.v32i2.5622.

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This virtual art exhibition showcases artwork from twenty two artists/artist scholars, and is featured in this special issue entitled, Learning and Teaching Artful Narratives of Transformation of the Canadian Journal for the Study of Adult Education ( a first for this journal This exhibit is meant to complement and further discussions on the textured, colourful multi layered and complex theme of learning, teaching and transformation, defined broadly. We would like to thank everyone who submitted artwork for consideration and our external jurors for their time and expertise As well, we are grat
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Harling, R. "Exhibition: Artists for Medecins du Monde." BMJ 318, no. 7197 (1999): 1562. http://dx.doi.org/10.1136/bmj.318.7197.1562.

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Dissertationen zum Thema "An exhibition on Ontario Artists"

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Cavagnaro, Loretta Maureen. "Eva Hesse in exhibition : contexts and categories /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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Fernández, López Olga. "Dissenting exhibitions by artists (1968-1998) : reframing Marxist exhibition legacy." Thesis, Royal College of Art, 2011. http://researchonline.rca.ac.uk/1346/.

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The goal of this thesis is to look at the critical and dissenting value of exhibitions through the examination of four cases studies, based on six exhibitions taking place between 1968 and 1998 in Latin and North America. The exhibitions belong to the history of modern and contemporary exhibitions and curating, a field of research and study that has only started to be written about in the last two decades. This investigation contributes to it, in its creation of new genealogies by connecting previously overlooked antecedents, or by proposing new relations within established lineages, at the in
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Stefanis, Constantine. "Artists in retrospect : the rise and rise of the retrospective exhibition." Thesis, Birkbeck (University of London), 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.595314.

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This thesis explores the emergence and development of the single-artist retrospective exhibition in eighteenth and nineteenth century Europe. The retrospective is understood as the presentation of a considerable body of works by an artist spanning an extensive period of his or her production so as to represent a career. The first such exhibition, I argue, occurred in London in 1775 by the Royal Academician Nathaniel Hone. This exhibition is juxtaposed to one that happened in Paris in 1783 at the Salon de la Correspondance, organised by Pahin de La Blancherie in honour of the works of the paint
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Dalal-Clayton, Anjalie. "Coming into view : black British artists and exhibition cultures 1976-2010." Thesis, Liverpool John Moores University, 2015. http://researchonline.ljmu.ac.uk/4356/.

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This study unites the burgeoning academic field of exhibition histories and the critiques of race-based exhibition practices that crystallised in Britain in the 1980s and 1990s. It concerns recent practices of presenting and contextualising black creativity in British publicly funded art museums and galleries that are part of a broader attempt to increase the diversity of histories and perspectives represented in public art collections and exhibitions. The research focuses on three concurrent 2010 exhibitions that aimed to offer a non-hegemonic reading of black creativity through the use of no
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Lauritis, Beth Anne. "Lucy Lippard and the provisional exhibition intersections of conceptual art and feminism, 1970-1980 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1925733141&sid=11&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Girak, Susan. "forget me not: An exhibition –and– Creative Reuse: How rescued materials transformed my A/r/tographic practice: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1618.

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This thesis, comprising of a written exegesis, solo exhibition and an artist book, emerged from research undertaken by an artist-researcher-teacher. For that reason, a/r/tography was the overarching methodology used, incorporating a bricolage of methods to address a multifaceted study undertaken in two settings: a primary school classroom and an artist’s studio. A/r/tography is a multilayered interdisciplinary Arts education research methodology that correlates well with my expertise as a primary Visual Arts specialist. The methodology allowed me to immerse myself in both teaching and the artm
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Mwendo, Nilima Z. "Passionate visions of the American South: self-taught artists from 1940 to the present: an Arts Administration internship at the New Orleans Museum of Art." ScholarWorks@UNO, 1995. http://scholarworks.uno.edu/aa_rpts/54.

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This paper demonstrates the overall success of bringing non-traditional audiences to a New Orleans Museum of Art (NOMA) exhibition, "Passionate Visions of the American South: Self-Taught Artists from 1940 to the Present." It also highlights the success of some of its public programs. However, the process of attracting these audiences to the museum falls short in its attempts at developing long-term relationships with NOMA. The first chapter provides historical background on NOMA and offers an overview of the "Passionate Visions" project. Chapter Two describes, in relative detail, the project'
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Moréteau, Constance. "L'artiste et la lecture : le livre dans les installations et dispositifs d'exposition de 1960 à nos jours." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100147.

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Cette thèse pose la question de la place du livre dans l’expérience de la lecture dans le musée quand dans la seconde moitié des années 1960 tout l’art, tel qu’il est redéfini par les artistes conceptuels, est à lire. Dans les années 1960 et 1970, puis de nouveau au tournant des années 1990-2000, les espaces de lecture se multiplientAlors que l’emploi du livre par les artistes conceptuels s’inscrit dans une quête de démocratisation de l’art, qui serait désormais diffusé hors du musée, le livre dans le musée semble poser le problème d’une relation apparemment contradictoire entre la nature repr
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Guéhenneux, Lise. "Une scène des années 1990 autour de la revue Blocnotes : une plate-forme d'échanges : entretiens entre artistes et critiques d'art." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0522.

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Notre étude veut apporter des précisions historiques sur la scène artistique des années 1990 à partir d’un travail de critique d’art. Nous interrogeant sur la place de ce type d’écriture dans un contexte qui médiatise largement une crise de l’art contemporain dans l’espace public, nous examinons comment la remise en question de la modernité est propice à la création de trois nouvelles revues Documents sur l’art contemporain, Blocnotes et Purple Prose. La recherche nous porte à examiner les structures existantes dans lesquelles évoluent les différents acteurs du monde de l’art qui vont accueill
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Yeh, Chia-Chi, and 葉佳琪. "THE RELATION BETWEEN THE EXHIBITION SPACE OF CONTEMPORARY ART AND THE CAREER DEVELOPMENT OF NEW GENERATION ARTISTS IN TAIWAN." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/55190624653083840068.

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碩士<br>元智大學<br>藝術管理研究所<br>96<br>Exhibition space connecting artists and the art field is one of the main intermediaries of contemporary visual art. As the germination of contemporary art in the 1980s of Taiwan, the changing art environment has enhanced both the quality and quantity of exhibition space, which not only increases the chance for new generation artists to cut a fine figure, but also influences upon their career development either directly or indirectly. Through the conception of Capital, Struggle and Power in Pierre Bourdieu’s theory and other related theories including Distribution
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Bücher zum Thema "An exhibition on Ontario Artists"

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Algimantas, Kezys, ed. Lithuanian Art '88: Exhibition by Lithuanian artists living in the West, Toronto, Ontario, 1988. Lithuanian-American Fine Arts Association, 1988.

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Artists, Ontario Society of, ed. Catalogue of Department of Fine Arts: Under the management of the Ontario Society of Artists. The Exhibition?, 1995.

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Artists, Ontario Society of, and Royal Canadian Academy of Arts., eds. Catalogue of the joint exhibition of the Royal Canadian Academy of Arts and of the Ontario Society of Artists, opening April the fourth, 1918. Art Museum of Toronto, 1995.

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Geden, Dennis. Dennis Geden: From the height of land : a touring exhibition of the paintings of Ontario artist Dennis Geden, organized and circulated by White Water Gallery, 114 Main Street East, North Bay, Ontario P1B 1A8, Canada. White Water Gallery, 2001.

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Parke-Taylor, Michael. André Masson inside/outside surrealism: Prints and illustrated books from the Gotlieb collection. Art Gallery of Ontario, 2001.

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1854-1925, Mavor James, Kurtz Charles M. 1855-1909, and Ontario Society of Artists, eds. Catalogue of pictures by the Glasgow painters: Exhibition held under the auspices of the Toronto Art Museum and the Ontario Society of Artists open from April 20th to May 15th, 1906, at the art galleries, 165 King St. West. s.n., 1995.

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Rashtriya Lalit Kala Kendra, Lucknow., ed. Working artists exhibition. Rashtriya Lalit Kala Kendra, 2001.

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Southern Artists Exhibition (5th 1994 Cork). Southern Artists Exhibition. [Cork Arts Society], 1994.

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Mutu, Wangechi, and Art Gallery of Ontario, eds. Wangechi Mutu: This you call civilization? Art Gallery of Ontario, 2010.

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Interstate, Exchange Exhibition of Art (2000 Jaipur India). Exhibition works of Karnataka artists. Karnataka Lalithakala Academy, 2000.

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Buchteile zum Thema "An exhibition on Ontario Artists"

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Schranz, Christine. "Works/Artists in the Exhibition." In Shifts in Mapping. transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839460412-015.

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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "‘Notabilia of the International Exhibition: Artists’ Colours’." In Victorian Material Culture. Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-12.

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Cho, Hyunjoo, and Adeena Mey. "Printing Cinema? Printed Matter, Exhibition, and Film in Rosa Barba’s Work." In Experimental Film and Artists’ Moving Image. Springer Nature Switzerland, 2025. https://doi.org/10.1007/978-3-031-77896-4_30.

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Whitehead, Jessica L. "The Business of ‘Wholesome Entertainment’: The Mascioli Film Circuit of Northeastern Ontario." In Rural Cinema Exhibition and Audiences in a Global Context. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66344-9_4.

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Shahab, Palvasha. "The Land of Mourning: A Conversation with Adeela Suleman." In Interdisciplinary Studies in Human Rights. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73835-8_7.

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AbstractAdeela Suleman is a globally celebrated artist and sculptor. She was front and centre of the artists’ response to the Ali Enterprises Factory Fire of 2012. Under her leadership, the Vasl Artists’ Association sent out a call for submissions to artists across Pakistan and the overwhelming response was curated in the form of the exhibition titled: ‘Awaaz Baldia Factory Inferno: Artists Respond’ which was hosted by the Arts Council of Pakistan in February 2013. Her monument dedicated to those who lost their lives in the fire was also part of the one year anniversary of the fire has been pl
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Papoulias, Evangelos, and Theoklis-Petros Zounis. "Artists and the University Heritage: The Case of the Athens University History Museum and the Exhibition “Opy Zouni: In First Person”." In Strategic Innovative Marketing and Tourism. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-51038-0_88.

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AbstractThe university museums protect, conserve and present the cultural heritage related to education. The paper presents the initiative of the Athens University History Museum of the National and Kapodistrian University of Athens (NKUA), a university museum that organizes for the first time in a university space a temporary exhibition dedicated to Opy Zouni, a painter with international recognition in the contemporary art of geometric abstraction. The exhibition “Opy Zouni: in first person” presented selected works by Opy Zouni with the main purpose of attributing the artistic dimension of
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Page, Joanna. "6. Taxidermy and Natural History Dioramas." In Decolonial Ecologies. Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0339.06.

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This chapter explores works that engage with the art and science of taxidermy and the construction of dioramas for museums of the late nineteenth and twentieth centuries. While many artists have rejected taxidermy, given its association with cruelty toward animals, some have reclaimed the practice with the purpose of drawing attention to histories of animal objectification or rethinking human/animal relations. Recent recourses to taxidermy among Latin American artists have provided an opportunity to question of the exhibition practices of natural history museums, while exploring alternative wa
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"ONTARIO:." In Artists Activating Sustainability. Anthem Press, 2022. http://dx.doi.org/10.2307/j.ctv307fgw6.9.

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"Artists Represented in the Exhibition." In Art of the Gold Rush. University of California Press, 2019. http://dx.doi.org/10.1525/9780520935150-017.

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"Works/Artists in the Exhibition." In Shifts in Mapping. transcript Verlag, 2021. http://dx.doi.org/10.1515/9783839460412-015.

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Konferenzberichte zum Thema "An exhibition on Ontario Artists"

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Svansson, Einar. "THE BEAUTY OF GARBAGE_ART OF PHOTOGRAPHY MEETS ENVIRONMENTALISM." In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscah.2024/vs10.21.

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Artists and university professors face an increasingly complex environment. There is access to abundance of information and the AI revolution helps everyone to deliver more detailed and structured knowledge. This is an opportunity to try new methods and novel combinations in the artistic and learning processes and use more diverse ideas and methods. We want to highlight the development in recent years in our personal life in Iceland in the use of photography in this context. It all started in the Covid-19 pandemic crisis with lockout and exile at home. The parents of the university professor f
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Kendal, Maureen, Caitriona McAllister, and Jacob Deakin. "Dolls’ House Artists’ Installation: A-Maze artists collective exhibition at the APT Gallery, Deptford, London, October 2023." In Proceedings of EVA London 2024. BCS Learning & Development, 2024. http://dx.doi.org/10.14236/ewic/eva2024.33.

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Pei Wu, Yi, and Chien-Hsu Chen. "Design a Visual Communication Platform for curators and artists to curate an exhibition remotely." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002034.

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Art is an expression of emotion; art exhibitions bring artists' creations and perceptions to the visitors. International art exhibitions present diverse and high-quality artistic creations through the curator's elaborate exhibition planning, and the connection between artworks and visitors is established to allow visitors to admire and understand; on the contrary, it also challenges the digital communication tools for curators and artists when conducting co-curation remotely. This study utilizes interviews and field study to collect pain points and ultimately provides guidelines and crucial fu
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Nosenko, A. І., and D. О. Velichko. "«Playing» and «not playing» collage: exhibition projects of Odessa artists." In THE INFLUENCE OF CULTURE AND ART ON THE VALUE ORIENTATIONS OF CIVILIZATION IN WAR AND POST-WAR TIMES. Baltija Publishing, 2022. http://dx.doi.org/10.30525/978-9934-26-237-1-25.

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Nikiforovs, Juris. "Works of Latvian Medallists in Fidem Congress Exhibition in Florence." In 82nd International Scientific Conference of the University of Latvia. University of Latvia Press, 2024. http://dx.doi.org/10.22364/htqe.2024.37.

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Medal is a miniature to be held. As an art form medal has evolved from being decorative to purely modernistic in a sense of creative expression. Many of Latvian medallists have a long experience in the field of medal art, working as sculptors and educators. Some artists have joined the Latvian Medal club recently. Latvian national section of medal art was represented in FIDEM (International Medal Art Federation) XXXVII Congress exhibition in Biblioteca Nazionale Centrale in Florence 2023 with 25 works by 15 artists of a living generation. Sculptural styles of the exhibited art medals of Latvia
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Cox, L., M. Jorgensen, M. Zhdanov, D. Pitcher, and J. Niemi. "Inversion of Airborne Data for Three-Dimensional Conductivity, Chargeability, and Magnetic Properties Models in Wawa, Ontario, Canada." In 83rd EAGE Annual Conference & Exhibition. European Association of Geoscientists & Engineers, 2022. http://dx.doi.org/10.3997/2214-4609.202210294.

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Stebakov, M. S. "MODERNIST EXHIBITION SPACES EXEMPLIFIED IN THE INTERIORS BY EL LISSITZKY AND THE DE STIJL ARTISTS." In ЦВЕТ В ПРОСТРАНСТВЕННЫХ ИСКУССТВАХ И ДИЗАЙНЕ. Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604868850_418.

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Куралесова, Н. В., and З. А. Ленденская-Большакова. "EXHIBITION PROJECT “BASKET AS ART” OF THE SAINT PETERSBURG TEXTILE ARTISTS GUILD (22.04.22–19.06.22, SAINT PETERSBURG)." In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.16.

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В 2022 г. состоялся выставочный проект Гильдии Текстильщиков Санкт-Петербурга «Корзина как искусство» в рамках Международного фестиваля художественного текстиля. Целью проекта стало исследование корзиноплетения с древнейших времен и до наших дней, выявление точек соприкосновения с ткачеством, трансформация традиционных форм корзины в художественное произведение декоративно-прикладного искусства. В рамках проекта состоялся конкурс «Корзина как искусство», анализ результатов которого представлен в статье. In 2022, the “Basket as Art” exhibition project by the St. Petersburg Textile Artists Guild
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Фролова, М. К., and Т. В. Ковалева. "AN ART WORKSHOP AS AN EXHIBITION SPACE." In Месмахеровские чтения — 2025. Crossref, 2025. https://doi.org/10.54874/9785605245896.2025.11.28.

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В настоящей статье рассматриваются интерьеры мастерских преподавателей и выпускников Санкт-Петербургской государственной художественно-промышленной академии имени А. Л. Штиглица: Л. А. Бейбутяна, Н. Н. Цветковой, И. И. Овсянникова. Интерьеры современных художественных мастерских могут использоваться не только как рабочее, но и как выставочное пространство. Процесс создания художественных произведений вызывает большой интерес, поэтому в настоящее время появились выставки, посвященные мастерским художников. This article examines the workshop interiors of the of teachers and graduates of Saint Pe
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Qi, Jingkun. "The Phenomenon of Chinese Female Print Artists’ Creative Activities in the 13th National Exhibition of Fine Arts." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.076.

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Berichte der Organisationen zum Thema "An exhibition on Ontario Artists"

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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The w
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Angel, Félix, and Cristina Rossi. Latin American Artists of Italian Descent. Inter-American Development Bank, 2011. http://dx.doi.org/10.18235/0006441.

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This catalogue belongs to the exhibit that celebrates the 150th Anniversary of Italy's Unification. The exhibition includes a selection of art works by Latin American artists of Italian descent that constitutes a symbolic yet significant exploration of the Italian cultural presence and its influence in Latin America. Among the artists included are: Héctor Borla, Sergio Camporeale, Ricardo Crivelli, Eduardo Medici, Emilio Pettoruti, and Rogelio Polesello (Argentina), Lyria Palombini (Brazil), Roberto Sebastián Matta (Chile), Umberto Giangrandi (Colombia), Francisco Amighetti (Costa Rica), Javie
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Sequeira, Dora María, Ileana Alvarado V., and Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured wi
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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations
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Schacht, Kayley, Deidre Gonçalves, Aaron Schmidt, and Adam Smith. A History and Analysis of the WPA Exhibit of Black Art at the Fort Huachuca Mountain View Officers’ Club, 1943–1946. Engineer Research and Development Center (U.S.), 2023. http://dx.doi.org/10.21079/11681/47184.

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The 1943 art exhibition at the Mountain View Officers’ Club (MVOC), Fort Huachuca, Arizona should be considered one of the most significant events in the intersection of American art, military history, and segregation. Organizers of the event, entitled Exhibition of the Work of 37 Negro Artists, anticipated it would boost soldiers’ morale because Fort Huachuca was a predominately Black duty station during WWII. This report provides a brief history of Black art in the early 20th century, biographies of the artists showcased, and provides information (where known) about repositories that have or
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Näslund-Hadley, Emma. An Equal Start: Numeracy Education in Latin America and the Caribbean. Inter-American Development Bank, 2010. http://dx.doi.org/10.18235/0005962.

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This art exhibit, held at IDB's headquarters on June 7-11, 2010, embodies the hope and aspiration that all students will gain a level of numeracy essential for successful participation in school, work and everyday life. The artworks on exhibit were selected from over 250 pieces submitted by artists representing nineteen Latin American and Caribbean countries. The exhibition constitutes the visual launch of a new IDB effort focused on implementing policies that help children reach their full potential in mathematics and natural science.
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Robertson, Kirsty, Sarah E. K. Smith, Heather Anderson, and Sandra Dyck, eds. The Air of the Now and Gone. Carleton University Art Gallery, 2025. https://doi.org/10.5206/qdxl8623.

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This publication accompanies the 2025 exhibition The Air of the Now and Gone, curated by Kirsty Robertson and Sarah E.K. Smith. They ask: in the face of the “wicked problem” of climate change, which precludes easy solutions, how can we move forward? How can we address a crisis that prompts apathy and disconnect? In their introductory essay, Robertson and Smith discuss the works of the artists, who refuse detachment and simultaneously complicate idealism. Like the artists, the curators seek to encourage diverse responses to the realities of climate change, moving beyond apathy and despair to en
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Удріс, Ірина Миколаївна, and Наталя Сергіївна Удріс-Бородавко. Design of the Franco-Belgian Exhibition Poster of the 1890-s in the Context of the Art Nouveau Style Formation. КНУКіМ, 2019. http://dx.doi.org/10.31812/123456789/5087.

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The purpose of the article is to determine the artistic and graphic peculiarities of the Franco-Belgian exhibition poster of the 1890s in the context of the formation of the Art Nouveau style. The research methodology of the work is based on the use of traditional art methods: historical and cultural, reconstructive and model, historical and attributive, which contributed to the revealing of artistic and graphic transformations in the field of Franco-Belgian spectacular poster. The scientific novelty of the article lies in the author’s artistic interpretation of the stylistic manner of the cre
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Discover Haiti Exhibition. Inter-American Development Bank, 2012. http://dx.doi.org/10.18235/0005976.

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The Inter-American Development Bank's Cultural Center will host on June 11-27 Discover Haiti, an exhibit of handcrafts from the Urban Zen Foundation's Haitian Artisan Project and pieces from the Nomad Two Worlds collaborative arts project. Discover Haiti is being organized jointly by the IDB Cultural Center, renowned designer Donna Karan's Urban Zen Foundation and Nomad Two Worlds, a foundation established by acclaimed Australian photographer Russell James to promote artists from indigenous and marginal communities.
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Contemporary Jamaican Artists: A Jamaican Presence in the ABOUT CHANGE Exhibition. Inter-American Development Bank, 2011. http://dx.doi.org/10.18235/0005963.

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Contemporary Jamaican Artists is part of ABOUT CHANGE, a project implemented by the World Bank Art Program in cooperation with the Inter-American Development Bank Cultural Center, and the Art Museum of the Americas of the Organization of American States (OAS). This initiative comprises a series of exhibitions representing Latin America and the Caribbean that are being held in various venues in Washington during 2011.
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