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Journal articles on the topic 'Art practice'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Broom, Kate. "Art Practice, Anyone?" Probation Journal 44, no. 2 (1997): 119. http://dx.doi.org/10.1177/026455059704400219.

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2

Rushforth, Bruno. "Art: British Art Show 8." British Journal of General Practice 66, no. 644 (2016): 152. http://dx.doi.org/10.3399/bjgp16x684109.

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3

Brenifier, Oscar. "The Art of Philosophical Practice: Philosophical Attitudes." Socium i vlast, no. 1 (2018): 73–79. http://dx.doi.org/10.22394/1996-0522-2018-1-73-79.

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4

Lütticken, Sven. "Autonomy as Aesthetic Practice." Theory, Culture & Society 31, no. 7-8 (2014): 81–95. http://dx.doi.org/10.1177/0263276413496853.

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This essay examines various conceptions of autonomy in relation to recent artistic practices. Starting from the apparent opposition between modernist notions of the autonomy of art and theorizations of political autonomy, the text problematizes the notion of the autonomy of art by using Jacques Rancière’s notion of the aesthetic regime. Focusing on the importance of the act and performance in the art of the last decades, it is argued that while political and artistic autonomy may never quite converge, aesthetic acts can under certain circumstances function in both the political and the artisti

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5

Turner, Trevor. "Art: The Art of Bedlam: Richard Dadd." British Journal of General Practice 66, no. 643 (2016): 96. http://dx.doi.org/10.3399/bjgp16x683701.

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6

Murwanti, Aprina. "Mapping Strategy of Practicing Visual Art for Academic Purpose: a Perspective from Indonesia." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (2017): 291–96. http://dx.doi.org/10.18844/prosoc.v4i11.2884.

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Practice-based research was formally introduced in western academic institutions after the emergence of PhD visual art practice in early 1980 in Australia. This practice-based research approach became an alternative for artists to claim equality of art practice as research for academic purposes. Utilising Graeme Sullivan’s framework, ‘Art Practice as Research’, this paper maps visual art practice perceived as research in Indonesia. Interviews and focus group discussions from a total of 27 participants were analysed to map the symptoms of practice-based research approach in Indonesian visual ar

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7

Carroll, Noël. "Art, Practice, and Narrative." Monist 71, no. 2 (1988): 140–56. http://dx.doi.org/10.5840/monist198871212.

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8

Roseman-Halsband, Janet Lynn, Pradnya Brijmohan Bhattad, Michael Durkin, et al. "Art in Clinical Practice." Alternative and Complementary Therapies 27, no. 3 (2021): 124–33. http://dx.doi.org/10.1089/act.2021.29332.jlr.

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9

Gawthrop, Rob. "Politics Practice Pedagogy Art." Performance Research 21, no. 6 (2016): 37–43. http://dx.doi.org/10.1080/13528165.2016.1240925.

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10

Knowles, Alison, Eleanor Heartney, Meredith Monk, Linda Montano, Erik Ehn, and Bonnie Marranca. "Art as Spiritual Practice." PAJ: A Journal of Performance and Art 24, no. 3 (2002): 18–34. http://dx.doi.org/10.1162/15202810260186620.

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11

Philip, Kavita. "Art and Environmentalist Practice." Capitalism Nature Socialism 19, no. 2 (2008): 69–74. http://dx.doi.org/10.1080/10455750802091560.

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12

Lillepuu, Saskia. "Anthropology and Art Practice." Asia Pacific Journal of Anthropology 15, no. 5 (2014): 493–95. http://dx.doi.org/10.1080/14442213.2014.925792.

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13

Ng, S. C., S. Emmanuel, A. Bongso, C. L. K. Chan, J. Kumar, and S. S. Ratnam. "ART practice in Singapore." Journal of Assisted Reproduction and Genetics 13, no. 7 (1996): 527–35. http://dx.doi.org/10.1007/bf02066603.

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14

Loughran, Cate. "Art therapy in practice." Arts in Psychotherapy 19, no. 5 (1992): 395–96. http://dx.doi.org/10.1016/0197-4556(92)90036-n.

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15

Nekhaeva, Iraida N. "THE TERRITORY OF CONTEMPORARY ART: ART CRITICISM VERSUS ART PRACTICE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 38 (2020): 99–106. http://dx.doi.org/10.17223/22220836/38/10.

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16

Saparbaevna, Seitjanova Kamar. "The Art of Choral Conducting: Theory and Practice." International Journal of Pedagogics 5, no. 4 (2025): 261–63. https://doi.org/10.37547/ijp/volume05issue04-68.

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The article analyzes the theoretical and practical foundations of the art of choral conducting. It discusses the formation of choral ensembles, the specifics of the conducting process, the technique of ensemble management, and modern trends. The personal and professional qualities of the conductor are also highlighted.

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17

Fogleman, Corey. "Healing Art." Family Medicine 54, no. 8 (2022): 644. http://dx.doi.org/10.22454/fammed.2022.934557.

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18

McDonald, Tein. "Restoration practice: Art, toil and focal practice." Ecological Management and Restoration 4, no. 3 (2003): 160. http://dx.doi.org/10.1046/j.1442-8903.2003.00150.x.

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19

Wehbi, Samantha. "ETHICS, ART, AND SOCIAL WORK." Canadian Social Work Review 34, no. 1 (2017): 47–59. http://dx.doi.org/10.7202/1040994ar.

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There has been a growing interest in bringing creative arts as methods and processes into social work education and practice to enhance student learning and contribute to practices tackling issues of social justice and anti-oppression. This paper builds on the current conversation about the intersection of art and social work to propose the need for engagement with ethical considerations to guide our practice. Relying on examples of arts-informed and arts-based projects that tackle issues of ableism and racism, the discussion focuses on the need to consider issues of consent, representation, a

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20

Grant, James. "Medicine and art." Family Practice 20, no. 4 (2003): 495. http://dx.doi.org/10.1093/fampra/cmg433.

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21

Marinescu, Adina. "The Art of Healing, More than Science, More than Practice." Postmodern Openings 13, no. 3 (2022): 251–66. http://dx.doi.org/10.18662/po/13.3/488.

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Traditionally, medicine has been considered a practical art. It seeks the patient’s well-being through technical means and specific skills in healing. On the other hand, healing means are connected to the life sciences, through which knowledge has developed systematically. Due to research and technological development, we can easily reveal the true meaning of medicine as science. Hippocratic practice and Aristotelian ethics have offered us a humanitarian approach, oriented to the sick person, which set the virtuous human character of each person who practices the virtues. The medicine people a

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22

Sharpe, Deborah, and Lisa Hinz. "The Course of COVID: How the Pandemic Changed Art Therapy Practice." OBM Integrative and Complementary Medicine 08, no. 03 (2023): 1–31. http://dx.doi.org/10.21926/obm.icm.2303029.

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This study explored how the global COVID-19 pandemic changed the ways in which art therapists use art in their therapeutic practice. Art has repeatedly been linked to healing in a variety of settings, but generally art therapists have been accustomed to conducting therapy sessions in person. Prior to the pandemic most art therapists preferred in-person sessions for a variety of therapeutic reasons. Although there are clearly downsides to meeting remotely, there have been unforeseen advantages, as well. The present study surveyed 74 art therapists from around the world to understand the changes

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23

Li, Qi. "Data visualization as creative art practice." Visual Communication 17, no. 3 (2018): 299–312. http://dx.doi.org/10.1177/1470357218768202.

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This article begins by tracing the evolution of data visualization from the fields of aesthetics to areas of creative practice, arguing that the emergence of big data presents creative potential for digital artists. Whereas conventional information visualization emphasizes the effective understanding of data, aesthetics considers the possibility that visualization can enhance the experience of data and support the acquisition of knowledge. In expressing an artistic intent or form, data-based creative practices synthesize and build upon techniques in communications and aesthetics. The article p

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24

Clark, Vanessa. "ART PRACTICE AS POSSIBLE WORLDS." International Journal of Child, Youth and Family Studies 3, no. 2-3 (2012): 198. http://dx.doi.org/10.18357/ijcyfs32-3201210866.

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This paper explores the possibilities of arts practice in early childhood education. Building on her master’s thesis, the author presents both a doing – her experimentation with arts practice in two early childhood centres – and an argument: that art may present an opening onto possible worlds. The author builds these worlds in relation to her theoretical framework: an immanent relational materialist onto-epistemology. Viewed through this lens, art’s possible worlds have the potential to traverse, mix, and disrupt binaries that maintain marginalized positions. Art practice from this intersecti

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25

Md Arif, Mohd Fuad. "Art Practice-Based Research Paradigm." Environment-Behaviour Proceedings Journal 7, SI9 (2022): 31–35. http://dx.doi.org/10.21834/ebpj.v7isi9.3934.

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A research paradigm is a blueprint that lay out the many roles of how the development of knowledge can be place within a particular discipline in research. As artistic research is still in its infancy, this paper attempts to proposed a schematic foundation for art practice-based research paradigm by referencing to an existing structure proposed by Gray and Malins. The research takes a interpretative method in developing definition and basic argument, providing the future researcher with a fundamental comprehension of the research paradigm by focusing on its three components—namely, ontology, e

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26

Junghaus, Tímea. "Roma art: Theory and practice." Acta Ethnographica Hungarica 59, no. 1 (2014): 25–42. http://dx.doi.org/10.1556/aethn.59.2014.1.3.

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27

Allsopp, Gail. "The art in general practice." British Journal of General Practice 63, no. 617 (2013): 650. http://dx.doi.org/10.3399/bjgp13x675485.

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28

Novitz, David. "Participatory Art and Appreciative Practice." Journal of Aesthetics and Art Criticism 59, no. 2 (2001): 153–65. http://dx.doi.org/10.1111/0021-8529.00015.

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29

Anglin, Carlita, Carolyn Halpin-Healy, and Peri Rosenfeld. "Reflecting Art in Nursing Practice." JONA: The Journal of Nursing Administration 50, no. 5 (2020): 274–80. http://dx.doi.org/10.1097/nna.0000000000000883.

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30

Chmielarz, Sharon. "On the Art of Practice." Iowa Review 27, no. 3 (1997): 125. http://dx.doi.org/10.17077/0021-065x.4848.

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31

Constantian, Mark B. "Nasal Reconstruction: Art and Practice." Plastic and Reconstructive Surgery 124, no. 4 (2009): 1359. http://dx.doi.org/10.1097/prs.0b013e3181bad93c.

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32

Gordon, Eric, Catherine D'Ignazio, Gabriel Mugar, and Paul Mihailidis. "Civic media art and practice." Interactions 24, no. 2 (2017): 66–69. http://dx.doi.org/10.1145/3041764.

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33

Anzinger, Deborah, Laura Anderson Barbata, Nadia Huggins, Kendra Frorup, Keisha Scarville, and Sheena Rose. "ART as Caribbean Feminist Practice." Small Axe 21, no. 1 52 (2017): 151–62. http://dx.doi.org/10.1215/07990537-3844307.

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34

Dunkley, Wayne. "Creating Space: Web Art Practice." Leonardo 38, no. 4 (2005): 276. http://dx.doi.org/10.1162/leon.2005.38.4.276.

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35

Vanderpool, Jennifer. "Growing a Social Art Practice." Latin American and Latinx Visual Culture 6, no. 3 (2024): 3–19. http://dx.doi.org/10.1525/lavc.2024.6.3.3.

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This article discusses the development of my post-studio, community-specific, site-responsive, socially engaged art practice as a method of creative research intersecting working-class, performance, and Latin American studies perspectives to discuss floriculture laborers and their work in Bogotá, Colombia, and Cayambe and Quito, Ecuador. I address my creative process as a Los Angeles–based artist laborer, facing the challenges of creating working-class transnational exhibition narratives and exploring the coproduction of community engagement exhibitions.

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36

Edmonds, Ernest, and Linda Candy. "Creativity, art practice, and knowledge." Communications of the ACM 45, no. 10 (2002): 91–95. http://dx.doi.org/10.1145/570907.570939.

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37

Sullivan, Graeme. "Research Acts in Art Practice." Studies in Art Education 48, no. 1 (2006): 19–35. http://dx.doi.org/10.1080/00393541.2006.11650497.

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38

Chu, Jian, Hongye Su, Feng Gao, and Jun Wu. "Process control: Art or practice." Annual Reviews in Control 22 (January 1998): 59–72. http://dx.doi.org/10.1016/s1367-5788(98)00005-4.

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39

Chu, Jian, Hongye Su, Feng Gao, and Jun Wu. "Process Control: Art or Practice." IFAC Proceedings Volumes 28, no. 16 (1995): 31–44. http://dx.doi.org/10.1016/s1474-6670(17)45150-0.

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40

MONSEN, ELAINER. "The Art of Dietetics Practice." Journal of the American Dietetic Association 95, no. 3 (1995): 288. http://dx.doi.org/10.1016/s0002-8223(95)00067-4.

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41

Wolfe, S. Anthony. "Nasal Reconstruction: Art and Practice." Plastic and Reconstructive Surgery 124, no. 4 (2009): 1360. http://dx.doi.org/10.1097/01.prs.0000358862.74753.d0.

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42

Levin, G. Roy. "Art Education as Cultural Practice." Art Journal 58, no. 1 (1999): 16. http://dx.doi.org/10.2307/777875.

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43

Sharma, Priya. "The art of reflective practice." Dental Nursing 15, no. 3 (2019): 134–35. http://dx.doi.org/10.12968/denn.2019.15.3.134.

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44

Penny, Simon. "The Virtualization of Art Practice." Art Journal 56, no. 3 (1997): 30–38. http://dx.doi.org/10.1080/00043249.1997.10791830.

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45

Levin, G. Roy. "Art Education as Cultural Practice." Art Journal 58, no. 1 (1999): 16–20. http://dx.doi.org/10.1080/00043249.1999.10791913.

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46

Hrastar, Tihana, and Mia Roth-Čerina. "Rooting Art-Based Interdisciplinary Practice." Prostor 31, no. 2(66) (2023): 182–97. http://dx.doi.org/10.31522/p.31.2(66).4.

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During the 1960s and 1970s, interdisciplinary collaborations among architects, designers, and artists represented an important aspect of Croatian architecture. This paper examines the institutional frameworks and conditions that facilitated such integrative practices. It recognizes the key participants and underscores a change in the underlying motives and other contributing factors for their collaborations across the decades. The paper also classifies the predominant building types resulting from such collaborations and prevalent social and political ambitions. Specific examples, such as inst

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47

Adie, Anthonia Ugiebeme. "Art and Technology: Graphic art." International Journal of Arts and Social Science 5, no. 3 (2023): 252–67. https://doi.org/10.5281/zenodo.7751120.

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The emergence of technologies has led to advancement in art production. Over the years, the field of art has witnessed a great transformation as a result of technology. Technology has redefined the art field in terms of art materials, medium and means of production thereby giving art a different dimension. Contemporary art practices are far appreciated now than before as a result of the fusion of technology. Graphic art practices have changed rapidly from what it used to be before early 19th century. There are technologies that have been used by graphic artists in creating suitable designs for

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48

Papadaki, Elena. "Between the Art Canon and the Margins: Historicizing Technology-Reliant Art via Curatorial Practice." Arts 8, no. 3 (2019): 121. http://dx.doi.org/10.3390/arts8030121.

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This article explores curatorial practice that has technology-reliant works at its epicentre, arguing that for an efficient methodology to historicize the latter there needs to be a reconfiguration of the curatorial scope and a holistic approach to viewing and documenting exhibitions. Based on theoretical research and install decisions of recent years, the ways in which curatorial practice can be reconfigured within the art canon to inform art history, as well as to accommodate developments in exhibition practices are examined.

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49

Staszkop, Urszula. "OCCUPY BIENNALE? SOCIALLY-ENGAGED ART PRACTICE AND ART INSTITUTION." ARTis ON, no. 7 (December 24, 2018): 171–77. http://dx.doi.org/10.37935/aion.v0i7.203.

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The political phenomenon of Occupy Wall Street obtained the global attention in the fall of 2011 with its encampment in the Zuccotti Park (New York). As the movement grew, there also seemed to be an aesthetic component to it revealed in socially-engaged, participatory practices. Those presuppositions provoked the debate focused on the emerging issue of activist art and on the art’s capability to transmit the aims of political protest. Consequently, curators and art institutions attempted to endorse the Occupy movement, while incorporating it into various art events. This text seeks to explore

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50

Klāsone, Inta. "Interactions of Art and Art Pedagogy : Theory and Practice." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (July 24, 2015): 456. http://dx.doi.org/10.17770/sie2014vol2.640.

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The article raises the issue of the link between art and its variet expressions of form with pedegaogy of art. A number of important directions of scientific research in art pedagogy are highlighted on the basis of the scientific knowledge base in the world and Latvian Education Area, guidelines of National Strategic Guidance, trends in art and art education, and summary of survey data. Object of the research is the interaction process between art and art education for improvement of pedagogical work performance; the objective of the study is: to identify major research issues in the process o

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