Journal articles: 'Art geography'

1

Wallach, Bret. "Painting, Art History, and Geography." Geographical Review 87, no. 1 (January 1997): 92. http://dx.doi.org/10.2307/215660.

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Fowler, Mayhill C. "The Geography of Revolutionary Art." Slavic Review 78, no. 4 (2019): 957–64. http://dx.doi.org/10.1017/slr.2019.255.

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This article argues that a focus on Ukraine challenges the general understanding of culture in the revolutionary period, which either focuses on artists working in Moscow making Soviet art, or on non-Russian (Ukrainian, Jewish or Polish) artists in the regions making “national” art. Neither paradigm captures the radical shift in infrastructure during the imperial collapse and civil war. Placing the regions at the center of analysis highlights how Kyiv was an important cultural center during the period for later artistic developments in Europe and in the USSR. It shows that revolutionary culture is fundamentally wartime culture. Finally, the article argues that peripheral visions are central to a full geography of culture in order to trace how cultural infrastructures collapse and are re-constituted.

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Cosgrove, Denis. ":Toward a Geography of Art." American Historical Review 110, no. 4 (October 2005): 1120–21. http://dx.doi.org/10.1086/ahr.110.4.1120a.

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Jellis, Thomas. "Spatial experiments: art, geography, pedagogy." cultural geographies 22, no. 2 (February 19, 2014): 369–74. http://dx.doi.org/10.1177/1474474014522931.

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WALLACH, BRET. "PAINTING, ART HISTORY, AND GEOGRAPHY." Geographical Review 87, no. 1 (April 21, 2010): 92–99. http://dx.doi.org/10.1111/j.1931-0846.1997.tb00062.x.

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Bunk[sbreve]e, Edmunds V. "Place, Art, and Self. Toward a Geography of Art." Annals of the Association of American Geographers 95, no. 3 (September 2005): 697–700. http://dx.doi.org/10.1111/j.1467-8306.2005.00482_3.x.

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Hawkins, Harriet. "Geography and art. An expanding field." Progress in Human Geography 37, no. 1 (April 18, 2012): 52–71. http://dx.doi.org/10.1177/0309132512442865.

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Unwin, Tim. "Geography and the Art of Life." Annals of the Association of American Geographers 95, no. 3 (September 2005): 700–702. http://dx.doi.org/10.1111/j.1467-8306.2005.00482_4.x.

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Mattos, Claudia. "Geography, Art Theory, and New Perspectives for an Inclusive Art History." Art Bulletin 96, no. 3 (July 3, 2014): 259–64. http://dx.doi.org/10.1080/00043079.2014.889511.

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Moll, Richard J. "Ebrauke and the Politics of Arthurian Geography." Arthuriana 15, no. 4 (2005): 65–71. http://dx.doi.org/10.1353/art.2005.0047.

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Schaaf, Rebecca, Julieann Worrall-Hood, and Owain Jones. "Geography and art: encountering place across disciplines." cultural geographies 24, no. 2 (October 19, 2016): 319–27. http://dx.doi.org/10.1177/1474474016673068.

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This article summarises a project undertaken at the Newton Park campus of Bath Spa University over 1 week in October 2015. The project provided a space for interdisciplinary collaborations between geography and art students to explore the commonalities and differences in how they saw, interpreted and creatively re-presented the campus, using a variety of methods. This article outlines the project and reflects on the processes, outcomes, and challenges of collaboration. It highlights how this approach can enhance student learning experiences, by facilitating more interdisciplinary collaboration across the sciences, arts and humanities, and social sciences. In doing so, it explores the potential and pitfalls of collaborative cultural geography in practice across disciplines.

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Klein, Jennie. "Performance, Post-Border Art, and Urban Geography." PAJ: A Journal of Performance and Art 29, no. 2 (May 2007): 31–39. http://dx.doi.org/10.1162/pajj.2007.29.2.31.

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Mishina, L. A. "E.T.A. HOFFMANN’s TEXTS AS ART GUIDES." Bulletin of Udmurt University. Series History and Philology 29, no. 5 (October 25, 2019): 848–52. http://dx.doi.org/10.35634/2412-9534-2019-29-5-848-852.

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The goal of the article is to reveal the geographical realias and define their roles in the novel of the German romanticist E.T.A. Hoffmann “Devil’s elixirs” and his story “Ignaz Denner”. The embodiment of such ideas of humanitarian geography as geography of space, geography of way, phenomenon of traveler is traced.

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Kraly, Ellen Percy, and Ezzard Flowers. "Mobilizing a “Spiritual Geography”." Transfers 6, no. 1 (March 1, 2016): 103–9. http://dx.doi.org/10.3167/trans.2016.060109.

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As a result of removal and custody of Noongar children from their families and lands—forced mobilities and immobilties over decades, and within days and nights—a distinctive and beautiful artistic heritage emerged. Th is material heritage, too, was moved through and from Noongar country. Illustrated by the art of Carrolup, the culture and identity of the Noongar people has been transcendent and a “spiritual geography” mapped. As “heart returns home” to Noongar country, there are opportunities for new approaches to the reconciliation of the past for the future. Th e beauty of the art and the story of Carrolup teach, inspire, and provoke. Th ese mobilities and immobilities hold lessons that continue to travel.

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Hassani, Gholamreza. "The Effect of Geography on Art and Culture." International Journal of the Arts in Society: Annual Review 4, no. 1 (2009): 267–72. http://dx.doi.org/10.18848/1833-1866/cgp/v04i01/35560.

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Fredrick, Barbara, and Karyl Fuller. "Linking Geography and Art: Inness' “The Lackawanna Valley”." Journal of Geography 95, no. 6 (November 1996): 254–62. http://dx.doi.org/10.1080/00221349608978738.

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Suarez, J. L., F. Sancho-Caparrini, E. Ortega, J. d. l. Rosa, N. Caldas, and D. Brown. "Towards a digital geography of Hispanic Baroque art." Literary and Linguistic Computing 28, no. 4 (August 13, 2013): 718–35. http://dx.doi.org/10.1093/llc/fqt050.

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Entrikin, J. Nicholas. "Book Review: Geography and the art of life." cultural geographies 13, no. 3 (July 2006): 479–80. http://dx.doi.org/10.1177/147447400601300313.

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Arnold, Marion. "Art History and Geography: A New Global Perspective." Art Book 12, no. 1 (January 26, 2005): 13–14. http://dx.doi.org/10.1111/j.1467-8357.2005.00491.x.

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Tuan, Yi-Fu. "Realism and Fantasy in Art, History, and Geography." Annals of the Association of American Geographers 80, no. 3 (September 1990): 435–46. http://dx.doi.org/10.1111/j.1467-8306.1990.tb00306.x.

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Bezvoda, Václav. "Geography and Teaching of Programming." Geografie 94, no. 1 (1989): 47–53. http://dx.doi.org/10.37040/geografie1989094010047.

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The urgent need of computers in natural and social sciences will strongly influence the modification of the curricula at our universities and colleges. On the basis of an analysis of the history of application of computers at the Faculty of Natural Sciences of the Charles University, Prague and the situation in teaching mathematical programming and computer art, the paper formulates one of the most probable variants of teaching the above-mentioned subjects in geographical sciences. A special attention is paid to the role of microcomputers as the basic yet still problematic device in the computer art.

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Griffith, Daniel A. "A Spatial Analysis of Selected Art: a GIScience-Humanities Interface." International Journal of Humanities and Arts Computing 14, no. 1-2 (March 2020): 154–75. http://dx.doi.org/10.3366/ijhac.2020.0250.

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This exposition presents little-known connections between geography, through geographic information systems (GISs), mathematics, through matrix algebra, and art, through paintings and images, adding to the geo-humanities, spatial humanities, and humanistic mathematics literature. To this end, findings summarized for spatial statistical analyses of selected Susie Rosmarin paintings (which are reminiscent of visualizations of certain mathematical quantities known as eigenvectors), remotely sensed images that have appeared in art exhibits, and selected famous paintings by historically renowned artists reveal that spatial autocorrelation constitutes a fundamental element of art. These analyses extend the tradition of visualizing fractals as art, and interfacing cartography with art. This paper promotes analytical art, and establishes additional commonalities for GIScience, mathematics, and art.

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HOUSEFIELD, JAMES. "MARCEL DUCHAMP'S ART AND THE GEOGRAPHY OF MODERN PARIS*." Geographical Review 92, no. 4 (April 21, 2010): 477–502. http://dx.doi.org/10.1111/j.1931-0846.2002.tb00009.x.

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Geiger, Pedro P. "Science, art and geography in the David Lynch's cinema." GEOUSP: Espaço e Tempo (Online), no. 15 (June 17, 2006): 11. http://dx.doi.org/10.11606/issn.2179-0892.geousp.2004.123863.

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As correspondências entre Geografia e Cinema são densas, cobrindo temas do espaço vivido e das representações do espaço. Este trabalho procura discutir as relações entre Geografia e Cinema em uma perspectiva filosófica das relações Arte/Ciência

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Housefield, James. "Marcel Duchamp's Art and the Geography of Modern Paris." Geographical Review 92, no. 4 (October 2002): 477. http://dx.doi.org/10.2307/4140931.

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Castelnuovo, Enrico, Carlo Ginzburg, and Maylis Curie. "Symbolic Domination and Artistic Geography in Italian Art History." Art in Translation 1, no. 1 (March 2009): 5–48. http://dx.doi.org/10.2752/175613109787307672.

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Hawkes, Dean. "Aarhus Town Hall and the ‘other’ environmental tradition." Architectural Research Quarterly 18, no. 3 (September 2014): 273–82. http://dx.doi.org/10.1017/s1359135514000621.

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The first chapter of Nikolaus Pevsner's The Englishness of English Art is entitled ‘The Geography of Art’. In this he presents a reflection on the validity of geography as a means of interpreting art and architecture and in it he proposes that, ‘there is a whole string of facts from art and literature [that are] tentatively derived from climate’. The instrumental connection of architecture and climate is widely accepted in the literature of socalled ‘architectural science’. But the influence of geography and the specific conditions of climate may be shown to have a more fundamental influence on architecture than simple pragmatism.

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Hynek, Alois. "Training Geography Educators." Geografie 105, no. 2 (2000): 177–89. http://dx.doi.org/10.37040/geografie2000105020177.

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Czech didactics of geography (teaching/learning geography) has just started its fifth wave in training geography educators at eight university faculties. The current debate is on developing a curriculum emphasizing the position of geography education as the applied discipline of the science/art of geography. 'Challenge for 10 million' is a national debate on the Czech educational system organized by the governmental Dept. of Schools, Youth and Physical Culture, being very critical to teaching geography at primary and secondary schools. That is the reason for the strong re-assessment of social, environmental/ecological, economic, cultural and political relevance on the subject of geography in the educational process. This discourse is also intended for international communication starting in the educational commission of IGUIUGI.

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Iamurri, Laura. "Here and There: Contemporary Feminisms, Art Practices and Globalized Geography." Critique d’art, no. 50 (May 25, 2018): 19–27. http://dx.doi.org/10.4000/critiquedart.29312.

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Staszak, Jean-François. "Primitivism and the other. History of art and cultural geography." GeoJournal 60, no. 4 (2004): 353–64. http://dx.doi.org/10.1023/b:gejo.0000042971.07094.20.

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BARTLETT, LEO. "Questions and Viewpoints: the Art of Interpretation in Teaching Geography." New Zealand Journal of Geography 74, no. 1 (May 15, 2008): 7–13. http://dx.doi.org/10.1111/j.0028-8292.1983.tb00725.x.

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32

Hawkins, Harriet. "Dialogues and Doings: Sketching the Relationships Between Geography and Art." Geography Compass 5, no. 7 (July 2011): 464–78. http://dx.doi.org/10.1111/j.1749-8198.2011.00429.x.

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Kerman, Monique. "Drawing maps: history and geography in contemporary black British art." African and Black Diaspora: An International Journal 8, no. 1 (December 22, 2014): 15–24. http://dx.doi.org/10.1080/17528631.2014.966957.

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LAVRENOVA, OLGA A. "CINEMA SPACES: AN IMAGINATIVE WORLD OF THE CULTURAL LANDSCAPE. REVIEW OF THE 6TH INTERNATIONAL SCIENTIFIC CONFERENCE “GEOGRAPHY OF ART”." Art and Science of Television 16, no. 3 (2020): 159–76. http://dx.doi.org/10.30628/1994-9529-2020-16.3-159-176.

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The international scientific conference “Geography of Art” is devoted to the development of a wide problematic field of interaction between art and geographic space. It traditionally considers not only spacing of artifacts and monuments over the earth’s surface, but also specific features related to the reflection of geographical space in art and creation of fantasy worlds in which the dependence on consistent patterns of the real world formation can easily be traced. The conference has been held since 2009; it was initiated by the geographer Yu.A. Vedenin and carried forward by the philosopher and culture specialist O.A. Lavrenova. In recent years, organizers of this representative forum are the Institute of Scientific Information for Social Sciences of the Russian Academy of Sciences, the Russian Academy of Arts, Film and Television School (GITR), the Russian State University for the Humanities. In 2020, for the first time the conference was held online. As always, there was discussed the role of territorial factors in formation of art schools and individual works, as well as a creative perception of the cultural landscape, the place of art in the formation of the territory image. An important topic was a concept of space in art works, the possibilities of comprehending, transforming, “reformatting” the space by different art types including screen art, creating in this way the “increment of meaning” of places and regions. Within the framework of this conference there were discussed НАУКА ТЕЛЕВИДЕНИЯ № 16.3, 2020 162 THE ART AND SCIENCE OF TELEVISION historical and cultural features of the national and world cinema, which capture real spaces and create their own modifications. Participants touched upon the topic of traveling in the cinema, virtual representations of cultural landscapes using digital narratives and, accordingly, the possibilities and specific features of the virtual travel. The issue of studying urban spaces by means of cinema was considered in a wide semantic variety—from buffoonery to marginality. A city appears as a universal scenery for a performance while real street loci with their inhabitants become heroes of modern visual media. A separate topic was the discussion of constructed spaces of Korean TV series and their adaptation in Russian culture as a tangible result of the process of intercultural communication. All the above mentioned studies represented by conference participants actually complement each other in terms of understanding the figurative component of the cultural landscape.

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WESSELING, HENK. "Primitive art, early art or no art at all?" European Review 15, no. 03 (June 26, 2007): 271. http://dx.doi.org/10.1017/s1062798707000294.

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Lavrenova, Olga. "MULTIDIMENSIONAL IMAGES OF SPACE: REVIEW OF THE VII INTERNATIONAL SCIENTIFIC CONFERENCE "GEOGRAPHY OF ART"." Herald of Culturology, no. 3 (2021): 194–215. http://dx.doi.org/10.31249/hoc/2021.03.12.

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The international scientific conference «Geography of Art» has been considering the interaction of art and space for many years. The first conference was held in 2009. In 2021, the seventh conference was held in a hybrid format, which allowed scientists from remote places and other countries to be invited. The role of art in shaping the cultural landscape, cartographic, artistic, and literary images of the world, and concepts of space in art were discussed. Art creates the meanings of geographical objects of different levels, «sculpting» the semantic form of urban space. «Genius and Place» is a theme that reveals how artists, writers, and poets re-create the meanings of the places they are associated with. Literary geography and local texts are one of the dimensions of this problem. As usual, the conference was characterized by a broad interdisciplinary approach.

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Afshar, Vafa, and Candan Terwiel. "Art for peace." Global Journal of Arts Education 9, no. 2 (August 31, 2019): 63–74. http://dx.doi.org/10.18844/gjae.v9i2.4417.

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In this our modern times, many people, although not in every geography, had to live with wars and conflicts. Peace has always been the object of purchase, even if art cannot afford to prevent the war. Violence and war have become commonplace for everyone, especially for children. Exile, immigration, refugee, human trafficking issues, which have become a problem of the world as a result of war and violence, await solutions. Institutions, states and global organisations are trying to take big economic and social measures towards these problems; however the unresolved problems of the endless wars, the issues of war continue to be the main item of the agenda. For instance, the arts of Otto Dix, Kathe Kollwitz or our current days artists Tammam Azzam and Banksy. This study emphasises the belief that the art has a unifying, healing power, and therefore Art for Peace will continue to be made. Keywords: Contemporary art, peace, war, art.

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Allen, Casey D., and Chris Lukinbeal. "Practicing physical geography: An actor-network view of physical geography exemplified by the rock art stability index." Progress in Physical Geography: Earth and Environment 35, no. 2 (April 26, 2010): 227–48. http://dx.doi.org/10.1177/0309133310364929.

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This paper explores the use of a new pedagogy, the rock art stability index (RASI), to engender deeper understanding of weathering science concepts by students. Owing to its dynamic nature, RASI represents a quintessential actor network for weathering science, because it links task in the landscape with an active material practice and an alternative materialistic world-view recently called for in positivistic science, to create place. Using concept maps as an assessment tool, 571 college undergraduate students and 13 junior high school integrated science students (ages 12—13) were evaluated for increased learning potential between pre- and post-field experiences. Further, this article demonstrates that when students use RASI to learn the fundamental complex science of weathering they make in-depth connections between weathering form and process not achieved through traditional, positivistic weathering pedagogy. We argue that RASI draws upon inherent actor networks which allow students to link weathering form and process to an animate conceptualization of landscape. Conceptualizing landscape as sentient actor networks removes weathering science disciplinary connections and their inherent pedagogic practices. Our focus in this paper is not to challenge weathering ontology and epistemology, but rather to argue that there is a need for a pedagogical paradigm shift in weathering science.

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Rosenfeld, A., and M. A. Smith. "Rock-Art and the History of Puritjarra Rock Shelter, Cleland Hills, Central Australia." Proceedings of the Prehistoric Society 68 (2002): 103–24. http://dx.doi.org/10.1017/s0079497x00001468.

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Elaborate, religiously sanctioned relationships between people and place are one of the most distinctive features of Aboriginal Australia. In the Australian desert, rock paintings and engravings provide a tangible link to the totemic geography and allow us to examine both changes in the role of individual places and also the development of this system of relationships to land. In this paper we use rock-art to examine the changing history of Puritjarra rock shelter in western central Australia. The production of pigment art and engravings at the shelter appears to have begun by c. 13,000 BP and indicates a growing concern by people with using graphic art to record their relationship with the site. Over the last millennium changes in the surviving frieze of paintings at Puritjarra record fundamental changes in graphic vocabulary, style, and composition of the paintings. These coincide with other evidence for changes in the geographic linkages of the site. As Puritjarra's place in the social geography changed, the motifs appropriate for the site also changed. The history of this rock shelter shows that detailed site histories will be required if we are to disentangle the development of central Australian graphic systems from the temporal and spatial variability inherent in the expression of these systems.

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Quemin, Alain. "INTERNATIONAL CONTEMPORARY ART FAIRS IN A ‘GLOBALIZED’ ART MARKET." European Societies 15, no. 2 (May 2013): 162–77. http://dx.doi.org/10.1080/14616696.2013.767927.

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Touret, Jacques, and Andrei G. Bulakh. "Ornamental stones of the Napoleon Tombstone (Paris): art, geology, and geography." Vestnik of Saint Petersburg University. Earth Sciences 62, no. 1 (2017): 20–30. http://dx.doi.org/10.21638/11701/spbu07.2017.102.

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Phillips, Perdita. "Doing art and doing cultural geography: The fieldwork/field walking project1." Australian Geographer 35, no. 2 (July 2004): 151–59. http://dx.doi.org/10.1080/0004918042000249458.

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Courtenay, P. P., and Gale Dixon. "‘State of the art’ surveys of Asian studies: geography and literature." Asian Studies Association of Australia. Review 8, no. 3 (April 1985): 2–6. http://dx.doi.org/10.1080/03147538508712356.

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Silva, Richarlison, and Ricardo Nogueira. "A PÓS-GRADUAÇÃO EM GEOGRAFIA NO BRASIL: UM ESTADO DA ARTE." REVISTA GEONORTE 9, no. 31 (April 4, 2018): 1–15. http://dx.doi.org/10.21170/geonorte.2018.v.9.n.31.1.15.

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Justaniah, Osama. "The Spatial Distribution Patterns of Hotels in Jeddah A Study in Tourism Geography." مجلة جامعة الملك عبدالعزيز-الآداب والعلوم الإنسانية 18, no. 2 (2010): 53–84. http://dx.doi.org/10.4197/art.18-2.2.

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While, Aidan. "Locating art worlds: London and the making of Young British art." Area 35, no. 3 (September 2003): 251–63. http://dx.doi.org/10.1111/1475-4762.00174.

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Mellor, Larissa. "Collaged Culture." Anthropological Journal of European Cultures 26, no. 2 (September 1, 2017): 79–89. http://dx.doi.org/10.3167/ajec.2017.260206.

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This article explores the relationship between my cultural inheritance and its impact on my work as a visual artist. Questions in the work related to language and geography are tied to my lived experience. These themes led me to explore the contemporary context of German clubs in the United States. I found the art process of collage – cutting and pasting to rearrange parts on a surface – to be an apt visual for the position of the German clubs today, arriving at the term ‘collaged culture’. Similarities between visual art and life reveal that both carry histories. By investigating the relationships between these, we can better perceive the current state of the work of art.

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Ehlers, Eckart. "German Geography of the Middle East: Trends and Prospects." Middle East Studies Association Bulletin 19, no. 2 (December 1985): 183–96. http://dx.doi.org/10.1017/s0026318400016138.

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In Recent Years and on several occasions Eugen Wirth (1977; 1983a; 1983b), probably the leading German geographer on the Near and Middle East, has given critical evaluations and assessments of German geography related to the Near and Middle East. One of his findings, published in a volume by the German Research Council (Deutsche Forschungsgemeinschaft), on the state of art of research in the Federal Republic of Germany reads as follows: “Thus one may possibly say that the geographical Middle East research of the Federal Republic of Germany in terms of number and breadth, as well as in terms of contents and depth of its publications, may be considered internationally leading” (Wirth 1983a; translated by E. E.).

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Ferretti, Federico. "History and philosophy of geography I: Decolonising the discipline, diversifying archives and historicising radicalism." Progress in Human Geography 44, no. 6 (December 13, 2019): 1161–71. http://dx.doi.org/10.1177/0309132519893442.

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Starting from the conclusion of the previous report by Innes Keighren on the history and philosophy of geography, this report assesses the ‘state of the art’ of current attempts to make this field of studies more inclusive and to foster the increasing acknowledgement of geography’s plural pasts. It does so by analysing scholarship published this year (including contributions from outside the Anglosphere), which rediscovers geographical traditions other than Northern ones, diversifies archives and places by including feminist, decolonial and subaltern outlooks, and addresses geographical traditions in radicalism and activism, increasingly connecting this field of studies with wider scholarly and political debates.

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Pereira, Edir Agusto Dias. "Uma leitura da concepção geográfica de Eidorfe Moreira." GEOgraphia 16, no. 31 (September 18, 2014): 24. http://dx.doi.org/10.22409/geographia2014.1631.a13671.

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Buscamos apresentar neste artigo o pensamento geográfico do geógrafo paraense Eidorfe Moreira, sua concepção da Geografia, seu trânsito ensaístico por diversos temas culturais que atualmente se tornam mais recorrentes na Geografia, mas não o eram no Brasil à época que escrevia, da década de 1960 até 1980. Eidorfe Moreira procurou desenvolver uma concepção filosófica da Geografia, “uma concepção geográfica da vida”, desenvolvendo conceitos e abordagens bastante originais dos aspectos espaciais da literatura, da arte e da cultura em geral. Abstract This article we present the geographical thought Geographer Eidorfe Moreira, his conception of Geography, its transit essay by various cultural topics currently become more likely in Geography, but were not in Brazil at the time he wrote, the 1960s to 1980. Eidorfe Moreira tried to develop a philosophical conception of Geography, “a geographical conception of life”, developing concepts and approaches quite unique spatial aspects of literature, art and culture in general.

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Journal articles on the topic 'Art geography'

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