Relevant bibliographies by topics / Alfond Collection of Contemporary Art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Alfond Collection of Contemporary Art'

Author: Grafiati
Published: 13 December 2022
Last updated: 27 January 2023

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Journal articles on the topic "Alfond Collection of Contemporary Art"

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Seidel, Anna. "‘The Revival of the Medal’." Journal of the History of Collections 32, no. 2 (April 1, 2019): 303–12. http://dx.doi.org/10.1093/jhc/fhz013.

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Abstract Alfred Lichtwark (1852–1914) was the first director (1886–1914) of the Hamburger Kunsthalle. At his personal instigation, a sculpture collection was founded. Focusing on contemporary sculpture, he became a pioneer in the museum world. Lichtwark aimed at introducing sculpture to a wider public: he considered contemporary medals and plaquettes to be the most suitable material for his purpose, and consequently he initiated the sculpture collection in 1891 by assembling ‘sculptures en miniature’ from Paris. In his practice he probed questions of the medals’ art historical context, as well as processes of making and display. When Lichtwark published his book on the revival of the medal – Die Wiedererweckung der Medaille – in 1897, his engagement and expertise in the field were already widely respected. While he is well known as an innovative museum director, his role as collector of contemporary sculpture has not been sufficiently appreciated. This paper suggests a re-evaluation of his achievements.
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Anna, Mallek. "Pedagogika muzealna. Cele, idea, kierunek rozwoju i zastosowanie w praktyce na przykładzie „lekcji muzealnej” w polskim muzeum historycznym." Problemy Wczesnej Edukacji 28, no. 1 (March 31, 2015): 114–27. http://dx.doi.org/10.5604/01.3001.0008.5676.

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Museum education is a subdiscipline of Pedagogy which has been changing rapidly during the current century. The beginning of such education was inevitably related to the origin of the museum. The richest royal men as kings, princes and priests set up their own individual collections which were displayed only to chosen people. The fi rst museums are claimed to have existed during the Italian Renaissance, for instance Pope Sixtus IV hired Michaelangelo Buonarrotti to create a special place for ancient collections. During the French Revolution it was believed that art had got an unique ability to rehabilitate those members of society who suffered from alcoholism and other kinds of pathology. The Louvre was opened to the public in 1793 and, since that time, art collections have started to be organised in special exhibition form. At the end of the 19th century two German art historians and educationists Alfred Lichtwark and Georg Kerchensteiner started to form a special educational programme for children and young people, concerning the museum collection. In the history of Pedagogy they are claimed to be the forerunners of museum education which has been developing into one of the most infl uential and potential kinds of cultural education in the 21st century. Among history studies, I would like to present museum education in the context of one selected Polish historical museum and then analyze and interpret the ‘museum lesson’ in comparison with contemporary movements in museology and critical, progressive pedagogy.
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Belting, Hans. "The Museum of Modern Art and the History of Modernism." Nka Journal of Contemporary African Art 2020, no. 46 (May 1, 2020): 100–114. http://dx.doi.org/10.1215/10757163-8308222.

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Right from its opening in 1929, the Museum of Modern Art (MoMA) recreated modern art as a new myth that was rescued from European history and thus became accessible as an independent value for an American audience. Paradoxically, the myth stemmed from the opinion that modern art’s history seemed to have expired in pre-war Europe. Upon MoMA’s completion of a major expansion project in 2004, there was considerable anticipation about how the museum would represent its own history and raise its profile in a new century. As it turned out, the museum opted for a surprisingly retrospective look, since its curators were tempted to exhibit its own collection, so unique up until the sixties, in the new exhibition halls. This launched a dilemma for MoMA, as it became a place for past art with little space for new art. In an in-depth analysis of what constitutes “modern” art in the context of the preeminent questions circulating in the art world during this time—When was modern art? and Where was modern art?—the author presents a focused chronology of the administration of MoMA under the museum’s first director, Alfred Hamilton Barr Jr. (1929–43), and, later, William Rubin, director of the Department of Painting and Sculpture (1968–88), with regard to their influence on the museum’s mission, exhibitions, and international profile. The author concludes with commentary on contemporary changes in art geography and contemplation on the effect on artists of the emergence of a global art market.
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Bristowe, A. "CONTEMPORARY SOUTH AFRICAN ART: THE GENCOR COLLECTION." Nka Journal of Contemporary African Art 1998, no. 8 (March 1, 1998): 64. http://dx.doi.org/10.1215/10757163-8-1-64.

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Abdallah, Monia. "Stories of Continuity. Contemporary Art and Collection of Islamic Art." Revista VIS: Revista do Programa de Pós-Graduação em Arte 16, no. 1 (June 26, 2017): 8–21. http://dx.doi.org/10.26512/vis.v16i1.20454.

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Nos últimos trinta anos, o Islã, entendido como civilização islâmica, tem sido, em vários sentidos, crescentemente associado à noção de arte contemporânea. Por exemplo, muitos grandes museus no mundo incluem, em suas coleções de arte islâmica histórica, trabalhos pertencentes a suas coleções de arte contemporânea originárias do Oriente Médio. Essa associação entre artecontemporânea e arte islâmica levou à noção de Arte Islâmica Contemporânea, que se baseia na ideia de permanência da arte islâmica. Assim, a arte islâmica pode ser vista como um “umanacronismo de uma arte medieval que nunca morreu” (Amy Goldin) e recebe a atribuição de um caráter trans-histórico: arte, produzida hoje em países muçulmanos ou por artistas ligados ao Islã por seus lugares de nascimento ou por ascendência, é compreendida como prolongamento da arte islâmica hoje. Essa interpretação também funda-se na ideia de permanência da civilização islâmica e em uma concepção ahistórica do tempo. Esse artigo analisará essa concepção alternativa de periodização da arte islâmica estudando o caso do British Museum erelacionando-a ao discurso de vários historiadores e autores não-ocidentais. O tema em questão vai além do campo da arte: esse renascimento da arte islâmica é um meio de estabelecer,através da arte, a continuidade cultural da civilização islâmica.
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Danowitz, Erica Swenson. "Art Magazine Collection Archive." Charleston Advisor 23, no. 3 (January 1, 2022): 5–9. http://dx.doi.org/10.5260/chara.23.3.5.

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This resource provides full-text access to the digital archives of three significant art publications, ARTnews, Art in America, and The Magazine ANTIQUES. The 3,950 issues found in this database appear in digital format in their entirety as originally published. This database also includes the original advertisements found in these periodicals. These advertisements have been indexed and are searchable. This archive provides an extensive chronicle of art collecting, fine arts, art history, interior design, decorative arts, folk art, antiquing, and architecture in the twentieth and early twenty-first century. It also supports the study and research of the contemporary art movements of the twentieth century, the history of collecting, and the history of the art market.
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Agthe, Johanna. "Religion in Contemporary East African Art." Journal of Religion in Africa 24, no. 1-4 (1994): 375–88. http://dx.doi.org/10.1163/157006694x00219.

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AbstractThis article describes three aspects of religious art in East Africa: firstly it examines the artists' personal attitude to and motivation by the Christian religion; secondly, it looks at Christian and Bible subjects in their paintings; and lastly it considers traditional religion and the newer independent churches as motifs. It draws on interviews with artists, their works in the collection of the Frankfurt Museum für Völkerkunde and a recent unpublished diploma study by Alois Krammer. 1
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Frankel, David. "Africa hoy: Obras de la Contemporary African Art Collection." African Arts 25, no. 4 (October 1992): 34. http://dx.doi.org/10.2307/3336964.

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Kember, Pamela, Chantal Wong, Claire Hsu, and Hammad Nasar. "Asia Art Archive." Art Libraries Journal 39, no. 2 (2014): 5–9. http://dx.doi.org/10.1017/s0307472200018241.

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Asia Art Archive was established in 2000 in Hong Kong to document and secure the multiple recent histories of contemporary art in the region. Built through a systematic programme of research and information gathering, it is widely regarded as one of the world’s leading public collections of primary and secondary source material about contemporary art in Asia, comprising hundreds of thousands of physical and digital items, searchable via its online catalogue. A growing selection of digitised material is now also available in the Collection Online.
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Wood, Jiyeon. "SOAS Library: Chinese art and archaeology collection." Art Libraries Journal 39, no. 2 (2014): 27–32. http://dx.doi.org/10.1017/s0307472200018289.

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Chinese art has always been well-represented within SOAS Library. This article provides an overview of the Chinese art and archaeology collection, highlighting materials that make it unique, from rare books to literati paintings and woodblock prints. As the Library approaches its centenary, some of the issues that have influenced its past, such as limitations of space, are still informing its future. With increasing attention paid to modern and contemporary Chinese art, efforts have been made to build the collection to reflect this emphasis. As it has throughout SOAS’s history, the Library and the Chinese art and archeology collection continue to evolve to reflect new research interests, academic courses and the needs of its users.
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Dissertations / Theses on the topic "Alfond Collection of Contemporary Art"

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Davila, Victor. "THE ILLUSION OF ART: MY AMALGAMATION OF ILLUSTRATION AND CONTEMPORARY ART." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3753.

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Drawing on archetypical aspects of human characteristics and personalities, I create images that illustrate our connection to memory, media, and culture. My work is informed by pop culture, including television, movies, cartoons and comic books as it relates to characters in our own physical world and society. The grid is used to represent both childhood games and the frames of a comic strip, where each panel equals an exact moment of time.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Berry, Jessica, and n/a. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art." Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.151934.

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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.
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Brod, Heather Christine. "Colorist art, contemporary Russian art, and Neue Slowenische Kunst in the collection of Neil K. Rector." Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1210265694.

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Sanders, Sophie. "SPIRITED PATTERN AND DECORATION IN CONTEMPORARY BLACK ATLANTIC ART." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/238756.

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Art History
Ph.D.
This dissertation investigates aesthetics of African design and decoration in the work of major contemporary artists of African descent who address heritage, history, and life experience. My project focuses on the work of three representative contemporary artists, African American artists Kehinde Wiley and Nick Cave, and Ghanaian artist El Anatsui. Their work represents practices and tendencies among a much broader group of painters and sculptors who employ elaborate textures and designs to express drama and emotion throughout the Black Atlantic world. I argue that extensive patterning, embellishment, and ornamentation are employed by many contemporary artists of African descent as a strategy for reinterpreting the art historical canon and addressing critical social issues, such as war, devastation of the earth's environment, and lack of essential resources for survival in many parts of the world. Many artworks also present historical revisions that reflect the experience of Black peoples who were brought to the Americas through the transatlantic slave trade, lived under colonial rule, or witnessed aspects of post-colonial struggle. The disorderliness of intersecting designs could also symbolize gaps in memory and traumas that will not heal. They reflect the manner in which Black Atlantic peoples have pieced together ancestral histories from a patchwork of sources. Polyrhythmic decoration enables their work to act as vessels of experience, allowing viewers to bring together multiple histories and social references.
Temple University--Theses
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Blair, Katherine. "The Role of Contemporary Artists and Mathematics in the Art Classroom." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/697.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf
Bachelors
Education
Art Education
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Delacruz, Phillip S. "EXPLORATIONS & REDEFINITIONS OF NEW MEDIA AESTHETIC CONCEPTS IN CONTEMPORARY ART CULTURE." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3043.

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My thesis pursues the exploration, invention, and redefinition of the role of Aesthetics through artistic practices of 3d digital graphics, 2d print, video, and sculpture. Aesthetic research altruistically generates visual installations informed by utopian idealism, science and technology centric culture, pop culture iconography, art history, international contemporary art and design.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Gurney, Kim Janette. "The mattering of African contemporary art: value and valuation from the studio to the collection." Thesis, Faculty of Science, 2019. http://hdl.handle.net/11427/30380.

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This interdisciplinary research bridging geography and fine art (‘geo-aesthetics’) follows contemporary artwork journeys from the studio into the public domain to discover how notions of value shift as the artwork travels. It seeks transfigurative nodes and their catalysts to explore how art matters: firstly how it becomes matter in the studio, and then how it comes to matter beyond the studio door. Two case studies at key moments of revaluation, a buy-out and a buy-in, both reveal responses to uncertainty that stress different kinds of collectivity. The first case study follows artistic practice and process in four studios in a Johannesburg atelier to investigate intrinsic value and finds ‘artistic thinking’. The second case study follows the assemblage of a private art collection managed from Cape Town, initially as an art fund, to investigate extrinsic valuation and finds ‘structural thinking’. These different modalities in the production and consumption circuitry of the artworld have unexpected correlations including shared artists and three linking concepts, namely, uncertainty, mobility, and the web. These in turn inform three observations: nested capacity, derivative value, and art as a public good. Two key findings emerge: contemporary art is itself a vector of value that performs meaning as it moves; and public interest is a central characteristic from which other valuations flow. The research uses repeat interviews, site visits and visual methods, which are triangulated with artwork trajectories to surface linkages between space and imagination. It offers a performative theory of value that speaks to an expanded new materialism. Applying an ecological framework allows a final transfiguration for an artworld ecosystem that (re)values contemporary art as part of an undercommons.
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Ebner, Bonnie. "MANY TELLING MOMENTS:THE ESSENCE OF FRAGMENTED IMAGE CULTURE." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3376.

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My purpose in entering the UCF MFA program was to further explore and develop my passion for photography. During my time in the program, I developed my methodology--from having the traditional photography paradigm ingrained in my mind (and wanting to fit into it) to accepting and valuing my own unique process. I construct installations using diverse imagery and non-traditional presentation. In my installations, one may witness a reflection of the contemporary pace of image perception--fragmented, complex, abundant, and disordered. Together, images and their arrangements are used to create a unified piece that satisfies a new system within apparent disorder. The resulting installations summon the sensation of thinking and processing information in a new way, allowing for re-contextualization of fragmented imagery. Technology has pushed photography to evolve. Previously held traditional notions of photography as art (e.g., "single telling moment" photographs and similar subject matter) are now being confronted by a vernacular of "many telling moments". The current state of the art world is in flux, and is greatly influenced by the faster pace set by technology; I coin our new vernacular Image Culture.
M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Zoller, Ian J. "The Paintings of Jeff Koons: 1994 - 2008." Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/70251.

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Art History
M.A.
"The Paintings of Jeff Koons: 1994 - 2008" is an in depth look at the painting of an artist who is still primarily known for his sculptural work of the 1980's. This thesis examines Koons' paintings in light of his previous work and looks at his studio practices, sources, connection to Photorealism, Surrealism, and Duchamp, etc. The thesis contends that a greater understanding and appreciation for Koons' paintings is necessary in order to grasp the importance of his entire oeuvre.
Temple University--Theses
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Carroll, Michael Jeffrey. "Preserving Queer Legacies in Archives and Art." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/582084.

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Art History
M.A.
Queer artists have engaged archives throughout modern and contemporary American art, but art historical discourse of their work has centered the writing of Jacques Derrida and Michel Foucault to theorize these spaces without considering archival scholarship. This text takes up Gabriel Martinez’s Archive series as a case study to critique archival selection theory and better understand how prejudice has affected the preservation of queer folx’s collections. Martinez’s series is situated amongst other Western artworks that center archival records and queer themes throughout the last century. This section places his artwork in dialogue with other artists for whom the archive is the subject of their artwork. The artworks detailed exemplify the multiplicity of ways that queer folx critique and interpret the histories preserved in these institutions. Following this survey of art is an analysis of how archival records are selected for preservation and the inherent subjectivity of this task. Pedagogical writing on archival selection by Frank Boles, Richard Cox, and James O’Toole are consulted to better understand how archivists working in the field are taught to handle this type of work. Most of their writing is focused on traditional archives and fails to articulate the challenges facing counterarchives, spaces formed to compensate for the erasure of queer persons in traditional institutions. This review of archival scholarship ends with a critique of how queer counterarchives have fallen short of their inclusive aims. The final section of this text is dedicated to a close study of Martinez’s Archive series. His photographs document the Harry R. Eberlin photograph collection and the John J. Wilcox, Jr. Archives in Philadelphia. The historical context of the Eberlin collection and the founding of its host repository are presented in conjunction with Archive series because Martinez’s compositions are inseparable from these histories. Philadelphia queer culture in the 1970s and 1980s is revealed through the retelling of these histories and by examining who was visualized in the images themselves. These images of bars and events simultaneously reveal the gender and racial disparity of patronage within these spaces and exemplify long-standing tensions in the city’s queer spaces. Lastly, this text posits a practice called “pseudo-processing” where artists document and preserve facsimiles of archival records to question the divisions of archival labor from that of an artist performing comparable tasks.
Temple University--Theses
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Books on the topic "Alfond Collection of Contemporary Art"

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Amy, Galpin, and Goodman Abigail Ross, eds. Fractured narratives: A strategy to engage. Winter Park, FL: George D. and Harriet W. Cornell Fine Arts Museum, Rollins College, 2014.

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Methodist Ladies' College (Kew, Vic.). Contemporary art collection 2009: Methodist Ladies' College Contemporary Art Collection. Melbourne: Bounce Books, 2009.

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Sotheby, Parke-Bernet, London. Post war and contemporary art: Including the property from the collection of the late Alfred Otto Mueller, Cologne ... : day of sale, Thursday 3rd December 1987 ... . London: Sotheby's, 1987.

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1956-, Segal Monica M., and Pruzan Jared, eds. Contemporary realism: The Seavest collection. Portland, OR: Collectors Press, 2007.

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Anthony, Bond, and Tunnicliffe Wayne, eds. Contemporary: Art Gallery of New South Wales contemporary collection. Sydney, Australia: Art Gallery of New South Wales, 2006.

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Islam, Syed Manzoorul. Bangladesh art: Collection of contemporary paintings. Dhaka: Society for Promotion of Bangladesh Art, 2003.

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Newman, Eva. Multiples: Contemporary prints from the Glenbow collection. Calgary: Glenbow Museum, 1987.

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Taragin, Davira Spiro. Contemporary crafts and the Saxe collection. Edited by Brite Jane Fassett, Neff Terry Ann R, and Toledo Museum of Art. New York: Hudson Hills Press, 1993.

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Koh, Germaine. Prototype: Contemporary art from Joe Friday's collection. Ottawa, ON: Carleton University Art Gallery, 2004.

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Lambiotte, Maurice. Céramique contemporaine: Collection Maurice Lambiotte = Contemporary pottery. Paris: Norma, 2007.

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Book chapters on the topic "Alfond Collection of Contemporary Art"

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Fernandes, Ana Margarida, and Isabele Lavado. "Design Artisan and Art: Development of a Textile Collection in Contemporary Fashion." In Advances in Industrial Design, 754–60. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51194-4_98.

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Herruzo, Ana, and Nikita Pashenkov. "Collection to Creation: Playfully Interpreting the Classics with Contemporary Tools." In Proceedings of the 2020 DigitalFUTURES, 199–207. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4400-6_19.

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AbstractThis paper details an experimental project developed in an academic and pedagogical environment, aiming to bring together visual arts and computer science coursework in the creation of an interactive installation for a live event at The J. Paul Getty Museum. The result incorporates interactive visuals based on the user’s movements and facial expressions, accompanied by synthetic texts generated using machine learning algorithms trained on the museum’s art collection. Special focus is paid to how advances in computing such as Deep Learning and Natural Language Processing can contribute to deeper engagement with users and add new layers of interactivity.
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Kiliszek, Joanna. "Living Simulacrum." In Cultural Inquiry, 219–29. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_22.

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The Neoplastic Room at the Muzeum Sztuki in Łódź was originally designed in 1948 by the avant-garde artist Władysław Strzemiński. Destroyed in 1950 and reconstructed in 1960, it became the focal point of the museum, with the ‘International Collection of Modern Art’ by the a.r. group being exhibited there. At the same time, it became a point of reference for contemporary artists and a strategy for building a permanent collection for the museum, as well as a reflection on how the past can give a vision of the future. This essay focuses on the gesture of ‘re-curating’ the Neoplastic Room in relation to the performative practice of the artists involved (e.g., Daniel Buren, Elżbieta Jabłońska).
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Burns, Maureen, and Andreas Knab. "Instant Architecture: Hosted Access to the Archivision Research Library with Built-In Image Management & Presentation Tools." In Proceedings e report, 150–57. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.38.

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The Archivision Research Library is a collection of 100,000 digital images of art and architecture professionally photographed by a trained architect. It documents the built environment--from ancient monuments to cutting-edge contemporary constructions--with extensive, standardized descriptive metadata. Archivision is accessible for research and teaching through a web-based application--a dedicated hosted instance of MDID--with vrcHost LLC delivering full services and technical support: installation, integration, and maintenance. This combination provides not only instant access to Archivision, but also to sophisticated tools for managing images using an open source media management system to discover, aggregate, study, and present digital media.
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Tager, Sharon, and Adina Kamien. "Loaded Lead: Anselm Kiefer in the Collection of the Israel Museum." In Lead in Modern and Contemporary Art. Bloomsbury Visual Arts, 2021. http://dx.doi.org/10.5040/9781350196476.ch-011a.

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Tali, Margaret. "The Ludwig Collection in Budapest and the Absent Eastern Europe." In Absence and Difficult Knowledge in Contemporary Art Museums, 82–95. Routledge, 2017. http://dx.doi.org/10.4324/9781315114118-4.

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Freund, Whitney, Brenda Coble Lindsey, and Kevin Tan. "Evidence-Based Practice, Data Collection, and Progress Monitoring." In The Art of Becoming Indispensable, 118–25. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197585160.003.0012.

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This chapter discusses how school social workers can apply evidence-based practice to help meet the academic, social, and emotional needs of all children. Evidence-based practice broadly refers to two different approaches: infusing research and data use into school social work and applying empirically supported interventions in practice. The chapter details how school social workers can find and use effective evidence-based interventions. The process of implementing evidence-based interventions includes a cyclical process of assessing students’ needs, selecting the interventions, and monitoring progress by collecting data. Examples of interventions at tiers 1, 2, and 3 are presented, along with case examples that illustrate how school social workers have been successful at implementing these interventions. The chapter concludes with a discussion of the application of evidence-based practice as it relates to contemporary challenges with the COVID-19 pandemic and diversity, inclusion, and equity concerns in educational contexts.
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Gerber, Elizabeth. "The Los Angeles County Museum of Art at Charles White Elementary School." In Advances in Media, Entertainment, and the Arts, 97–115. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1727-6.ch006.

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Since 2007 the Los Angeles County Museum of Art (LACMA) has presented exhibitions and related programs at Charles White Elementary School's gallery. These exhibitions present artworks from the museum's collection in innovative ways, support contemporary artists in the creation of new work, and allow LACMA to develop and expand its engagement with audiences in the MacArthur Park neighborhood of Los Angeles. This unique and unprecedented partnership with students, teachers, families, and community members supports learning goals and strengthens community. Ultimately, the exhibition program shares the museum's collection, creates new and dynamic works of art, engages with audiences, builds community, and educates—in the broadest possible sense—allowing for deeper and more sustained levels of engagement.
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Quinn, Darren, Liming Chen, and Maurice Mulvenna. "Contemporary Gold Rush or Scientific Advancement." In Recent Advances in Ambient Intelligence and Context-Aware Computing, 210–26. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-7284-0.ch013.

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Following the expansion and mass adoption of Online Social Networks, the impact upon the domain of Social Network Analysis has been a rapid evolution in terms of approach, developing sophisticated methods to capture and understand individual and community interactions. This chapter provides a comprehensive review, examining state-of-the-art Social Network Analysis research and practices, highlighting key trends within the domain. In section 1, the authors examine the growing awareness concerning data as a marketable and scientific commodity. Section 2 reviews the context of Online Social Networking, highlighting key approaches for analysing Online Social Networks. In section 3, they consider modelling motivations of networks, discussing models in line with tie formation approaches. Section 4 outlines data collection approaches along with common structural properties observed in related literature. The authors discuss future directions and emerging approaches, notably semantic social networks and social interaction analysis before conclusions are provided.
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Ferholt, Beth, Monica Nilsson, Anders Jansson, and Karin Alnervik. "Creativity in Education." In Contemporary Approaches to Activity Theory, 264–84. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-6603-0.ch016.

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The goal of this chapter is to respond to the scarcity of literature on creativity that is relevant both to CHAT and in the field of education. The authors explore Vygotsky's writings on creativity, imagination, art, and play in relation to three Swedish preschool projects that practice a pedagogy of exploratory learning. Also included are discussions of imagination versus realistic thinking, syncretism in children's creative work, and play as a creative activity. Because this study was a formative intervention, the pedagogy of exploratory learning became significant in the analysis. The bulk of the chapter consists of thick descriptions of the projects and discussion of aspects of creativity as they appear in the projects. The data was collected by teachers and a research team that consisted of the authors of this chapter. Data collection in the three projects took place before the intervention took place, during the initial phases of the intervention, and after the intervention had become an annual theme for the preschools. The research was initially guided solely by a cultural historical understanding of creativity, while the analysis brought CHAT into dialogue with postmodern writings that are related to exploratory learning.
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Conference papers on the topic "Alfond Collection of Contemporary Art"

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Hofer, Nina. "Spatial Paradigms in the Travel Park: Sowing the Programmatic Field." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.10.

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This paper attempts to provide a model for meaning by reading the overlay as potential in a banal – if not bizarre – contemporary project: a Chinese theme park in Orlando Florida. Proposed to prospective visitors as “Authentic” it is in fact an extraordinary collision of temporally and culturally distant spatial concepts and building practices. This paper uses an experimental ‘witnessing7 of the park to lay out a series of spacio-conceptual models for travel as power. These range from looking at the theme park as a Chinese propaganda tool, through Bachelard’s concepts of miniaturization and collection, empirical (Chinese) versus theoretical (American) standards for life safety, spatial strategies of 1 lth century Dream Journey Scrolls, and Feng Shui (the art of Placement) The changing nature of architectural practice instigates a movement from building representations of singular architectural ideas to the constructions of more complex ‘programmatic fields.’ We need neither despise nor formally caricature the polyglot programmatic shifts and collisions of our time. This paper takes a hopeful stance, maintaining that the overlay of resonant paradigms provides an opportunity not realized, perhaps, in the existing construction.
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Ásványi, Katalin, Zsuzsanna Fehér, and Melinda Jászberényi. "THE CRITERIA FRAMEWORK FOR SUSTAINABLE MUSEUM DEVELOPMENT." In Tourism in Southern and Eastern Europe 2021: ToSEE – Smart, Experience, Excellence & ToFEEL – Feelings, Excitement, Education, Leisure. University of Rijeka, Faculty of Tourism and Hospitality Management, 2021. http://dx.doi.org/10.20867/tosee.06.3.

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Purpose –The purpose of this study is to identify the criteria for sustainable museums found in reference literature and specified in our research, and to suggest guidelines for museums to follow. Methodology –In our primary research, the criteria for a sustainable museum were interpreted along four pillars, for which in-depth expert interviews were conducted with Hungarian museum professionals. Semi-structured interviews were used to explore the viewpoints, expectations, and perceptions of museum staff. Findings – In terms of environmental sustainability, Hungarian contemporary museums place less emphasis on making the museum building itself more sustainable. However, it is worthwhile for institutions that have long-term plans to become more and more eco-friendly. The issue of economic sustainability is the most problematic for Hungarian museums, which can be greatly improved with an active support community that helps museums either through volunteer work or financially. From a social point of view, one of the most important tasks of museums is to ensure equal opportunities, to reach the widest possible range of people, which is facilitated if the museum can function as a community space that adequately involves museum visitors and if it continuously strengthens its role in education. In terms of cultural sustainability, the responsibilities of museums are collection management, maintaining quality, and artistic vitality. Contribution – We conceptualize and provide a framework for sustainable museums. Through our research, we have contributed to broadening the theoretical background of sustainable museums from the perspective of contemporary art museums.
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Elias, Larissa, and Maria Luisa Garrido. "The conception of “fashion-sculpture” in Rei Kawakubo’s costumes for the choreography “Scenario”(1997)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.118.

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“The Rei Kawakubo's fashion-sculpture” is an ongoing Master's project, developed at the Postgraduate Program in Visual Design at the Federal University of Rio de Janeiro. The research is centered on the study of the costumes (and its relationship with movements and spatiality) created by the japanese fashion designer Rei Kawakubo for the dance performance “Scenario” (1997), by the american dancer and choreographer Merce Cunningham (1919-2009). The costumes were adapted from the spring-summer Collection “Body meets dress, dress meets body”, designed by Rei and launched by her brand Comme des Garçons in 1997. Rei Kawakubo is appointed as one of the most important conceptualist fashion designers of contemporary. Visionary, avant-garde, timeless, are some of the adjectives attributed to her. Her work is also called anti-fashion. Through a series of visual deconstructions, her creations address – directly or indirectly – themes such as feminism and gender identity. The “Body meets dress, dress meets body” Collection and the costumes of “Scenario” invest in an aesthetic that explores unusual possibilities of relationships between body and dress; an aesthetic which aims to deform the forms. At play, ideas that problematize the conventional contours and movements of the body: disproportionate volumes, silhouette misalignments, inversions of perspective, asymmetries, automatism, blurring of boundaries between body and dress, dress as an object. In this arena the suggestion of the notion of “fashion-sculpture” is born. A notion that is intended to be formulated from the work and for the understanding of the work. The investigation is developed from case study methodologies combined with a process of practical experimentation, which takes place simultaneously in the fields of art and design. In the scope of theoretical reflections it is proposed an approximation with the understanding of sculpture as a compound of sensations according to the Deleuze and Guattari conception in the essay “Percept, affect and concept”. The research seeks to establish a connexion between the sculptural compositions produced by the body-costume ensemble in Cunningham's choreography and the symbolic image of a stone sculpture that is at the origin of the concept of Über-Marionette designed by Gordon Craig. Finally, we try to think about possible relationships between the shapes of the costumes and some characteristic aspects of the grotesque body, such as ambivalences, oppositions, irregularities, described by Mikhail Bakhtin in his concept of grotesque realism. The costumes of the “Scenario” dance performance – in which the highlighted aspects can be observed exemplarily – are a strong expression of the idea of “fashion-sculpture”. In this communication, fragments of the show will be presented. In them, it can be seen that the alignment of the dancers, in pairs or trios, reconfigures in the space the volume composed of body and dress. The clothes created by Kawakubo for the Collection proposed the redesign of the body. This proposal is radicalized in the choreography: with the movement of the body-dress set in space, distortions and ambiguities are intensified. Theatricality is introduced and dramatic sculptural compositions are formed. With the theatrical game, the object function of the garment is also evidenced.
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Bin Guo, Fang, Bingyu Wu, Matthew Wah, Zaili Yang, Eddie Blanco-Davis, Abdul Khalique, and Alan Bury. "Towards An Ergonomic Interface In Ship Bridges: Identification of The Design Criteria." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001609.

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Despite the current effort on ship design associated with hull structure, navigational and propulsion, equipment design inadequacy still causes approximately one-third of all maritime accidents [1]. Human-centred design (HCD) can minimise human errors through maritime service design [2]. The core of HCD is to enhance the usability of products/systems and maximise user’s satisfaction. The Human-centred maritime design (HCMD) applies the HCD method in ship bridge design, and enhances OOW performance in vessel operation. Service design is categorised as a sub-category of industrial design [3], a specification and construction process to deliver valuable capacities for actions of a particular user [4]. Contemporary industrial designers increasingly produce concepts/solutions for services rather than physical products [5], which is expected to work across disciplines and understand users, technologies, and business [3]. Taking account of the five vital parts of service design: actors (seafarers), locations (ship bridge), props (interfaces), associates (vessel manufacturers), and processes (operation workflows) [6] in the maritime service industry, a new HCMD will help designers to identify problems, iterate design concepts, and address all dimensions of user’s issues. VR and 3D Game Engine technologies provide an alternative approach for designers to present their design concepts. They enable prototyping and testing (data collection) works to be undertaken easily and with low cost; this was especially significant when the practice of NPD (new product development) took place during the Covid-19 pandemic. Human factors/ergonomics (HF/E) has been adopted in current ship design [2]. The application of physical ergonomics has benefitted the modernisation of ship design to improve seafarers’ workplace conditions. Cognitive ergonomics particularly helps in the user interface design (UI) to reduce seafarers’ cognitive workload. Organisational ergonomics, however, will affect the workflow structure of vessel operations to relieve the pressure on seafarers during the decision-making process [2]. A recently funded project has been undertaken by a multidisciplinary team, seeking a design solution to improve seafarers’ performance reliability at sea. The principles/criteria of maritime service design were developed based on the study of a) human/operator needs; b) the state-of-the-art technologies to improve the seafarer’s work environment; and c) the user experience (UX) in vessel operation. A combination of engineering and design research methods were employed: a systematic review to clarify/address the above research questions; and the field study to investigate current/future requirements of ship bridge design; to map the behavioural human-machine interaction (HMI) and further to develop the design criteria/drivers for the ideation of an ergonomic interface. The NASA-TLX (task load index) assessment method will be used in the validation phase (future work) to assess if the design solution reduced participants’ cognitive workload and enhanced their vessel operation performance. This paper explores the project conducted so far and offers initial findings.
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