Relevant bibliographies by topics / Art 112 (Group of artists)

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

Academic literature on the topic 'Art 112 (Group of artists)'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Art 112 (Group of artists)"

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Arutyunyan, Arutyunyan. "Self-portrait conception in the European engraving of the XVII century." Vestnik of Saint Petersburg State University of Culture, no. 1 (54) (2023): 110–16. http://dx.doi.org/10.30725/2619-0303-2023-1-110-116.

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Self-portrait in the art of the XVII century acquires an original and complex interpretation in the painting and graphics of European masters: increased emotionality, bodily transformations and theatricality turn the genre into one of the most interesting to study. Masters often include their own images in religious, historical and genre scenes, actively attract the language of allegories, the type of «painting in a picture», costumed images and group portraits develops. In graphics, along with lively dynamic sketches, there is a characteristic tradition of a representative interpretation of t
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Nelson, Glen. "Mormon Artists Group: Adventures in Art Making." Dialogue: A Journal of Mormon Thought 39, no. 3 (2006): 115–24. http://dx.doi.org/10.2307/45227285.

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Moss, Anne Eakin, Niloofar Haeri, and Narges Bajoghli. "Legacies of Protest Art in Iran." Public Culture 36, no. 2 (2024): 153–79. http://dx.doi.org/10.1215/08992363-11158958.

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Abstract This article examines the art practice of a group of professors and students—who later came to be known as Group 57—at the Fine Arts College of the University of Tehran during the revolutionary period of 1978 to 1980. Through interviews with artists and art historical research, the authors describe the artists’ workshop where they produced posters against the Shah, the United States, and imperialism. Their posters drew on the bold colors, clear text, symbolic imagery, and easy reproducibility of international radical poster art and the early Russian revolutionary avant-garde. The auth
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Zaynutdinova, Zukhra. "ACTIVITY OF THE GROUP OF ARTISTS "5 + 1" IN CONCEPTUAL ART." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 12 (2021): 6–12. http://dx.doi.org/10.37547/history-crjh-02-12-02.

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The article examines the role and significance of the "5 + 1" group in the development of contemporary art in Uzbekistan in the context of the creativity of the group's artists. The ideas and aesthetics of paintings, installations, video art in the work of individual artists are revealed in detail.
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Durand-Ruel, Victoria Mouraux, and John Zarobell. "Contemporary art from the Global South in the art auction market from 2020 to 2022." Arts & Communication 2, no. 1 (2023): 1608. http://dx.doi.org/10.36922/ac.1608.

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In recent years, emerging artists from the Global South have garnered substantial attention in the art market. This study seeks to examine the market value and ecosystem evolving around these emerging artists by analyzing the sales results of 51 artists between 2020 and 2022. This research aims to establish patterns linking unprecedented sales results with exhibition history and highlights the essential network required for these artists’ commercial success. The study reveals that the emergence of artists in the global art market results from a deliberate effort by a network of stake
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Winestein, Anna. "Artists at Play." Experiment 25, no. 1 (2019): 328–45. http://dx.doi.org/10.1163/2211730x-12341346.

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Abstract The exhibition of Russian folk art at the Paris “Salon d’Automne” of 1913 has been generally overlooked in scholarship on folk art, overshadowed by the “All-Russian Kustar Exhibitions” and the Moscow avant-garde gallery shows of the same year. This article examines the contributions of its curator, Natalia Erenburg, and the project’s instigator, Iakov Tugendkhold, who wrote the catalogue essay and headed the committee—both of whom were artists who became critics, historians, and collectors. The article elucidates the show’s rationale and selection of exhibits, the critical response to
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Lee, Eunji J. "Art as Pedagogy: A Multiple Case Study of Participatory Socially Engaged Art." Visual Arts Research 49, no. 1 (2023): 88–106. http://dx.doi.org/10.5406/21518009.49.1.08.

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Abstract In recent decades, contemporary art practices have expanded into social processes as art, and even to educational experiments. Artists create participatory projects combining art with educational activities and goals. Despite the prevalence of these art works, contemporary art literature continues to focus primarily on the artist, thereby displacing the experiences of participants. Hence, from the stance of an art educator, I carried out qualitative multiple case studies to examine the learning experiences of the participants as well as the pedagogical frameworks of the artists. On-si
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Shirai, Yumi, and Carissa Maria DiCindio. "Museum as a Mutual Learning Space for Artists with Intellectual and Developmental Disabilities and University Students." Canadian Journal of Disability Studies 11, no. 3 (2022): 30–60. https://doi.org/10.15353/cjds.v11i3.926.

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Using a university museum as a mutual learning space, guided by the core principles of multivocality and inclusive arts practice, six adult artists with intellectual disability and 16 undergraduate students collaborated to plan a public art exhibition. In this article, we describe the facilitation of the 6-week group process with artists with intellectual disability who have varied cognitive and communication abilities, to curate their own stories and prepare for a public art exhibition, and students to gain field experiences as community art educators, working with a community artist group. B
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Mon, Nor Suliana Mak, Siti Zuraida Maaruf, and Akmal Ahamed Kamal. "The Development of Artique - Independent Artists and Online Art Criticism." European Journal of Social & Behavioural Sciences 30, no. 2 (2021): 3358–68. http://dx.doi.org/10.15405/ejsbs.293.

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Learning art online breaks the geographical barriers and frontiers between art students, artists, galleries, and museums. Studio critique can now be performed beyond the brick walls of a physical room through the virtual platform. This research studies on the impact of art criticism in an online gallery for independent artists which was developed through the design and development method (DDR) while Visual Culture Model was employed for Phase One in the Needs Analysis. The positive feedback obtained from five independent artists who participated in the research revealed that it is common for a
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Lake, Susan. "The Challenge of Preserving Modern Art: A Technical Investigation of Paints Used in Selected Works by Willem de Kooning and Jackson Pollock." MRS Bulletin 26, no. 1 (2001): 56–60. http://dx.doi.org/10.1557/mrs2001.20.

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Willem de Kooning (1904–1997) and Jackson Pollock (1912–1956) are perhaps the best-known members of the abstract expressionist movement, a group of diverse artists from disparate backgrounds who radically transformed American art during the 1940s and into the 1950s. While the development and legacy of abstract expressionism remains a subject of considerable debate, what this diverse group of artists had in common was the belief that the materials, and the ways the artists applied them, are crucial to the expression of their art.
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Dissertations / Theses on the topic "Art 112 (Group of artists)"

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Apte, Savita. "Unchallenged dichotomies : modernism and the Progressive Group in India." Thesis, SOAS, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504469.

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Duran, Adrian R. "Il Fronte Nuovo delle Arti realism and abstraction in Italian painting at the dawn of the Cold War, 1944--1950 /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.87 Mb., p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3220804.

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Thorpe, Josh. "Here hear my recent compositions in a context of philosophy and western 20th century experimental art /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59209.pdf.

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Roza, Alexandra M. "Towards a modern Canadian art 1910-1936 : the Group of Seven, A.J.M. Smith and F.R. Scott." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20178.

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During the 1910s, there was an increasing concerted effort on the part of Canadian artists to create art and literature which would affirm Canada's sense of nationhood and modernity. Although in agreement that Canada desperately required its own culture, the Canadian artistic community was divided on what Canadian culture ought to be. For the majority of Canadian painters, writers, critics and readers, the future of the Canadian arts, especially poetry and painting, lay in Canada's past. These cultural conservatives championed art which mirrored its European and Canadian predecessors. Their do
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Borders, Elizabeth Furlong. "Working in an Artist Collective in Portland Oregon: The artistic benefits of cooperation and place in an underground art world." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/188.

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This ethnography explores the underground art world in Portland, Oregon by showing how a Portland area artist collective, Oregon Painting Society, navigates their art world. Participant observation, in-depth interviews, and a short latent content analysis triangulate data to show the features and values of the underground art world. Using Becker's concept of art worlds, I show how artists working outside of a traditional art career in a commercial gallery system do their work by exploring how Portland's art world is structured and sustained. I find that group work, cooperation, and resource sh
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Goldman, Noémie. "Un Monde pour les XX: Octave Maus et le groupe des XX :analyse d'un cercle artistique dans une perspective sociale, économique et politique." Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209691.

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Notre thèse se concentre sur la question des mécanismes de restructuration du système du monde de l’art à Bruxelles à la fin du XIXe siècle. Nous cherchons à démontrer comment une nouvelle scène artistique construite autour du cercle des XX à Bruxelles, dont l’épanouissement sera pris en charge par l’animateur d’art Octave Maus, produit un art qui est influencé par les enjeux sociaux et politiques portés par un milieu défini de manière sociale, culturelle et générationnelle.<p>Nous avons ainsi voulu replacer le groupe des XX dans son contexte économique, politique et social. La diversification
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Dessy, Clément. "Les écrivains devant le défi nabi: positions, pratiques d'écriture et influences." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209795.

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En 1888, une communauté de peintres s’associe sous l’appellation « Nabis ». Ce terme, issu de l’hébreu, signifie à la fois les « prophètes » et les « initiés ». Paul Sérusier qui vécut sa rencontre avec Paul Gauguin comme une révélation est à l’origine de la formation du groupe. Une année auparavant, le symbolisme littéraire triomphe en France et suscite l’émulation parmi une nouvelle génération d’écrivains qui se cristallise autour de /La Revue Blanche/ et le /Mercure de France/. Entre les Nabis et les symbolistes s’établit dès lors un intense réseau de collaborations. Tant dans l’élaboration
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De, Vries Jetteke. "An investigation of cultural dislocation in the work of selected artists." Thesis, 2015. http://hdl.handle.net/10321/1434.

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Submitted in partial fulfilment of the requirements of the degree of Master of Technology: Fine Art, Durban University of Technology, Durban, South Africa, 2015.<br>This dissertation sets out to investigate cultural dislocation in the work of Leora Farber (1964), Viviane Sassen (1972), George Alamidis (1954) and my art practice. The paper begins by highlighting the importance of this study and defines terminology for the purpose of this research. In addition an explanation of the research methodology used is provided. The study is contextualised through a discussion of writings by
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McBride, Margaret. "Changing the art culture of Newcastle: the contribution of the Low Show Group of artists." Thesis, 2010. http://hdl.handle.net/1959.13/928250.

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Research Doctorate - Doctor of Philosophy (PhD)<br>Beginning in 1961, the Low Show Group was an active collective of women artists, exhibiting in Newcastle. The group members were Norma Allen, Mary Beeston, Betty Cutcher (Beadle), Elizabeth Martin, Lillian Sutherland and Rae Richards. Madeleine Scott Jones and Lovoni Webb also exhibited in later Low Show Group exhibitions. These artists continued to work independently and Richards is still making and exhibiting art. This study examines the context in which the group was formed and how this impacted on their decision to form a collective. Their
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Maurel, Nicolé. "An investigation into the interrogation of Afrikaner culture and identity in the work of selected artists." Thesis, 2015. http://hdl.handle.net/10321/1439.

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Submitted in partial fulfilment of the requirements of the degree of Master of Technology: Fine Art, Durban University of Technology, Durban, South Africa, 2015.<br>The purpose of this research was to investigate the interrogation of Afrikaner culture and identity in the work of Andries Botha (1952) and Marlene de Beer (1957) in the context of Afrikaner nationalism. Anthony Smith’s theory of ethno symbolism (2010) and writings on nationalism by Montserrat Gibernau (1996, 2004a, 2000b) are used as a theoretical framework for an analysis of Afrikaner culture and identity, in the form of Afrikan
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Books on the topic "Art 112 (Group of artists)"

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C-sqi, Del. 112 attentats à l'humeur publique. Les Agents de sapidité-Éditions AG2SAP, 2015.

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Kantorek, Elżbieta, and Witold Chmielewski. 111 Lucim Bogdana, Wiesława, Witolda. [Galeria Miejska BWA], 2018.

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Dingwerth, Shaun Thomas. The Richmond Group artists. Indiana University Press, 2014.

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Golovanova, Olga. Group Art or Death. State Museum of Contemporary art of the Russian Academy of Fine Arts, 2009.

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Gallery, Delhi Art, ed. Continuum: Progressive artists' group. Delhi Art Gallery, 2011.

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Al-ldrus, S. Jamal. Prologue: A group exhibition by Intuitive Art Group. Edited by Artemis Art and Balai Seni Visual Negara. Balai Seni Visual Negara, 2013.

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Research, Cv/Visual Arts, ed. Projects between artists. Cv/Visual Arts Research, 2001.

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Zaini, Syahrul Niza Ahmad. Destiny: Young group show. Balai Seni Visual Negara, 2013.

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Lurie, Boris. NO!art: Pin-ups, excrement, protest, Jew-art. Edition Hundertmark, 1988.

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Ulrike, Abel, Reichelt Matthias, Theuerkauf Klaus, and Neue Gesellschaft für Bildende Kunst., eds. NO!Art. Neue Gesellschaft für Bildende Kunst, 1995.

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Book chapters on the topic "Art 112 (Group of artists)"

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Clarke, Paul. "Performing Art History: Non-Linear, Synchronous and Syncopated Times in Performance Re-Enactment Society’s Group Show (Arnolfini, Bristol 2012)." In Artists in the Archive. Routledge, 2018. http://dx.doi.org/10.4324/9781315680972-13.

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Harouni, Houman. "12. Art and anti-mathematics." In Studies on Mathematics Education and Society. Open Book Publishers, 2024. https://doi.org/10.11647/obp.0407.12.

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Scattered across history and cultures, we encounter instances of people trying to limit or reject the expansion and application of mathematics. These actions, which we can refer to as “anti-mathematics”, are particularly common among artists of the modern era. This chapter tries to decipher, through a close reading of a large group of examples, the different motivations and desires that give rise to anti-mathematics across different contexts. The author argues that such actions are attempts at shielding particular ways of life from the encroachment of forces (economic, philosophical, and admin
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Cangiano, Serena, Davide Fornari, and Azalea Seratoni. "Re-search, Re-enactment, Re-design, Re-programmed Art." In Cultural Inquiry. ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_15.

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Kinetic and programmed art has been a trend of contemporary arts that flourished in the 1950s and 1960s. Kinetic artworks often incorporated technology, at that time still immature, and involved the audience in the production of visual, sound, and somatic effects. Gruppo T was the pioneering group at the forefront of this groundbreaking vision of art as reproducible, participatory, and interactive. Through an action research project and the methodological tool of reenactment, a group of researchers, designers, and artists has proposed an alternative way to conserve Gruppo T artworks. The proje
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Kiliszek, Joanna. "Living Simulacrum." In Cultural Inquiry. 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 relat
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Mazzanti, Anna. "Operazione Arcevia. Existential Community. The Reality of the Experience and the Utopia of the Vision." In Springer Series in Design and Innovation. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_54.

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AbstractOperazione Arcevia (OA) is an urban settlement project, born for the purpose of the social, economic, and touristic regeneration of a marginal area in the Marchigiane hills, characterized by its postwar exodus. Conceived between 1972 and 1974 on the initiative of the businessman Italo Bartoletti, like every newly constituted city it was designed with a political and cultural identity by the architect Ico Parisi in collaboration with two renowned critics (Cripolti and Restany), a psychologist, and a large number of artists (Arman, César, Ceroli, Soto, Staccioli, among others). OA remain
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BINSKI, PAUL. "How Northern was the Northern Master at Assisi?" In Proceedings of the British Academy, Volume 117. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262795.003.0003.

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The origins of the painters of the upper walls of the right (north) transept of the Upper Church of S. Francesco has mystified historians of the greatest early showcase of Italian narrative art. These origins have been explored in a literature dominated by specialists in Italian and Byzantine art, and the conclusions have generally been the same, namely that the right transept was worked on by artists who were not only Italian but also French or English, and who remained content to work in distinctively native styles. This chapter argues that the case for specifically English influence at Assi
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"9. The Government Serves Art: Do Art Subsidies Serve the Public Interest or Group Interests?" In Why Are Artists Poor? Amsterdam University Press, 2002. http://dx.doi.org/10.1515/9789048503650-010.

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Moseman, Eleanor. "Skupina výtvarných umělců (The Group of Fine Artists)." In Routledge Encyclopedia of Modernism. Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2050-1.

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Skupina výtvarných umělců (The Group of Fine Artists) was an avant-garde artist group active in Prague in the years 1911–17. Skupina consisted of Czech painters, sculptors, architects, designers, illustrators, art historians, and art critics. Many of Skupina’s members seceded from the Mánes Union, Prague’s dominant association for modern art, to form the new group. The foundational meeting in May 1911 was attended by Emil Filla, Josef Gočár, Otto Gutfreund, Pavel Janák, Vlastislav Hofman, František Kysela, Zdeněk Kratochvíl, Ladislav Šíma, and Václav Špála. These founders were joined by Vratis
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Ramos Borges, Melissa M. "The Way Out = Left Out?" In Nuyorican & Diasporican Visual Art. Duke University Press, 2024. https://doi.org/10.1215/9781478060208-002.

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The chapter delves into the contributions of Carlos Irizarry and Domingo López de Victoria, prominent figures within the avant-garde art movement of Puerto Rico. Coined as part of the “way-out group,” these artists produced distinctive works that diverged from their contemporaries in Puerto Rico. Their ability to navigate between New York and San Juan cultivated a network connecting three art scenes: Puerto Rican, New York, and the diasporic Puerto Rican communities. Despite exhibiting across these scenes, their efforts have been overshadowed. The chapter also examines the clash between the av
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Olds, Kirsten Fleur. "Fandom as an Art Form." In Handbook of Research on the Impact of Fandom in Society and Consumerism. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1048-3.ch012.

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This chapter examines the practice of fandom as an art form in and of itself, exploring the example of fan clubs and zines by artists in the international mail art scene (known as the Eternal Network) in the 1970s. Fandom as an artistic practice differs from fan art produced in admiration of celebrities. Instead, what this chapter argues is that the artists of the Eternal Network engaged in fan activities. The first part of the chapter explores the network and compares several of their practices to fan behavior, including the desire for social connectivity, cultivation of insiders, and semioti
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Conference papers on the topic "Art 112 (Group of artists)"

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Lutz, João, and Renata Vilanova. "Dead Cities, Regenerative Design in Serra da Bocaina." In ENSUS 2024 - XII Encontro de Sustentabilidade em Projeto. Grupo de Pesquisa Virtuhab/UFSC, 2024. http://dx.doi.org/10.29183/2596-237x.ensus2024.v12.n1.p1119-1127.

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This paper presents some thoughts on the role of Art as an activity that may lead to social transformations. A group of designers, artists, artisans, teachers, entrepreneurs and rural workers organizes, since 2016, an arts exhibition named BIBO-Biannual Bocaina Art. The actors engaged in this enterprise believe it may result in the development of Sustainable Tourism in Serra da Bocaina, transforming the region into a regenerative territory. The focus of this Participatory Action Research is in the Formoso neighborhood, located in São Jose do Barreiro, São Paulo-Brasil. Some conclusions and pos
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Frémontier-Murphy, Camille. "At the Sources of an Artistic Mutation towards Science: the First Years of the Journal Leonardo (1968-1981) as a Forum for the Pioneers of Digital Art." In 28th International Symposium on Electronic Art. Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-8-short-fremontier-murphy-artistic-mutation-towards-science.

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SHORT PAPER. The journal Leonardo was founded in 1968 by Frank Malina, a pioneer of light art in Paris and of aerospace science in the United States. Leonardo encouraged artists to publish their work in the manner of scientists. It was a new initiative developed in the revolutionary context of the 1960s and that allowed artists, scientists, psychologists to exchange on the subjects of art, perceptions, science, society... Many pioneers of digital art took part in the adventure, including Vera Molnar, Zdenek Sykora, Charles Csuri, and the artist-novelist Herbert Franke, who became the advocate
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Brennan, Annmarie, and Jonathan Lovell. "PULSA: The Affective Art of Novel Intelligent Environments." In 105th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2017. http://dx.doi.org/10.35483/acsa.am.105.78.

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Most histories of digital design in architecture are limited, and begin with the initial investigations into artificial intelligence by the Architecture Machine Group at MIT during the 1960s, and end with a mention of the Evolutionary Architecture at the ArchitectureAssociation during the late 1980s and early 1990s. However if one was to examine many of the artworks created during this time, several artists were working with similar ideas, concepts, and technologies on artificial intelligence. This paper is a media archaeology of responsive environments in contemporary practice.It endeavors to
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Tadeu de Godoy, Guilherme. "Manga Rosa Group and Alienarte Magazine: dialogues between editorial design and experimental art." In LINK 2024 Conference Proceedings. Tuwhera, 2024. https://doi.org/10.24135/link2024.v5i1.232.

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This presentation is part of a doctoral thesis that carries out an investigative analysis of the first two editions of Alienarte magazine (1978 and 1979) and the dialogues that emerge from their analysis between graphic design and experimental visual arts, focusing on the work of the Manga Rosa group. The conceptualisations of what can be identified as a magazine editorial product were described, accompanied by a panoramic mapping of the production of editorial products prior to the 1970s. The aim is to identify a connection that brings the production of Alienarte magazines closer to the conte
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Бородкин, П. В., and Т. В. Горбунова. "SCULPTURE AND STAINED GLASS AS A PART OF THE ART MARKET." In ХУДОЖНИК И МЕНЕДЖЕР В ПРОСТРАНСТВЕ СОВРЕМЕННОГО АРТ-РЫНКА Материалы VII научно-практической конференции молодых ученых. Crossref, 2024. http://dx.doi.org/10.54874/9785605196556.2024.3.02.

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Выставочные пространства редко проводят масштабные групповые показы работ скульпторов, как следствие, затрудняя анализ общих стилистические тенденций и творческих исканий мастеров. Витраж как авторское произведение, в силу преобладания тиражной продукции и специфики работы дизайн-студий, претерпевает ограничения на авторское творчество. Такие тенденции приводят к тому, что арт-рынок не предоставляет современным художникам возможность заявить о себе через авторское творчество. Сложившаяся ситуация не позволяет полноценно развиваться ни арт рынку, ни авторскому творчеству в России. Works of scul
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Корнильева, А. В. "COLOR AND ARTISTIC IMAGE OF WATERCOLOR AND GOUACHE WORKS BY THE MASTERS OF THE “ELEVEN” GROUP." In Цвет в пространственных искусствах и дизайне. Crossref, 2024. http://dx.doi.org/10.54874/9785605245766.2024.04.28.

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Наследию мастеров, входивших в группу «Одиннадцать», посвящено немало публикаций и исследований. В большей степени освещались проблемы цвета и формы, композиции и духовно-содержательного характера произведений, связанные с живописью и скульптурой, в меньшей степени внимание уделялось графике. Были отмечены разные стилевые особенности этих мастеров и в тоже время единство эстетическое и духовное. Особое внимание уделялось крупным, программным произведениям, которые наиболее полно раскрывают художественный мир мастера. Настоящее исследование обращено к анализу малоизученной стороны творчества ху
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Mocanu, Mariana, and Cristina Nichimis. "CULTURE - DIGITAL TECHNOLOGY NEXUS FOR A NEW ERA IN EDUCATION." In eLSE 2018. Carol I National Defence University Publishing House, 2018. http://dx.doi.org/10.12753/2066-026x-18-114.

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Nowadays, culture and digital technology systems are interdependent. New technologies enable new approaches in the creation act, as well as widen the access to cultural products and services to divers social groups. In the same time, almost all cultural acts require interdisciplinary approach, based on artistic competences and technological skills. The profile of an artist gets new dimensions and requires a multidisciplinary education. In the same time, through its increased accessibility, culture gains a more and more important role as vector for non and informal education. It is time for a m
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Braz, Soraya, Rodrigo Dorta, Caio dos Santos, et al. "Water, sustainability and poetics in the works of the cAt group." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.91.

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Since 2015, the cAt (science, Art, technology) research group from the Arts Institute of UNESP (São Paulo State University) has reflected upon Art-technology productions, that raise concerns about sustainability related to energy sources and alternative possibilities for energy generation without the direct use of computers and complex technology apparatus, while maintaining relevant aspects of the digital interactive works, such as the use of technology, interaction with the audience and a systemic view. These concerns were initially introduced in the production of the work “Sopro” (“Blow”),
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Sustaita, Dr Antonio. "Breached Walls in Mexico: Art, violence and public space in Teresa Margolles’ Walls." In 5th World Conference on Arts, Humanities, Social Sciences and Education. Eurasia Conferences, 2024. http://dx.doi.org/10.62422/978-81-968539-1-4-004.

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With the title Psychobuildings Martin Kippenberger published in 1988 a peculiar photography book. It deals with architectural structures that are incomplete, either because they are not finished or because they have been subjected to a demolition process. Such buildings, which conjure up eccentric and idiosyncratic spaces, could be thought of as psychotic because of the ruptures caused in the regulated fabric of the modern urban landscape. In 2008 (May 28-August 25) the exhibition Psycho Buildings was held at The Hayward, (London, U.K.). The participating artists aimed to reanimate and explore
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Franco, Jorge. "A Decolonized Mood of Creating a Three-dimensional Digital Space Based on Integrating Transdisciplinary Knowledge." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.66.

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This experimental artwork has attempted to produce a decolonized mood of researching and creating Three-dimensional (3D) Virtual Reality (VR) digital spaces based on using and integrating transdisciplinary knowledge. These research and creative 3DVR digital spaces processes have been connected with applying the concept of Digital Transformation (DX) within Educative Computational Practice (ECP) proceedings, addressing the idea of empowering people. The mentioned ECP proceedings have occurred through designing and carrying out 3DVR digital spaces by using 3D computer graphics programming techni
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Reports on the topic "Art 112 (Group of artists)"

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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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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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A Century of Painting in Panama. Inter-American Development Bank, 2003. http://dx.doi.org/10.18235/0005898.

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An exhibition of exceptional paintings by 25 outstanding artists selected from a survey of a wide-ranging group of art connoisseurs, historians, critics, professors and art dealers in Panama gave the public an overview of the development of painting in Panama over the 20th century. The selection included early 20th century artists such as Roberto Lewis, Humberto Ivaldi, and Manuel Amador; and painters from Mid-century and end of the 20th century. Dr. Mónica E. Kupfer, Former Curator of the Panama's Museum of Contemporary Art, was invited as Associate Curator for this exhibition.
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Graphics from Latin America and the Caribbean: September 10 - November 15, 2002. Inter-American Development Bank, 2002. http://dx.doi.org/10.18235/0005919.

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20 lithographs, etchings, linocuts, woodcuts, silkscreens and other works in various graphic techniques by artists from the Americas were presented at the Robert V. Fullerton Art Museum, California State University, San Bernardino, California. This is the first group exhibition organized by the museum of works on paper by some of the most recognized artists of the 20th century from Latin America and the Caribbean. It includes graphics by José Clemente Orozco, Diego Rivera, David Alfaro Siqueiros; Roberto Sebastián Matta; Enrique Grau, and others.
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Evidence Update for Clinicians: Narrow- versus Broad-Spectrum Antibiotics for Common Infections in Children. Patient-Centered Outcomes Research Institute (PCORI), 2018. http://dx.doi.org/10.25302/eu5.2018.10.

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Comparing Narrow- vs. Broad-Spectrum Antibiotics for Common Infections in Children. The choice of antibiotic to treat acute bacterial upper respiratory tract infections in children can affect both symptom resolution and the risk of side effects such as diarrhea and vomiting. The findings of a PCORI-funded study published in JAMA can help clinicians treating children for acute respiratory tract infections (ARTIs)—including acute otitis media, Group A streptococcal pharyngitis, and acute sinusitis—make decisions with parents about the medicine that is best for the child. The study, led by Jeffre
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