Relevant bibliographies by topics / Art ; Artists ; Art and society

Contents

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

Academic literature on the topic 'Art ; Artists ; Art and society'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Art ; Artists ; Art and society.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Art ; Artists ; Art and society"

1

Bardi, Augustine Okola. "4. Kazeem Olojo: A Professional Painter and an Art Instructor Universal Studios of Art, Lagos, Nigeria." Review of Artistic Education 14, no. 1 (March 2, 2017): 262–70. http://dx.doi.org/10.1515/rae-2017-0032.

Full text
Abstract:
Abstract The works of art are priceless going by the quality of works exhibited by an artist. The artist tends to describe a particular scene near to the natural object in question. In the 15th and 16th centuries , France relayed on the impressionists who graduated from workshops and schools of apprentice in the likes of Gauguin, Monet, Manet, Degas, Renoir Cezanne, Delacroix and others to capture scenes of the Parisian country side that existed long age. The artist and his works remain indispensible to the existing societies. This form of art venture is not new to Nigeria where schools and workshops of apprenticeship exist. In Nigeria, the existing heritage and traditions if not for the artists will not be translated into art by the artists particularly painters like Dale, Oshinowo, Oguntokun, Emokpae, El-Dragg and others. The existence of workshops and schools of learning art have trained more artists to keep the aesthetical values of art. The society would be no doubt an unpleasant community without a touch of the arts. The artists who on daily bases create by painting, sculpting to make the environment a pleasurable place remain an important factor in the society.
APA, Harvard, Vancouver, ISO, and other styles
2

Legret, Mathilde. "The Vocational Regime in Art: On Myths and Performativity." Journal of Extreme Anthropology 1, no. 2 (September 7, 2017): 41–47. http://dx.doi.org/10.5617/jea.4886.

Full text
Abstract:
A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay analyzes the development and mythology behind the notion of 'vocation' within the art world, while using the case of the Viennese artist Ursula Hübner. It argues that it is not only art institutions and the society, but also artists themselves who are complicit in the reproduction and valorization of the myth of vocation in art.
APA, Harvard, Vancouver, ISO, and other styles
3

Pehlivan, Hakan. "War Peace and Art." European Journal of Multidisciplinary Studies 5, no. 1 (May 19, 2017): 497. http://dx.doi.org/10.26417/ejms.v5i1.p497-497.

Full text
Abstract:
The world is going to a darkness without end. War, nationalism, discrimination and various conflicts tearing people. They are forced to migrate. Chemical weapons are being used. The children are being killed. Environmental disasters are happening. Boundary walls are built. The wars of religion are at the door. Kin hate seeds are being planted and transferred to future generations. Nationalism is on the rise. We are losing our desire to live together. Despite this, peace and tranquility in our surroundings are our greatest desires and we are right. Civil society should do something to stop it. In this sense, artists are the strongest propagandists. To support peace, art practices have become more important than the past. The artist's initiative is used both to rehabilitate society and to eliminate prejudices. Many international plastic art form is exemplified in this study. Complementary arts workshops, public artworks are examples of these. In addition, the results obtained from the workshop of Turkish Greek artists are presented with preliminary results and related examples.
APA, Harvard, Vancouver, ISO, and other styles
4

Setai, Phokeng T., Jan K. Coetzee, Christoph Maeder, Magdalena Wojciechowska, and Leane Ackermann. "The Creative Process. A Case for Meaning-Making." Qualitative Sociology Review 14, no. 4 (January 8, 2019): 86–99. http://dx.doi.org/10.18778/1733-8077.14.4.06.

Full text
Abstract:
Since the beginning of time art-making has been a tool to express, preserve, and challenge the extant knowledge in society. Artists do this by finding or creatively constructing new understandings in society. An artist is able to do this through the medium he/she uses to relay the message of the artwork. The medium that an artist uses to express his/her artistic concept has an impact on the character that the artwork will take. The medium of expression forms but one of the many considerations that go through an artist’s mind when creating art. In the process of art-making, an artist seeks to create new meanings or re-imagine old ones by organizing materials and concepts. In so doing, he/she discovers novel ways to get ideas across, and thereby creates new interpretations of social phenomena. In this article, attention is given to meaning-making as a conscious and iterative component of creating art. From a series of in-depth interviews, the authors analyze the inward processes that occur within six artists’ creative praxes and how these lead their construction of meaning. Attention is also paid to how the artists manipulate concepts and how they construct and deconstruct their understandings of these concepts in the course of their creative endeavors.
APA, Harvard, Vancouver, ISO, and other styles
5

Gupta, Sunita. "ART, ARTISTS AND CONDOLENCES." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 277–80. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3753.

Full text
Abstract:
English: Beauty, love, sensation, feeling and consciousness are social rites. With the continuous development of the developing living beings, they also evolved, rising above the category of human, monkey and forest man and became great human beings. His mind, mind, aesthetic consciousness and love continued to develop on the strength of his intellect and is still happening today. Man has always been a necessity of society and due to the desire for sociality, he has an attitude of love and love. Charles Darwin has accepted aesthetic consciousness even among non-human beings, but aesthetic consciousness is limited to sexual sensation only. Man has given aesthetic consciousness control from senses due to cultural and sociality. In terms of ray sensation, there are two types of organisms - one that attracts sunlight such as kitesurf, etc. and those who find the sunlight repellent like owl, chali etc. This difference is due to the anatomy of the animal and different types of senses. On the basis of this variation, other dimensions and aspects of the aesthetic consciousness of beings depend. Due to the characteristic of eye-brain relationship in humans, there is a difference in thinking towards beauty. The more aware, active and capable the mind is, its beauty-consciousness is sharp and sharp. Mahakavi Bihari has considered it a distinction- Hindi: सौन्दर्य, प्रेम, संवेदना, अनुभूति और चेतना आदि सामाजिक संस्कार है। विकासशील चैतन्य प्राणी के निरन्तर विकसित हाने से इनका भी विकास हुआ मानव,वानर और वनमनुष्य की श्रेणी से ऊपर उठकर महामानव बन गया। उसका मन, मस्तिष्क, सौन्दर्य चेतना और प्रेम निरन्तर उसकी बुद्धि के बल पर विकसित हुए और आज भी हो रहे हैं। मनुष्य को समाज की सदैव आवश्यकता रही और सामाजिकता की आकांक्षा के कारण ही उसमें सौन्दर्य प्रिय और प्रेम की वृत्ति होती है। चार्ल्स डार्विन ने मानवेतर प्राणियों में भी सौन्दर्य चेतना को स्वीकार किया है लेकिन उनमें सौन्दर्य चेतना केवल यौन-संवेदना तक सीमित है। मनुष्य ने सांस्कृतिकता एवं सामाजिकता के कारण सौन्दर्य चेतना को इन्द्रियों से नियन्त्रित धरातल दिया है। किरण संवेदना की दृष्टि से जीव दो प्रकार के होते हैं-एक वे जिन्हें सूर्य का प्रकाश आकर्षित करता है जैसे पतंगा चातक आदि दूसरे वे जिन्हें सूर्य का प्रकाश विकर्षक लगता है जैसे उल्लू, चाली आदि। यह भिन्नता प्राणी की शरीर रचना और इन्द्रियों के भिन्न प्रकार से निर्मित के कारण होती है। इसी भिन्नता के आधार पर प्राणियों की सौन्दर्य चेतना के अन्य आयाम और पक्ष निर्भर करते हैं। मनुष्य में नेत्र-मस्तिष्क सम्बन्ध की विशेषता के कारण सौन्दर्य के प्रति सोच में अन्तर आ जाता है। मस्तिष्क सौन्दर्य के प्रति जितना अधिक सजग, सक्रिय एवं समर्थ होगा, उसकी सौन्दर्य-चेतना उतनी ही तेज एवं प्रखर होती है। महाकवि बिहारी ने इसे भेद माना है-
APA, Harvard, Vancouver, ISO, and other styles
6

ΜΑΥΡΟΜΙΧΑΛΗ, ΕΥΘΥΜΙΑ Ε. "ΟΙ ΚΑΛΛΙΤΕΧΝΙΚΟΙ ΣΥΛΛΟΓΟΙ ΚΑΙ ΟΙ ΣΤΟΧΟΙ ΤΟΥΣ (1880-1910)." Μνήμων 23 (January 1, 2001): 221. http://dx.doi.org/10.12681/mnimon.712.

Full text
Abstract:
<p>Efthimia Mavromichali, Artists associations in Greece 1880-1910 and their goals</p><p>During the last twenty years of the 19th century and the first decadeof the 20th the first artists associations appear in Athens. Such societiesare founded mostly through the initiative of art-lovers and are indicativeof the new sociability of the rising middle classes of Athens. Artistsattempt to establish their own societies, to demarcate and safeguardtheir professional rights, but without success. Being, however, dependenton art-lovers for financial support and social power, artists are compelledto include them in their associations. The role of the artist in suchassociations is advisory and consultative. Thus artists associations inGreece differ from contemporary associations founded in the rest ofEurope, in that the principles governing their formation are not primarilybased on matters of style and artistic principles.In this study I examine the function and activity of three suchsocieties, namely, The Art-lovers' Society, The Artists' Union, and TheArtists' Society. The artistic activity during the period in question ismarked by the private initiatives of art-lovers and artists. This, however,stands in a wider social context that attributes a national andmoral mission to art and expects art to contribute to national renewal,especially after the devastating war of 1897.Artists' associations attempt to fulfil their mission in society bypromoting the fine arts, by cultivating the development of aestheticcriteria among a wide range of people and by supporting artists. Inpursuit of these goals, they organise exhibitions which, although notalways under strict artistic rules, give a significant impulse to art marketing,and pave the way for state initiatives in support of art and artists.</p>
APA, Harvard, Vancouver, ISO, and other styles
7

Gupta, Pooja. "REFLECTION OF SOCIETY IN THE REFERENCE OF PAINTINGS." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 114–45. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3723.

Full text
Abstract:
The relation of visual art, artists and society is the focal point around which this paper rotates. There exists a reciprocal connection between the three, which has to be comprehended concurrently. Society needs art, and artists not only for enriching its culture, but also for the very development of humankind. This mutual relationship is consequently set beneath the sociological microscope and an effort has been made to comprehend the diverse nuances of the lives of the respondent artists. An artist is dependent in one way or another on other people around him and is enmeshed in a whole series of social relationships. Social issues are one of the major themes of the artwork of number of the artists. Anything that moves the artists or appeals to their artistic sense becomes their motivation for creation. The other thing that inspired them was that, for the artists, painting is a desire, a need, an urge, or a drive to communicate and express. For some it is like meditation or doing practice. It is more of a psychological satisfaction that they gain by giving this passion an expression. The need to earn a living also at times motivated them to create. The artist’s personal experiences in life, their frustrations, joys and happiness inspire them to paint.
APA, Harvard, Vancouver, ISO, and other styles
8

BridA, Tom Kerševan, Sendi Mango, and Jurij Pavlica. "Somewhere between art and science." Journal of Science Communication 08, no. 02 (June 19, 2009): C05. http://dx.doi.org/10.22323/2.08020305.

Full text
Abstract:
There is a fundamental difference between artists, who use science as an object of social examination, and artists, who believe that science represents a component of their expressive style. The idea that different ideological manipulations of the Art&Science concept can cause a distorted view on this fascinating and at the same time controversial relation is becoming clear. In our projects we use different technological and scientific applications; to us technology is an integral part of our artistic expression. The scientific and analytical approach that we use when we investigate and solve various operations within our projects, indicates that our system is based on collective and systematic work and it allows us to understand better the different problems and relations of contemporary society. Art has always played an important role in the system of the communication of ideas and feelings in a tight connection with contemporary society. No wonder that the artist today uses the methods and technologies of modern and sophisticated devices. We are all users of new technologies, developed with the help of scientific discoveries in order to satisfy our needs. Anyway the belief that society borrowed research in the field of science and technology in order to survive is incorrect.
APA, Harvard, Vancouver, ISO, and other styles
9

Casale Taylor Basker, J. "An Artist-Scholar Finds Beauty from Ashes: Brazilian Artist Duda Penteado." Religion and the Arts 18, no. 1-2 (2014): 222–38. http://dx.doi.org/10.1163/15685292-01801011.

Full text
Abstract:
‭Duda Penteado’s Beauty for Ashes Project addresses the dilemma of contemporary artists finding their own voice after the art movements of the twentieth century. His background as a Brazilian and a believing Christian gives him a unique response. He appropriates and transforms the work of great modern artists without a need for elaborate theoretical justification. Much influenced by Paulo Friere and his belief in the significance of art for social change, Duda is involved in art projects with students and the public around the world. In these projects, ideas are developed, and creative art installations are built that he hopes will inspire people to search deeper for meaning in life. He believes that faith is not a process of convincing but an encounter. Curiosity must be sparked to begin the process for each individual to make the journey. Duda is convinced that art holds a significant role in society and that the artistic image expresses the essence of society. His work represents a genre of artwork derived from ethnic tradition and religious experience. Duda believes that great art comes from within and is the true language of the soul. To create art is an act of faith in itself.‬
APA, Harvard, Vancouver, ISO, and other styles
10

Yilmaz, Ayşe Nahide. "The Image of Politics in Art: Projecting the Oppression in Turkish Art Scene." European Journal of Multidisciplinary Studies 6, no. 2 (June 10, 2017): 339. http://dx.doi.org/10.26417/ejms.v6i2.p339-339.

Full text
Abstract:
In the 1970s, Turkey's artistic milieu was mostly influenced by socialist realistic painters who demonstrated political criticism with a figurative understanding. The oppression that came with the coup d'état of September 12, 1980 aimed at a depoliticized society, and artists were then politically diverted to implicit and indirect ways. While direct intervention from the military or the civil government under its control rarely came, the artists and art institutions have even ended some kind of auto censorship. In a demoralized and depoliticized cultural environment, the works that embodied the 'social ghost' have both raised emotional and reactive objections and ironically created a sense of guilt in the audience. Being a spectator meant to be a victim, a judge, a witness, or maybe -in fact- all of these at once. The artist imagination reproducing the notions of authority and power in silenced societies has made conspicuous human rights violations, tortures, and executions through works of art. Artists, who counted art as a vehicle to change the world, have provided a deep dimension in art environment with a wide variety of knowledge and skills right along with new techniques and materials. In this work, there shall be many examples of artists and works of art that combine 'art politics' and 'political art' as a single thing, which goes beyond traditional approaches to art and politics in the intense and subversive political atmosphere of the 1980s in Turkey.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Art ; Artists ; Art and society"

1

Leung, Mei-yin. "The Chinese Women's Calligraphy and Painting Society the first women's art society in modern China /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628697.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Reisman, David. "The social imagination : the education of didactic contemporary artists : public expression : didactic contemporary artists as educators /." Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11039917.

Full text
Abstract:
Thesis (Ed.D)--Teachers College, Columbia University, 1991.
Typescript; issued also on microfilm. Sponsor: Ellen Condliffe Lagemann. Dissertation Committee: Rene Arcilla. Includes bibliographical references (p. 201-204).
APA, Harvard, Vancouver, ISO, and other styles
3

Hachmeister, John. "Pluralism and the hard sell historically unique influences on young artists today." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9845.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Leung, Mei-yin, and 梁美賢. "The Chinese Women's Calligraphy and Painting Society: the first women's art society in modern China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38628697.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Delday, Heather. "'Close' as a construct to critically investigate the relationship between the visual artist and the everyday." Thesis, Robert Gordon University, 2006. http://hdl.handle.net/10059/2121.

Full text
Abstract:
This research proposes and develops a critical framework - a 'matrix' to make sense of the artistic process from the practitioner's perspective. It draws from the research of de Certeau into everyday culture and the art historical discourse of Bourriaud that positions art within models of social interaction. As a critical concept the everyday has benefits for re-thinking the nature of creative activity and its reception. The term participatory relational practice is used \ 11 this thesis to define an approach that situates the artist within the everyday. The matrix is constructed reflexively through three of my art projects and by analysing two artists engaged by the On the Edge research programme to conduct two projects. Used reflectively in and on practice the matrix sensitizes the artist to judgements, values and qualities within a dynamic process of exchange and transaction. The matrix represents a core from which judgements about practice are considered and negotiated. It comprises three inter-dependent dimensions, which the artist selfconsciously models. The aesthetic may be defined as the intricacies of giving form to experience, the ethical as enabling individuals to share a freedom to think, speak or act differently, and the polemical as forming, expressing and enacting a view or position. The research proposes that a nuanced critique may be defined as the interplay between the aesthetic, the playful and resistance. It responds to the need identified in the discourse to develop a multidimensional understanding of practice. The matrix is a way of considering and representing the aesthetic as part of an interdependent whole - a system of values. The research addresses artists and critical theorists interested in collaboration and multi-disciplinary work. The matrix is both interpretive and generative. It can be used to structure and evaluate projects. It has implications for pedagogy in terms of better equipping younger artists with the skills necessary for operating within the everyday as the multi-layered fields of civic society.
APA, Harvard, Vancouver, ISO, and other styles
6

Kim, Gumsun. "A question of equality : women and women's art under patriarchal society /." View thesis, 1995. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030801.151817/index.html.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Perkins, Morgan. "Reviewing traditions : an anthropological analysis of contemporary Chinese art worlds." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365526.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Estrella, Rachel Joy Tancioco. "Lessons from the wall muralism and the art of empowerment /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1324368911&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

McHale, Katherine Jean. "Ingenious Italians : immigrant artists in eighteenth-century Britain." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/13854.

Full text
Abstract:
Italian artists working in eighteenth-century Britain played a significant role in the country's developing interest in the fine arts. The contributions of artists arriving before mid-century, including Pellegrini, Ricci, and Canaletto, have been noted, but the presence of a larger number of Italians from mid-century is seldom acknowledged. Increasing British wealth and attention to the arts meant more customers for immigrant Italian artists. Bringing with them the skills for which they were renowned throughout Europe, their talents were valued in Britain. Many stayed for prolonged periods, raising families and becoming active members in the artistic community. In a thriving economy, they found opportunities to produce innovative works for a new clientele, devising histories, landscapes, portraits, and prints to entice buyers. The most successful were accomplished networkers, maintaining cordial relationships with British artists and cultivating a variety of patrons. They influenced others through teaching, through formal and informal exchanges with colleagues, and through exhibition of their works that could be studied and emulated.
APA, Harvard, Vancouver, ISO, and other styles
10

Cooper, Craig. "The interrelationship and inscription in the experience of place in Hong Kong: art, bodies and architectures." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/749.

Full text
Abstract:
This thesis acknowledges the current situation of political unrest in Hong Kong and examines the volatile horizons that began to emerge from late 2014, while also understanding those that came before. The thesis unpacks the relationships between art, architecture and society and their significance in relation to Hong Kong. Through highlighting and identifying the potential restrictions and examining and responding to the legacy and logic of Occupy Central, this thesis proposes an expansion of the space of possibilities for art in Hong Kong.The interweaving of diverse subjects are part of an intersectional methodology. The frequent changing of artists, locations and subjects have evolved out of the geopolitical situation that this author was embedded within and the architectural conditions under consideration in the research. By using techniques of close analysis and interviews, unpacking existing relationships, creating new temporary relationships (intersectionality) through exhibitions, reports, site visits and experimental curatorial strategies within the city, this thesis articulates the positions and subjectivities that can form around an artwork and its communities of production. This thesis navigates the haunted spaces concealed by ideological barriers, exposing varying sites of production and tensions through time and place. Research examines and proposes new ideas and approaches to art and art-working in Hong Kong while considering the marginalised, alienated and the xeno. Through highlighting a hitherto absent sense of commonality between the government and its subjects and exploring all corners of the political spectrum, the research critically examines the roots of ideological logic as expressed in the city-form and sets out to expand the space of possibilities.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Art ; Artists ; Art and society"

1

Kisina, I︠U︡lii︠a︡. Dead Artists Society. [Nürnberg]: Verlag für Moderne Kunst Nürnberg, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Gimpel, Jean. Against art and artists. Edinburgh: Polygon, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Thawret el looool: Chats with young Egyptian artists. [Cairo]: Mariam Elias, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

New art, new world: British art in postwar society. New Haven: Published for Paul Mellon Centre for Studies in British Art by Yale University Press, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Women, art, and society. 5th ed. New York: Thames & Hudson, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Aikenhead, Douglas. Urbanology: Artists view urban experience. Detroit: DART Press, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Women, art, and society. 2nd ed. New York, N.Y: Thames and Hudson, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Women, art, and society. 3rd ed. New York: Thames & Hudson, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Chadwick, Whitney. Women, art, and society. New York: Thames and Hudson, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Chadwick, Whitney. Women, art, and society. 3rd ed. London: Thames and Hudson, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Art ; Artists ; Art and society"

1

Berg, Linda, and Anna Sofia Lundgren. "We Were Here, and We Still Are: Negotiations of Political Space Through Unsanctioned Art." In Pluralistic Struggles in Gender, Sexuality and Coloniality, 49–80. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47432-4_3.

Full text
Abstract:
Abstract In this chapter, we examine the work of the Sámi artist Anders Sunna and the Egyptian artist Bahia Shebab in order to address strategies of artistic criticism of the relations between states and their citizens. Both artists are protesting against contemporary processes relating to space, state and nation, and they express themselves in ways that are embedded in the aesthetics of unsanctioned street art. This expression constitutes an interesting form of politics, situated somewhere in-between, or alongside, party politics and the practices of civil society. Our aim is to describe and discuss what we see as specifically effective and dynamic themes in the chosen artwork—the use of space as object and methodology, and the production of iconic imageries within fantasies of protest. The stencils and spray paintings of Shehab and Sunna offer us keys to exploring efforts to artistically reveal and dismantle national and neocolonial power.
APA, Harvard, Vancouver, ISO, and other styles
2

Hopper, Gill. "The Construction of Women as Artists: Art, Gender and Society." In Palgrave Studies in Gender and Education, 42–55. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137408570_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

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, 116–42. Abingdon, Oxon; New York: Routledge,: Routledge, 2018. http://dx.doi.org/10.4324/9781315680972-13.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Carayannis, Elias G., and David F. J. Campbell. "Art and Artistic Research in Quadruple and Quintuple Helix Innovation Systems." In Arts, Research, Innovation and Society, 29–51. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-09909-5_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Borea, Giuliana. "Artists on art." In Configuring the New Lima Art Scene, 112–40. Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2021. http://dx.doi.org/10.4324/9781003085003-9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Abbing, Hans. "Authentic Art and Artists." In The Changing Social Economy of Art, 61–115. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21668-9_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Lewis, Jen. "To Widen the Cycle: Artists Engage the Menstrual Cycle and Reproductive Justice." In The Palgrave Handbook of Critical Menstruation Studies, 803–11. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0614-7_58.

Full text
Abstract:
Abstract Art holds powerful potential to break the social and cultural stigma around menstruating bodies by making the invisible visible and pushing the boundaries of what we know about the menstrual cycle. This chapter presents a selection of artwork and artists’ statements from Widening the Cycle, a historic exhibit curated by Jen Lewis and first shown at the 2015 Society for Menstrual Cycle Research conference in Boston, USA.
APA, Harvard, Vancouver, ISO, and other styles
8

Bickel, Barbara A. "Artists and Trance." In Art, Ritual, and Trance Inquiry, 73–92. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-45745-7_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Uniyal, Manumaya. "Working with Artists." In Explorations in Art and Technology, 161–66. London: Springer London, 2002. http://dx.doi.org/10.1007/978-1-4471-0197-0_16.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Wallert, James. "How do we transform art into activism?" In Citizen Artists, 4–21. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003079835-2.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Art ; Artists ; Art and society"

1

Buchanan, Frances, Niccolo Capanni, and Horacio Gonzalez-Velez. "Fine artists of the world unite: Bridging heterogeneous distributed open data sources of fine art." In 2011 International Conference on Information Society (i-Society). IEEE, 2011. http://dx.doi.org/10.1109/i-society18435.2011.5978440.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Kulsarieva, A. T., M. E. Sultanova, and Zh N. Shaigozova. "Values, Trends, Technology and Artistic Product in Contemporary Visual Art of Kazakhstan." In Proceedings of the International Conference Communicative Strategies of Information Society (CSIS 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/csis-18.2019.26.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Güner, Atiye, and İsmail Erim Gülaçtı. "The relationship between social roles of contemporary art museums and digitalization." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p77.

Full text
Abstract:
This paper was adapted from the author’s PhD dissertation named “The Effects of Digitalization on Contemporary Art Museums and Galleries”. The digital age has started with the digitalization of information and information communication. The digitalization processes that accelerated with the rapid developments in information and communication technologies have deeply affected museums. Museums are information-based organizations, their primary functions are to protect and spread information. Digitalized information and information communication have obligated contemporary art museums to follow digitalization processes. In this process, technological convergence is another factor that accelerates digitalization of contemporary art museums. ICOM has defined a contemporary museum as a polyphonic platform including participatory, inclusive and democratizing elements. When all these concepts are considered, the importance of communication between museum-community becomes apparent. Today, contemporary art museums have taken communication to their focal points. Museum-society communication is experienced in contemporary art museums through artistic activities as well as institution's communication-oriented strategies. Contemporary art activities using digital technologies and multimedia technologies generally require audience participation. Global access and various digital platforms provide the society with equal access to museums and art events, as well as making the arts of various countries and identities more visible. In the field of education, contemporary art museums develop projects by cooperating with various institutions. The effective use of digital platforms and institutional pages serves as a catalyst in the realization of these roles that museums undertake. Innovations in information and communication technologies accelerate the digitalization processes and serve as a mediator in maintaining the social roles of museums. For example, it can be said that technological convergence increases the number of museum visitors, therefore, it is the mediator of the social roles of museums. Technologies such as virtual reality, augmented reality and artificial intelligence, which are used in exhibition design in museums, require audience interaction. Digital art based on digital technology takes its place in contemporary art museums. In this study, it was aimed to reveal that social roles undertaken by contemporary art museums, such as participatory, inclusive, democratizing and polyphonic roles, are closely related to the digitalization of institutions and that digitalization acts as a catalyst for these roles.
APA, Harvard, Vancouver, ISO, and other styles
4

Ngo Thi Thanh, Quy, and Minh Nguyen Thi Hong. "Vietnamese Proverbs: Values Preserved in Modern Society." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.4-4.

Full text
Abstract:
Vietnamese proverbs has created long-lasting values which are being passed on to the modern society with numerous passions. These values include humanistic values confirming the human position in life. They also comprise social values and human philosophy as well as aesthetic values. Therefore, typical proverbs of the Viet people which have beem transferred to the younger generations via literary works such as Việt điện u linh (A collection of Vietnamese misteries) in the 14th century, Lĩnh Nam chích quái (A selection of the Viet extraordinary stories) in the 15th century are still being passed on until the present days. With the foundation of traditional Vietnamese proverbs, modern proverbs have undergone profound changes as seen in modern life through different forms of media including printed and audiovisual media as well as internet. It is obvious that traditional proverbs has regenerated in the new appearance. Proverbs are reproduced in modern literary works. Proverbs are also recreated and transformed in prose, poetry and drama. The movement and development of proverbs in our modern society confirm their deep values of the traditional culture. Writers, journalists and artists of other art forms have not only received the art tradition of word use of the ancestors but more importantly they have inherited the culural environment, humanistic values and life philosophies in order to transfer to the next generations. Henceforth, in the modern society Vietnamese proverbs are not obliterated but remain their vitality with different forms and have been of the Vietnamese people’s favourite.
APA, Harvard, Vancouver, ISO, and other styles
5

Devendorf, Laura. "Making art and making artists." In the 2014 companion publication. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2598784.2598787.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Stevens, Jane. "25th anniversary celebration of pioneering computer artists." In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281541.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Phelps, Andrew, and Mia Consalvo. "Laboring Artists: Art Streaming on the Videogame Platform Twitch." In Hawaii International Conference on System Sciences. Hawaii International Conference on System Sciences, 2020. http://dx.doi.org/10.24251/hicss.2020.326.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Buzzo, Daniel. "Art as Data Set, Data Set as Art: Training machine vision systems to see as artists." In Proceedings of EVA London 2021. BCS Learning & Development, 2021. http://dx.doi.org/10.14236/ewic/eva2021.37.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Nesteriuk, Sérgio. "I Meeting DAT - Design, Art and Technology." In I Encontro DAT - Design, Arte e Tecnologia, edited by Gilberto Prado and Suzete Venturelli. Universidade Anhembi Morumbi - PPGDesign, 2019. http://dx.doi.org/10.29147/2675-9004.idat.2019a.1-75.

Full text
Abstract:
The DAT Meeting - Design, Art and Technology, of the Postgraduate Program in Design throughout Anhembi Morumbi University (UAM), aims to bring together thinkers from national and international universities with a specific focus on creative cultural and technological sectors that develop research, projects, ideas, innovation and entrepreneurial activities. It explores the potential to blur the boundaries between design, art and technology with specific reference to discuss creativity in design and technology - examining how digital technology is approached by artists and designers. The meeting also seeks to contribute to discussions and reflections on how Design and Art have shaped and shape values, social structures, communications, thinking and culture. It involves designers and artists with their creative, theoretical and practical work, so that they present new perspectives and allow them to understand more about their skills, processes, motivations and relationship with the world, considering the diversity and interdisciplinarity of these works.
APA, Harvard, Vancouver, ISO, and other styles
10

Lomova, Elena. "Social and Historical Environment of the Society of Moscow Artists." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.4.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Art ; Artists ; Art and society"

1

Zhang, Ling, Brent Holland, and Eulanda A. Sanders. Collaborative Wearable Art Design Process for Wearable Art Designers, Artists, and Industrial Designers. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1756.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Kartheus, Wiebke. Art Museums in US Society. The Stacks, 2019. http://dx.doi.org/10.32784/libaac-418.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Levy, Jacob. Corps Intermédiaires, Civil Society, and the Art of Association. Cambridge, MA: National Bureau of Economic Research, June 2015. http://dx.doi.org/10.3386/w21254.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Galenson, David. The Reappearing Masterpiece: Ranking American Artists and Art Works of the Late Twentieth Century. Cambridge, MA: National Bureau of Economic Research, September 2003. http://dx.doi.org/10.3386/w9935.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Galenson, David. One Hit Wonders: Why Some of the Most Important Works of Modern Art are Not by Important Artists. Cambridge, MA: National Bureau of Economic Research, November 2004. http://dx.doi.org/10.3386/w10885.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Galenson, David. Do the Young British Artists Rule (or: Has London Stolen the Idea of Postmodern Art from New York?): Evidence from the Auction Market. Cambridge, MA: National Bureau of Economic Research, October 2005. http://dx.doi.org/10.3386/w11715.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Winkler-Portmann, Simon. Umsetzung einer wirksamen Compliance in globalen Lieferketten am Beispiel der Anforderungen aus der europäischen Chemikalien-Regulierung an die Automobilindustrie. Sonderforschungsgruppe Institutionenanalyse, August 2020. http://dx.doi.org/10.46850/sofia.9783941627796.

Full text
Abstract:
This publication based on a master thesis explores the challenges of the automotive industry regarding the European chemical regulations REACH and CLP, as well as potential improvements of the current compliance activities and the related incentives and barriers. It answers the research question: "To what extent should the compliance activities of actors in the automotive supply chain be extended in order to meet the requirements of European chemicals regulation; and where would it help to strengthen incentives in enforcement and the legal framework?“. The study’s structure is based on the transdisciplinary delta analysis of the Society for Institutional Analysis at the Darmstadt University of Applied Sciences. It compares the target state of the legal requirements and the requirements for corresponding compliance with the actual state of the actual compliance measures of the automotive players and attempts to identify their weak points (the delta). The main sources for the analysis are the legal texts and relevant court decisions as well as guideline-based expert interviews with automotive players based on Gläser & Laudel. As objects of the analysis, there are in addition answers to random enquiries according to Article 33 (2) REACH as well as the recommendations and guidelines of the industry associations. The analysis identifies the transmission of material information in the supply chain as a key problem. The global database system used for this purpose, the IMDS, shows gaps in the framework conditions. This results in compliance risk due to the dynamically developing regulation. In addition, the study identifies an incompliance of the investigated automobile manufacturers with regard to Art. 33 REACH. In answering the research question, the study recommends solutions to the automotive players that extend the current compliance activities. In addition, it offers tables and process flow diagrams, which structure the duties and required compliance measures and may serve as basic audit criteria. The analysis is carried out from an external perspective and looks at the entire industry. It therefore cannot cover all the individual peculiarities of each automotive player. As a result, the identified gaps serve only as indications for possible further compliance risks.
APA, Harvard, Vancouver, ISO, and other styles
8

Hunter, Fraser, and Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.

Full text
Abstract:
The main recommendations of the panel report can be summarised under five key headings:  Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age.  Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v  Landscapes and regions:  Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change?  Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial.  Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth.  Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs.  Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully.  Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people.  The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Art ; Artists ; Art and society' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography