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Books on the topic 'Art experts'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Bedel, Jean. Les experts avouent leurs secrets. [Paris]: Hachette, 1985.

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2

Knife & tomahawk throwing: The art of the experts. Rutland, Vt: C.E. Tuttle, 1988.

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3

Klinger, D. M. International guide of art experts, specialists and catalogues raisonnés =: Internationaler Führer der Kunstexperten, Spezialisten und Werksverzeichnisse = Guide international des experts, spécialistes et catalogues raisonnés. Nürnberg: DMK, 1993.

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4

Vosjoli, Philippe De. The art of keeping snakes: From the experts at Advanced Vivarium Systems. Irvine, Calif: Advanced Vivarium Systems, 2004.

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5

Ignasi, Doménech, and Palacio de Maricel (Sitges, Spain), eds. Antiquaris, experts, col·lecionistes i museus: El comerç, l'estudi i la salvaguarda de l'art a la Catalunya del segle XX. Bellaterra: Universitat Autònoma de Barcelona, Servei de Publicacions, 2013.

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6

Linda, Hillfritsch, ed. Secrets of Corel Painter experts: Tips, techniques, and insights for users of all abilities. Clifton Park, N.Y: Delmar, 2010.

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7

Yi shu guan chao: Zhongguo diao su ming jia = Art world : Chinese famous sculpture experts. Tianjin Shi: Tianjin ren min mei shu chu ban she, 2011.

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8

En quête de Nicolas Poussin, ou, Les tribulations d'un amateur d'art dans le monde des experts. Paris: Jean-Michel Place, 2015.

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9

The art of scouting: How the hockey experts really watch the game and decide who makes it. Mississauga, Ont: John Wiley & Sons Canada, 2011.

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10

Janssens, Liisa Albertha Wilhelmina, ed. The Art of Ethics in the Information Society. NL Amsterdam: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789462984493.

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New technologies are often implemented before their ethical consequences have been fully understood. In this volume, experts working in the sciences, arts, and philosophy of technology share novel perspectives on how we can best identify and navigate the new ethical crossroads emerging in our information society. With an eye toward the future, the contributors present an essential and unique view on the interplay between ethics and modern technology.

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11

Les ventes aux enchères: Ce qu'il faut savoir, où acheter, où vendre, les conseils des experts. Paris: Larousse/SEJER, 2004.

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12

Lehtonen, Tuomas, and Linda Kaljundi, eds. Re-forming Texts, Music, and Church Art in the Early Modern North. NL Amsterdam: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789089647375.

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Our historical understanding of the Reformation in northern Europe has tended to privilege the idea of disruption and innovation over continuity - yet even the most powerful reformation movements drew on and exchanged ideas with earlier cultural and religious practices. This volume attempts to right the balance, bringing together a roster of experts to trace the continuities between the medieval and early modern period in the Nordic realm, while enabling us to see the Reformation and its changes in a new light.

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13

Britain's war machine: Weapons, resources, and experts in the Second World War. Oxford: Oxford University Press, 2011.

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14

Jackson, Laura (Riding). Experts are puzzled [microform]. London: J. Cape, 1985.

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15

Chubina, Elena. Experts and expert reviews on the pages of literary works. ru: INFRA-M Academic Publishing LLC., 2021. http://dx.doi.org/10.12737/1816459.

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The textbook presents a system of case tasks, the purpose of which is to form a circle of necessary knowledge among students about the nature of expert activity, about the history of the use of special knowledge in legal proceedings, about the variety of existing types of forensic examinations, about the possibilities of using the results of forensic expert activity in law enforcement practice. The tasks are compiled in accordance with the requirements of the Federal State Educational Standard for Higher Education (3++) in the specialty 40.05.03 "Forensic Examination". The presented cases can be used in practical classes in the disciplines "Theory of forensic examination" and "Participation of a specialist in procedural actions". The textbook will also be useful as part of the course "Expertise in judicial proceedings", which is included in the training plan 40.03.01 "Jurisprudence" (bachelor's level), specialty 40.05.01 "Legal support of national security" (specialty level), specialty 40.05.04 "Judicial and prosecutorial activities" (specialty level). For students, postgraduates and teachers of law schools.

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16

Collecting art deco: Instant expert. New York: House of Collectibles, 2004.

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17

B, White Robert. The art of using expert evidence. Aurora, Ont: Canada Law Book, 1997.

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18

Gurley, Bace Rebecca, ed. A guide to forensic testimony: The art and practice of presenting testimony as an expert technical witness. Boston: Addison-Wesley, 2002.

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19

Wellman, Francis Lewis. The art of cross-examination. Holmes Beach, Fla: Gaunt, 1997.

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20

The art of cross-examination. Chicago, Ill: American Bar Association, 2009.

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21

Maria, Zemankova, ed. Intelligent systems: State of the art and future directions. New York: E. Horwood, 1990.

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22

Mumford, Enid. The successful design of expert systems: Are means more important than ends?. Manchester: Manchester Business School, 1987.

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23

Mumford, Enid. The successful design of expert systems: Are means more important than ends? Manchester: Manchester Business School, 1987.

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24

Edwards, JoLynn. Alexandre-Joseph Paillet: Expert et marchand de tableaux à la fin du XVIIIe siècle. Paris: Arthena, 1996.

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25

Ekelund, Robert B., John D. Jackson, and Robert D. Tollison. American Art, “Experts,” and Auction Institutions. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190657895.003.0004.

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Estimates made by “experts” regarding the value of a painting to be offered at auction are evaluated as to whether or not they provide a “fair” or “unbiased” range. Using a sample of eighty American artists over the period 1987–2013, evidence is found that in general art prices are underestimated, but that very high priced art may be overestimated in the interests of profit-maximizing auction houses; we also find that the higher the low estimate, the less likely a painting is to sell, and the wider the range between high and low estimated, the more likely it is to sell; that if a painting does not sell on first offer, its hammer price will be about 60 percent lower if it sells on the next offering (it is “burned”); and that the rapid rise in buyer’s premiums charged by auction houses has had, in combination with other factors, a reduction in auction house revenues.

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26

My Big Art Show: A Card Game + Book for Art Experts. Thames & Hudson Australia Pty, Limited, 2014.

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27

Walker, John. Experts' Choice: 1000 Years of the Art Trade. Random House Value Publishing, 1992.

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28

Art of Advocacy: Cross Examination of Non-medical Experts (Art of Advocacy). Matthew Bender and Company Inc, 1997.

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29

Olen, R. Ph D. Brown. The Art and Science of Expert Witnessing: The Definitve Guide for Attorneys and Experts. Cypress Publishing Group, 2002.

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30

Forgers Dealers Experts Strange Chapters In The History Of Art. Franklin Classics, 2018.

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31

Art - the Critics Choice: 150 Masterworks of Western Art Selected and Defined by the Experts. New Line Books, 2005.

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32

1919-, Russell John, and Vaizey Marina, eds. Art, the critics' choice: 150 masterpieces of western art selected and defined by the experts. London: Ted Smart, 1999.

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33

1919-, Russell John, and Vaizey Marina, eds. Art, the critics' choice: 150 masterpieces of western art selected and defined by the experts. New York: Watson-Guptill Publications, 1999.

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34

Kawachi, Kunihira. The Art of the Japanese Sword: As Taught by the Experts. Floating World Editions, 2006.

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35

Marina, Vaizey, ed. Art: The critics' choice : 150 masterpieces of western art [selected and explained by world-renowned experts]. London: Aurum Press, 1999.

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36

Uy, Michael Sy. Ask the Experts. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197510445.001.0001.

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From the end of World War II through the U.S. Bicentennial, the National Endowment for the Arts, the Rockefeller Foundation, and the Ford Foundation granted close to $300 million (approximately $2.3 billion in 2017 dollars) in the field of music alone. In deciding what to fund, these three grantmaking institutions decided to “ask the experts,” adopting seemingly objective, scientific models of peer review and specialist evaluation. They recruited music composers at elite institutions, professors from prestigious universities, and leaders of performing arts organizations. Among the most influential expert-consultants were Leonard Bernstein, Aaron Copland, Lukas Foss, and Milton Babbitt. The significance was twofold: not only were male, Western art composers put in charge of directing large and unprecedented channels of public and private funds, but also, in doing so, they determined and defined what was meant by artistic excellence. They decided the fate of their peers and shaped the direction of music making in this country. By asking the experts, the grantmaking institutions produced a concentrated and interconnected field of artists and musicians. Officers and directors utilized ostensibly objective financial tools like matching grants and endowments in an attempt to diversify and stabilize applicants’ sources of funding, as well as the number of applicants they funded. Such economics-based strategies, however, relied more on personal connections among the wealthy and elite, rather than local community citizens. Ultimately, this history demonstrates how “expertise” served as an exclusionary form of cultural and social capital that prevented racial minorities and nondominant groups from fully participating.

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37

Workshop, Viction. Ink - the Art of Tattoo: Contemporary Designs and Stories Told by Tattoo Experts. Victionary, 2016.

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38

Race Experts: Sculpture, Anthropology, and the American Public in Malvina Hoffman's Races of Mankind. University of Nebraska Press, 2018.

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39

Egyptian Fakes: Masterpieces that Duped the Art World and the Experts Who Uncovered Them. Flammarion, 2009.

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40

Leading architects: Industry experts share their knowledge on the art and science of architecture. Boston, Mass: Aspatore, 2003.

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41

The Art and Science of Success Volume 2 Proven Strategies from Todays Leading Experts. Westcom Press, 2011.

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42

Dan, Bensimhon, ed. How to win at everything: Experts reveal the fine art of beating the competition. New York: Bantam Books, 1995.

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43

Joso, Estudio, ed. The monster book of manga: Draw like the experts. New York, NY: Collins Design, 2005.

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44

Joso, Estudio, and Fernando Casaus. The Monster Book of Manga: Draw Like the Experts. Collins Design, 2006.

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45

Joso, Estudio, and Fernando Casaus. The Monster Book of Manga: Draw Like the Experts. Collins Design, 2006.

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46

staff, Inside the Minds. Lawyer's Idea Journal: Industry Experts Share Their Knowledge on the Art and Science of Financial Law. Aspatore Books, 2002.

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47

The art of cross-examining experts: Course materials from the November 30, 2007 program in Portland. Portland, OR: Oregon Law Institute of Lewis & Clark Law School, 2007.

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48

My Dad's Footsteps: Illustrations Developed in Close Collaboration with Kid Art Experts, Rebecca, Samantha and Lucy. Bongiorno Books, 2002.

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49

Ekelund, Robert B., John D. Jackson, and Robert D. Tollison. American Art and Illegal Activity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190657895.003.0006.

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This chapter presents an economic characterization of theft and fakery in the art world generally and with respect to American art specifically. When costs are low or benefits are high, there is more theft and fakery. That happens to be the case in the generally opaque market for art. With low national and international enforcement and higher and higher prices for art, we should not be surprised that art crime is the third largest criminal enterprise in the world. Art is used as “money” in drug operations and in money laundering of other illicit activities. Authenticity through experts, provenance, and exhibition records may add credence or establishment of authenticity to a work of art but, in many case, such “credence” may be faked. The story of art crime is told through a multiplicity of examples and “case studies,” derived primarily from theft and fakery of American art.

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50

Munson, Kim A., ed. Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.001.0001.

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Over the last twenty years, the growing diversity in content and artistic innovation in graphic novels, comic books, and web comics combined with the popularity of films based on comics material have made comic art newly attractive to curators, museums, and university galleries. More artists identified with comics are getting big budget retrospectives, collecting institutions are mounting rich historical shows, and exhibits capitalizing on the popularity of all types of comics are popping up around the world. This book is an introduction to the history and controversies that have shaped comics exhibitions, who the pioneers were, different ideas about comic art exhibits around the world, how the best practices for displaying comics have developed and why, and how artists and curators have found ways to display comics that break away from the “framed pages on the wall” format. Using long out-of-print reviews and new material from experts such as Art Spiegelman, Denis Kitchen, and Andrei Molotiu, Comic Art in Museums maps out the history of influential shows of original comic art from newly rediscovered shows of the 1930’s to contemporary blockbusters like High and Low: Modern Art, Popular Culture and Masters of American Comics, as well as the critical dialogue surrounding these shows. To borrow a phrase from Theirry Groensteen, it’s the story of one way that comics have finally achieved “cultural legitimization.”

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