Relevant bibliographies by topics / Artist (Ship)

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

Academic literature on the topic 'Artist (Ship)'

Author: Grafiati
Published: 27 July 2024
Last updated: 29 July 2024

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Journal articles on the topic "Artist (Ship)"

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Elliot, Michael. "Michael Elliot: Artist Statement and Artwork." Cultural and Pedagogical Inquiry 12, no. 1 (February 1, 2021): 305–8. http://dx.doi.org/10.18733/cpi29557.

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Included are images representing paintings from Michael Elliot's "Windrush Series, "Brixton Brewing" and "The Drop", preceded by a statement describing the importance of the series, which represents the history of West Indians who migrated to Britain and the social problems that they faced. Incorporated in the works are the elements of tea cups which are representative of the original Windrush ship, and tea bags which illustrate the essence being drained from the Black man until there is nothing left to give.
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Oleynik, Maria. "Visual Representation of the Marine Theme in the Artistic Culture of Russia (XVIII–XX Centuries)." Ideas and Ideals 14, no. 2-2 (June 27, 2022): 350–62. http://dx.doi.org/10.17212/2075-0862-2022-14.2.2-350-362.

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Тhe meaning of visual representation includes perception of information through the visual image. This form of information delivery to the general public was known in pagan cultures and asserted itself in Christianity. Since the late 20th century the concept of visualization united in itself not only religious and artistic images, but also the vision of mass culture. The performed research places emphasis on the establishment and the development of visual representation in Russia’s art culture of the ХVIII-XIX centuries. During the reign of Peter the Great, in a succession of state reforms and due to the influence of samples of European art, a transformation of national art culture occured. In this context, maritime art is viewed as one of the visual representation forms. The seascape, as a separate genre of painting, originates in the Dutch landscape. The first marinas were brought by Peter the 1st to decorate palaces and country residences. The victory in the Battle of Chesme (1770) and the joining of Crimea to the Russian Empire prompted Catherine the 2nd to invite J. P. Hackert to perpetuate the glory of Russian weapons. The artist became the first marine painter on Russian soil and performed a series of twelve paintings. The flourishing of the national seascape in Russia took place in the 19th century. The first who took the post of artist at the Ministry of the Sea was I.K. Aivazovsky. Since then the seascape acquired special significance and perpetuates the sea victories of Russia. A subtle metaphysical meaning is present in some romantic landscapes by I.K. Aivazovsky. Sea battle paintings acquired clear realistic features in the painting of A.P. Bogolyubov. The artists are concerned not only with the image of the sea, but also with the architecture of the ship, which forms a separate painting genre: the ship portrait genre. The image of the ship in the paintings of the XIX-XX centuries combines the lines of scripture and poetry, focusing the attention of the viewer on a deep semantic reading of the landscape.
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Takemoto, Tina. "Drawing Complaint." Asian Diasporic Visual Cultures and the Americas 1, no. 1-2 (February 24, 2015): 84–107. http://dx.doi.org/10.1163/23523085-00101005.

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Matthew Barney’s 2006 solo exhibition at the San Francisco Museum of Modern Art showcased large-scale sculptures, drawings, and photographs relating to his filmDrawing Restraint 9featuring the artist and his partner Björk on a whaling ship in Japan. This essay examines Barney’s neo-Orientalist project in light of cultural appropriation and discusses the author’s participation inDrawing Complaint: Memoirs of Björk-Geisha,a guerrilla art scheme to interrupt the exhibition opening. The successes and failures of this intervention are considered alongside other artistic practices that deploy disidentification and hyperracial drag to interrogate the consumption of exotic and erotic spectacles only to encounter further exotification or cooptation. This essay also reflects on the instability of disidentificatory interventionist tactics as well as the psychic and personal toll of embodying toxic representations especially for queer artists of color who deliberately perform their own racial and sexual abjection as a mode of critique.
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Teece, Denise-Marie. "“Compassionate Companion, Familiar Friend”: The Turin Safīna (Biblioteca Reale Ms. Or. 101) and Its Significance." Muqarnas Online 36, no. 1 (October 3, 2019): 61–82. http://dx.doi.org/10.1163/22118993-00361p04.

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Abstract This article examines some of the more significant aspects of Turin Safīna manuscript Biblioteca Reale Ms. Or. 101. One of these is its unique and important six-page preface, which refers to the manuscript as a safīna (ship or vessel) and explains in poetic language why some Persian manuscripts are referred to using this term. In addition to this significant preface, which is translated and analyzed in the first half of the article, the manuscript also exhibits delicate illuminations and calligraphy work that may be connected to a network of artist-families active in western Persia (primarily in the region of Shiraz) around the time of its completion. The second half of this article revisits the careers of some of these artists, and discusses the broader artistic context for the creation of the Turin safīna manuscript. Special attention will be given to the careers of the illuminator known as Ruzbehan al-Modhahheb, and his calligrapher father Naʿim al-Din al-Kateb.
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Alekseeva, Tatiana, Vasiliy Tikhonov, Sergei Frolov, Irina Repina, Mikhael Raev, Julia Sokolova, Evgeniy Sharkov, Ekaterina Afanasieva, and Sergei Serovetnikov. "Comparison of Arctic Sea Ice Concentrations from the NASA Team, ASI, and VASIA2 Algorithms with Summer and Winter Ship Data." Remote Sensing 11, no. 21 (October 24, 2019): 2481. http://dx.doi.org/10.3390/rs11212481.

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The paper presents a comparison of sea ice concentration (SIC) derived from satellite microwave radiometry data and dedicated ship observations. For the purpose, the NASA Team (NT), Arctic Radiation and Turbulence Interaction Study (ARTIST) Sea Ice (ASI), and Variation Arctic/Antarctic Sea Ice Algorithm 2 (VASIA2) algorithms were used as well as the database of visual ice observations accumulated in the course of 15 Arctic expeditions. The comparison was performed in line with the SIC gradation (in tenths) into very open (1–3), open (4–6), close (7–8), very close and compact (9–10,10) ice, separately for summer and winter seasons. On average, in summer NT underestimates SIC by 0.4 tenth as compared to ship observations, while ASI and VASIA2 by 0.3 tenth. All three algorithms overestimate total SIC in regions of very open ice and underestimate it in regions of close, very close, and compact ice. The maximum average errors are typical of open ice regions that are most common in marginal ice zones. In winter, NT and ASI also underestimate SIC on average by 0.4 and 0.8 tenths, respectively, while VASIA2, on the contrary, overestimates by 0.2 tenth against the ship data, however, for open and close ice the average errors are significantly higher than in summer. In the paper, we also estimate the impact of ice melt stage and presence of new ice and nilas on SIC derived from NT, ASI, and VASIA2.
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Hamović, Valentina. "The portrait of an artist as a young man: early poetry of Jovan Dučić and Miloš Crnjanski." Inovacije u nastavi 35, no. 3 (2022): 1–10. http://dx.doi.org/10.5937/inovacije2203001h.

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The paper looks at the origin of the identical motives in the poems "At Sea" by Jovan Dučić and "Destiny" by Miloš Crnjanski. A dominant poetic image of a ship carried and broken by waves on a rough sea is a product of the poets' youthful phase and demonstrates the evolution of their poetic systems. Resorting to a traditional topos is interpreted as a consequence of literary, historical, and poetic turmoil of the late 19th and early 20th centuries, but also as a consequence of an imanent poetic development, i.e. the phenomenon which Mario Praz calls "the education of sensibility". Given that these two poets are canonical writers, and constitute an indespensable part of all primary and high school textbooks, our wish is to show the path of their poetic maturation.
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Howard, David Brian. "Postcards: Flotsam and Jetsam: Art, Allegory, and Shipwreck in the Twenty-First Century (I)." American, British and Canadian Studies 38, no. 1 (June 1, 2022): 224–51. http://dx.doi.org/10.2478/abcsj-2022-0012.

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Abstract This allegorical postcard is organized around two groups of photographs. The first group was the result of a joint collaboration with the Vancouver artist Scott Saunders and produced photographs which have peppered several of my previous texts published by American, British and Canadian Studies. The second is a series of photographs taken by Scott Saunders from the window of his apartment in Vancouver in which he documents the street life constantly ebbing and flowing on the sidewalk below. The catalyst for bringing these two groups together was a photograph I took several years ago in Sambro, Nova Scotia (a small fishing village located just outside of the city of Halifax) depicting a forlorn sunken fishing vessel. The term “flotsam” is applied, according to the Oxford Reference Dictionary, to “the wreckage of a ship or its cargo floating on or washed up by the sea,” while “jetsam” describes the things or objects deliberately “thrown away, especially from a ship at sea and that float toward land.” Combined, these images of words and devastated human beings are caught in an apparently endless circulation of violence and contingency located at the heart of the urban fabric of a modernity bereft of any horizon of hope, redemption, or rescue.
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Howard, David Brian. "Flotsam and Jetsam: Art, Allegory, and Shipwreck in the Twenty-First Century (II)." American, British and Canadian Studies 40, no. 1 (June 1, 2023): 150–76. http://dx.doi.org/10.2478/abcsj-2023-0011.

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Abstract This allegorical postcard is organized around two groups of photographs. The first group was the result of a joint collaboration with the Vancouver artist Scott Saunders and produced photographs which have peppered several of my previous texts published by American, British and Canadian Studies. The second is a series of photographs taken by Scott Saunders from the window of his apartment in Vancouver in which he documents the street life constantly ebbing and flowing on the sidewalk below. The catalyst for bringing these two groups together was a photograph I took several years ago in Sambro, Nova Scotia (a small fishing village located just outside of the city of Halifax) depicting a forlorn sunken fishing vessel. The term “flotsam” is applied, according to the Oxford Reference Dictionary, to “the wreckage of a ship or its cargo floating on or washed up by the sea,” while “jetsam” describes the things or objects deliberately “thrown away, especially from a ship at sea and that float toward land.” Combined, these images of words and devastated human beings are caught in an apparently endless circulation of violence and contingency located at the heart of the urban fabric of a modernity bereft of any horizon of hope, redemption, or rescue.
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Popova, Alexandra V. "ROMANTICISM AND CONSTRUCTIVISM IN THE POLISH THEATRE OF 1920-1930S." Articult, no. 2 (June 2024): 30–40. http://dx.doi.org/10.28995/2227-6165-2024-2-30-40.

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In the 1920-1930s, Polish theatre was experiencing a turn to new comprehension of the practice of stage space organization – the art of scenography was developing. It replaced the practice of creating theatrical decorations for garnishing the play and constituting the background for the action. The new scenography declared itself to be an art of the stage space composing. The development of new theatrical practice was influenced by constructivist spatial and rhythmical perception of environment, which Polish artists were improving in close cooperation with avant-garde architects. A similar approach to the stage design is common for the whole European theatre in the first decades of XX century, however the distinction of theatrical avant-garde in Poland came out as a special reference of the culture to its past and in particular to the romanticism heritage. Polish theatrical avant-garde, which came at restoration of independence time, was developing on overlap of the national myth and new unexplored freedom. Artists of the first half of XX century managed to disengage from the romantic myth only in some measure, but instead of resetting the national heroes and their heritage from the ship of modernity they turned to search for the new forms to embody that matter. The article reviews Polish theatre of the 1920-1930-s in the context of Polish romantic tradition on the one hand and constructivism, promoted by new avant-garde artist collectives – on the other. As an example of integration of two movements, a brief description of the unique project of Simultaneous theatre, created by stage designer Andrzej Pronaszko and architect Szymon Syrkus is given.
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Vulea (Motofelea), Luciana Mihaela. "Nivelul de fericire relaționat la inovația digitală." Symbolon 24, no. 2(45) (2023): 79–86. http://dx.doi.org/10.46522/s.2023.02.10.

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"What used to take a year in the past, today, with the Data Revolution, takes place in a second. Advantages and disadvantages always come together. We are happy that information is transmitted instantly, but we are saddened by the fact that probably thousands of other artworks are appearing simultaneously. We can even make the analogy that if it took 365 days to ship a work of art in the past, today, 365 are sent in a second. However, their diversity can satisfy the consumers' demands. The digitized art industry raises one of the artist's most critical issues: the inhibition of creativity. The viewer receives a state of ecstasy, especially in cases where the visual moment of creation is presented, and the feeling of knowing appears. The chance of exposure is unlimited. The border between artist and viewer, provider and consumer of media, thus became diffuse."
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Dissertations / Theses on the topic "Artist (Ship)"

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Edelholm, Nike. "Exploring Spaces of Not Knowing : an Artist View." Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7000.

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The understanding, I draw from this inquiry has come through a muddy, and complex entangledprocess. I have been re-turning like a "Baradian" earthworm, to experiences of being, in spacesof not-knowing. Digesting the mud, moving it, once more, like worms do, through the body.By doing an agential cut, into two spaces, eventually three strong agents unfold: Risk,Vulnerability, and Trust. Out of this result, an ethical and pedagogical question arise: How totake account of Vulnerability and Trust when encouraging our students to Risk?Entering a space of not knowing is at the foundation of my art practice. When as an arteducator,I went to China to inquire into the educational strategies of Chinese Classical Painting,I found myself thrown into a multitude of spaces of not knowing. This thesis, is an inquiry intohow being in such spaces, perform knowledge. To explore this, I return to the field-notes andvisual material including a report in the form of a visual essay of the study from 2011. I re-turnto this material with new tools and concepts inspired by Karen Barads metaphors of diffractionand earth-worms approach, as well as my artists tools: brush, water colours, ink, and paper;inrtoducing painting as a tool for analysis.As a theoretical approach, I entangle the flat ontology of Deleuze and Guattari, and theonto-epistem-ology of Barad, with the philosophical traditions in China of Buddhism and Dao.From an onto-epistem-ological perspective, I ask the question: "If we know about the worldbecause we are of the world," what knowledge then appear, when we experience our being in theworld as a space of not knowing. In this study, I have found that a space of not knowing performlearning through experiences of Vulnerability, Risk and Trust.The art part of this thesis is connected to Risk as well as to Vulnerability and Trust. Itfeatures a rope hanging from the ceiling to the floor. It is a rope that has been used during severalyears by a Circus artist during performances; hanging high up in the ceiling — demanding focusand presence from him. The installation at Konstfack spring-show 2018 featured the Circus artistrope together with a painting made in the context of Buddhist Vipassana meditation, entanglingmy tactile approach in art, with the text of this thesis.
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Peters, David W. "How technology could increase production capacity for a small artisan woodworking shop." Menomonie, WI : University of Wisconsin--Stout, 2007. http://www.uwstout.edu/lib/thesis/2007/2007petersd.pdf.

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Tolley, Rebecca. "Review of Latin American and Caribbean Artists of the Modern Era: A Biographical Dictionary of More than 12,7000 Persons, by Steve Shipp." Digital Commons @ East Tennessee State University, 2003. https://dc.etsu.edu/etsu-works/5720.

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Chao, Li-shyen, and 趙麗嫻. "The Research of Lee,Shi-chi 's Artistic Creations." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/71187535934223001946.

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碩士
國立臺灣師範大學
美術學系在職進修碩士班
96
This thesis starts from interviewing Lee, Shi-Chi, to understand his passed history, entering the research of diversification and new symbol elements, and ends by Lee, Shi-Chi’s art achievements. From the result of research, it shows two important starting points in Lee, Shi-Chi, who was called as “Bird of Variation in Art”, of variation style in modern painting arts, one the potential influence of people factor from folk and tradition, and the other obvious attraction from western modern arts. From the initial “The Lost Ah-Fang Palace”, “The Lonely Chin- Huai River”, passes through “The Worship of the Moon” series, “Series of Great Calligraphy”, “Post-Orientation”, “Ten Aspects of My Artistic Life” and the change of lacquer series “Orientation Sprouting form the Root”, Lee,Shi-Chi always searched for a race orientation attributed to himself and the art originality transcending tradition between tradition and modern. Focusing on the practical art language ( form and media ) from folk and tradition more and more, and strongly experiencing abstractive modern spirit more and more move Lee Shi-Chi’s modernized arts up to a new peak. . The main structure in this thesis that is divided into five sections and the summary is as follows: First Chapter﹕Introduction Narrate the motivation, purposes, contents, approaches and substantive expiain of the researcher's study. Second chapter﹕Lee, Shi-Chi’s biography research introduces the Lee, Shi-Chi’s biography time background,, in order to discuss its different time the artistic creation, comes from the the potential influence of people factor from folk and tradition, and the other obvious attraction from western modern arts. Third chapter﹕diversification new mark element From the artistic evolution, understood the painter various issue of art creation style change the essential factor and diversify artistic motion of manifestation form style. Fourth chapter﹕ discusses Lee, Shi-Chi’s artistic orbit Penetrates Lee, Shi-Chi’s from the tradition “Orientation” “Post-Orientation” the change ﹔ manages the decorated corridor the policy and the result to wins in the fine arts big prize and in the artistic market localization, discusses Lee, Shi-Chi’s artistic orbit. Fifth chapter﹕conclusion Pondered Taiwan present age art the trend, then the determination future creation direction, will avoid into the trends in the world follower.
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Hsu, Yi-wen, and 許怡雯. "From Diva of Formosa to Musical Artist-The Sociological Study of the Singing History of Ji Lu-Shia." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/29061135585602433094.

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碩士
東吳大學
社會學系
98
Ji Lu-Shia started her singing career since the age of 19 and has been doing vocal performance ever since. The only differences between now and then are her social status and performing environment. The changes have come along with her journey of life, such as getting married and raising children, moving back to southern Taiwan, transforming from a stage performer to a radio host and singing instructor, and after moving back to northern Taiwan after her 50s, she again started her singing career. Only this time she chose to perform in a singing class instead of the stage of boisterous variety shows. After experiencing all the challenges and tortures in life, and despite having a smaller stage and fewer tunes to sing, she still sings in an easy and elegant way. What’s more surprising is that her popularity does not dwindle away with time. On the contrary, more and more fans of a younger generation have fallen in love with her voice and become her followers. Starting with the voice of Ji Lu-Shia, this paper is intended to find out the reason for Ji Lu-Shia to have found her inner peace with her singing career. Through her memories, this paper tries to explore the source of nourishment for the Formosa diva and the real reason why her singing career could be extended through all these years to present day. The story of Ji Lu-Shia could happen to any one of us. Singing has helped her find the redemption of life and peace in mind. Maybe that’s just how the Formosa diva did it, but at least we can also try to follow her footsteps to find our own redemption for life as well.
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Chih-hao, Chen, and 陳啟豪. "Aspiration for Artisic Conception in Discussion of Mu Si's Liu Shih Tu ( Painting of Six perismmons )." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/84664638624539225038.

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碩士
中國文化大學
藝術研究所
92
Mu Si was a disciple of Monk Wu Jhun in Song Dynasty. Heavily influenced by Zen thoughts, Mu Si’s paintings revealed profound Zen allegoric words. Within all his paintings, Liu Shih Tu (Painting of Six Persimmons) was most praised by later generations, and was recognized as a classic among Zen paintings. Mu Si presented the persimmons in perspective with simple brushwork and distinct ink color. Nothing but six persimmons was painted; the blank space did not resemble emptiness but vast space for imagination. This study focuses on Mu Si’s Liu Shih Tu (Painting of Six Persimmons) due to personal preference over simple and graceful painting of the researcher. The study analyzes the shapes, composition, brushwork, and spatial arrangement illustrated in the painting to understand the influence of Zen aesthetics over Mu Si’s Liu Shih Tu (Painting of Six Persimmons), and further comprehend the profound connotation of Mu Si’s Liu Shih Tu (Painting of Six Persimmons), probe into the influence of Zen over Chinese water-ink painting, and identify the relativity of “Zen”, “detachment”, and “water ink” for reference to personal reference on water-ink painting. The purpose of this research is to understand the connotation and artistic conception manifested in Mu Si’s Liu Shih Tu (Painting of Six Persimmons) and the influence of Zen over Chinese water-ink painting. Therefore, only background of Mu Si correlated to this research was described herein.
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Liou, Kai-Lin, and 劉凱琳. "Analyse The Creative Artistic Conception and The Music Structure of FortyTaiwanese Nursery Rhyme by FU-CHEN SHIH." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/84359075272786821821.

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碩士
大葉大學
設計暨藝術學院碩士在職專班
102
「TIAM A KA」This is a classic nursery rhyme. It makes known to every family and it is familiar to everyone. It changes all FU-CHEN SHIH＇S life and writes down immortal works for Taiwanese kids in song. He is the legend of heroic figure. In his four hundred Taiwanese nursery rhymes, they are explained and are sung all over the country nearly one century of native land and moving sight. They all present professional standard and existent value in his creative works, gathering materials, words of a song, mood and the artistic technique of musical form. My purpose is to research the development and the history of Taiwanese kids in song, FU-CHEN SHIH’S life, his creation of mood and course, and his Taiwanese nursery rhymes works and forty Taiwanese music composition of kids in song and analysis. From1949 to 1987, dialect is forbidden in Taiwan. On the contrary, after 2001, local teaching was promoted vigorously. These two concepts were how to connect and nursery rhymes were how to be appreciated. When I research FU-CHEN SHIH’S Taiwanese kids in song and his forty Taiwanese music composition of kids in song and analysis, I am informed that owing to his struggle, efforts, and dauntless spirit and manner, it is again appreciated and owing to the excellent melody, it is easy to learn and to sing, and it is not only linked up but preserved, up to this time, it keeps up being sung and being developed.
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Chien, Katy Shiu-chih, and 簡秀枝. "The market of older generation artists' oil paintings in Taiwan:based on oil paintings by Chen, Cheng-Bo, Liao, Chi-Chun, Li, Mei-Shu, Yang, San-Lang, Li, Shin-Chiao." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/63694000645944627587.

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"松江畫派與及周邊地區藝術活動關係之研究." Thesis, 2007. http://library.cuhk.edu.hk/record=b6074167.

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This thesis looks into the development of Songjiang School in the context of mutual interaction and networking among painters. It focuses on two phenomena. Firstly, it studies the interaction between Songjiang School painters and artists from various Jiangnan art centres. Secondly, it explores the artistic genealogy within the Songjiang School. It investigates the activities of individual Songjian School painters in particular, and the rise and decline of the entire Songjiang School in general.
Under the famous master literati Dong Qichang, Songjiang School painters broke new path in landscape painting, valuing moist ink tones at the expense of brush and ink. But even before Dong, Gu Zhenyi and Mo Shilong were already well known for their efforts in exploring new styles. Supported by brilliant art talent such as Chen Jiru, Zhao Zuo and Shen Shicong, Dong Qichang brought the Songjiang School to its zenith. However, it was also Dong Qichang who dug the grave for the School. As Dong's followers were mostly professional painters, they could not stand as equals to Literati connoisseurs. Some became Dong Qichang's ghost-painters at the expense of their artistic individuality, whereas others were trapped in the lower end of the art market. Consequently, the Songjiang School lost its vigor and prestige in the Qing dynasty. Only Dong Qichang, the leading master of the School, could dominate the literati painting scene.
With its economy revived after the suppression of the wako invasion in late Jiajing period (1522-1566), Songjiang quickly reassumed its dominant position in the art scene. Songjiang School painters became very self-conscious and proud of their own hometown. They succeeded in networking with connoisseurs in Zhejiang and Huizhou, and learning valuable lessons from the works of their Suzhou counterparts. Consequently, although both the Wu (Suzhou) and Songjiang Schools were descendents of the same literati painting tradition, the Songjiang School loomed large throughout the sixteenth and seventeenth centuries. The social prestige of some Songjiang literati certainly enhanced the success of the School.
徐麗莎.
呈交日期: 2005年8月.
論文(哲學博士)--香港中文大學, 2005.
參考文獻(p. i-x (2nd group)).
Cheng jiao ri qi: 2005 nian 8 yue.
Advisers: Jao Tsung-i; Harold Mok Kar-leung.
Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2355.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
School code: 1307.
Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2005.
Can kao wen xian (p. i-x (2nd group)).
Xu Lisha.
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Botelho, Nuno Alexandre Raposo. "Impacto dinamizador do terminal marítimo de cruzeiros de Ponta Delgada." Master's thesis, 2013. http://hdl.handle.net/10071/7934.

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Os cruzeiros marítimos assumem-se como uma potência mundial em constante crescimento e uma nova aposta por parte do turismo; esta situação teve grande impacto no arquipélago dos Açores, inscrito nas rotas mundiais, e que veio alterar a vivência dos seus habitantes e potencial da própria ilha. Nesta dissertação é efetuado uma análise mais centrada na ilha de São Miguel e na cidade de Ponta Delgada, com um estudo do impacto dinamizador que o terminal marítimo de cruzeiros trouxe para a cidade, tornando-a não só num ponto de passagem mas como um destino desejado. O principal objetivo deste estudo prende-se com o impacto social e económico que o terminal marítimo situado na ilha de São Miguel veio a causar e simultaneamente tentar entender quais as principais motivações no campo da hospitalidade e do crescimento dos comerciantes locais. A metodologia utilizada nesta dissertação foi construída por meio de uma estrutura linear com base na evolução dos cruzeiros marítimos até a sua concretização na cidade em questão. Para tal foi analisada literatura específica relativa à área de transportes turísticos. A segunda etapa deteve-se numa análise sobre a construção do Porto de Ponta Delgada, de forma a podermos compreender o impacto que o mesmo teve e tem na região, sendo de salientar que o porto supracitado é recente (2008) tendo a capacidade de atracagem de um único cruzeiro. No fundo o crescimento sustentado das regiões insulares advêm deste novo meio de contacto com os diversos continentes e polarizações circundantes, o seu impacto económico é notório e a sua tradução é efetuada através de registo e análise documental. Toda a cidade retém direta ou indiretamente este crescimento, desenvolvendo não só o porto mas toda a cidade, tal como a fomentação da construção de novos equipamentos de apoio e espaços públicos exteriores anexos.
The maritime cruise ships take on as a worldwide potential in constantly growing and a new tourism bet; this was a situation with a huge impact in the archipelago of the Azores, registered on the worldwide routes, and that changed the living of the residents and the potential of the island. On this thesis an analysis focused on the island of São Miguel and in the city of Ponta Delgada, a study of the dynamic impact that the maritime cruise ship terminal brought to the city, making it not just as a crossing point as a desired destination. The main purpose of this study is the social and economic impact that the maritime terminal on the island of São Miguel caused and simultaneously understand which are the main motivations on the hospitality and growth field of the local market. The methodology used in this thesis was built under a linear structure based on the evolution of the maritime cruises until its concretion in the island in question. For this, specific literature related to tourists transportations was analyzed. The second stage stopped on an analysis about the construction of the Port of Ponta Delgada, in a way we could understand the impact that it had on the region, emphasizing that the aforementioned Port is recent (2008) being capable to moor only one cruise ship. Deep down, the sustained growth of the insular areas comes from this new method of contact with the various continents and surrounding polarizations, its economic impact it’s notorious and its translation it’s done trough registration and document analysis. The entire city holds directly or indirectly this growth, developing not just the Port but the whole city, just as the fomentation of the construction of new support equipments and public exterior outbuilding spaces.
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Books on the topic "Artist (Ship)"

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Buchholz, Karsten. Ship portrait artists. Hamburg: Buchholz Art Information Systems, 1997.

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Gilbert. Gilbert & George: The naked shit pictures. Köln: Jablonka Galerie, 1994.

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Gilbert. Gilbert & George: The naked shit pictures. Amsterdam: Stedelijk Museum, 1996.

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1961-, Finamore Daniel, Davidson A. S. 1919-, and Peabody Essex Museum, eds. Across the western ocean: American ships by Liverpool artists. Salem, Mass: Peabody Essex Museum, 1995.

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Davidson, A. S. Samuel Walters, marine artist: Fifty years of sea, sail & steam. Coventry: Jones-Sands Pub., 1992.

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Gilbert. Gilbert & George: The naked shit pictures : South London Gallery, 5th Sept - 15th Oct, 1995. (London?): (South London Gallery?), 1995.

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Kaldewey, Gunnar A. Shir ha-shirim asher li-Shelomoh ... Nyu York: G.A. Kaldewey, 1990.

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Spero, Emji. Almost any shit will do. [Oakland, California]: Timeless Infinite Light, 2014.

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Yanagisawa, Shin. Shin Yanagisawa: A retrospective 1958-2008 = yanagisawa shin 1958-2008. Berlin: Only photography, 2013.

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Ikeda, Shig. Shig Ikeda: Black & white photographs. [S.l.]: Shig Ikeda Inc., 1992.

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Book chapters on the topic "Artist (Ship)"

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Raffel, Amy. "The Downtown Scene and Artist-Run Shops of the 1980s." In Art and Merchandise in Keith Haring’s Pop Shop, 48–84. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003015437-3.

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Ivey, Jennifer Rose. "The Paint Shop: The Things and Stuff." In The Scenic Charge Artist's Toolkit, 72–109. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003056294-5.

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Miguel, Marlon. "Representing the World, Weathering its End." In Cultural Inquiry, 247–76. Berlin: ICI Berlin Press, 2020. http://dx.doi.org/10.37050/ci-17_12.

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This chapter explores the intrinsic relationship between weather/weathering and the imaginary of the sea, which features in the work of artist Arthur Bispo do Rosário. Bispo was a black man who spent most of his life in psychiatric institutions. There is an important interplay between his psychotic deliriums and the production of hundreds of objects, many of them ships or forms that relate to the sea. These objects open up a discussion on decoloniality as they are embedded with marks left by the transatlantic slave trade.
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Hamlin, Jessica C., and Lois Hetland. "A Ship with Two Prows: Evaluating Professional Development for Contemporary Art Educators." In Arts Evaluation and Assessment, 297–322. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64116-4_13.

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Davey, James. "The Ship as Object: The Launch of the Queen Charlotte." In The Material Cultures of Enlightenment Arts and Sciences, 99–101. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-44379-3_10.

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DuBois, Thomas A. "Vesti laijat laivaksi (“He carved planks into a ship”): Artistic Shaping Over Time in the Folk Poems of Luka Tarasov." In Finnish Folk Poetry and the Kalevala, 127–82. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781315861531-4.

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Kristiana, Nova, Asidigisianti S. Patria, Nanda N. Anggalih, Putri D. Samantha, Tania D. Prastywi, and Dani T. Aditya. "Typotecture on the Old Shop Building: An Evidence from Central Surabaya, Indonesia." In Proceedings of the International Joint Conference on Arts and Humanities 2022 (IJCAH 2022), 2077–85. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-008-4_223.

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Bal, Mieke. "Untimeliness, Inter-ship, MutualityUntimeliness, Inter-ship, Mutuality." In The Woman Artist: Essays in memory of Dorota Filipczak, 27–45. Wydawnictwo Uniwersytetu Łódzkiego, 2024. http://dx.doi.org/10.18778/8331-397-9.03.

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To honour the memory of Dorota Filipczak and express my grief over her untimely passing, I comment here on three artworks in which time is a central issue, all three in very different ways. “Untimely” comes to mean not simply “premature,” as is the death of someone we greatly miss, but as unorthodox, confusing, and artistically challenging deployments of time. The three artists are from three different continents: Europe, Latin America, and Asia. They share a commitment to the current problems of the world, to a reflection on violence, especially gendered; on loneliness and on memory. They believe in the power of art to make people think, and even change their opinions. As they use artistic tools, before all else, they resist the unreliability of time as we tend to see it: in chronology and with a steady rhythm. Ann Veronica Janssens (Belgium) makes us experience, in her mist rooms, how hampering our clear sight slows everything down. When I once asked her to characterize her work, her simple answer was: “abstract and political.” Doris Salcedo (Colombia) fights the forgetfulness of violence; in the case here, of the indifference to refugees, which causes the death by drowning of so many. Her installation Palimpsesto makes slowly moving, then quickly disappearing drops of water the carriers of the names of those anonymous victims. Nalini Malani (India) presents her thoughts as images shooting from her head, in animations with a frantic pace. Her unsettling speed can be seen as a foreshortening of time. The three artworks, as well as the women who invented and made them, demonstrate that art matters, as a variant of the title of the journal that Dorota created: Text Matters.
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Dillenberger, John. "Lucas Cranach The Elder: A Reformation Artist." In Images And Relics, 79–113. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195121728.003.0004.

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Abstract Lucas Cranach The Elder (1472-1553) and his son, Lucas Cranach the Younger (1515-1586), are the two artists most closely related, both in friend ship and work, to the Lutheran reformation figures Martin Luther and Philip Melanchthon. Cranach the Elder, born in Kronach and from which city he took his name, lived half his life in the orbit of the Catholic Church and the beginning of Reformation currents, and the last half within the emer gent Lutheran church in Saxony.1 By contrast, his son, Cranach the Younger, was only two when the Ninety-five Theses were published, fourteen when his father began the series on Law and Gospel, and twenty-four when the first major altarpiece was installed in 1539 in Schneeberg. Hence, while Cranach the Elder made the transition from Catholicism to Protestantism, Cranach the Younger grew up within the Lutheranism of Wittenberg.
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Vinogradov, Igor’ A. "Nikolai Gogol and Alexander Andreyevich Ivanov in the work on the painting “The Apparition of the Messiah”." In Literary process in Russia of the 18 th — 19 th centuries. Secular and spiritual literature, 159–76. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/lit.pr.2020-2-159-176.

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The article presents an analysis of the creative dialogueАbstract: The article presents an analysis of the creative dialogueof Nikolai Gogol and artist Alexander Andreyevich Ivanov in the processof creating of the famous painting “The Apparition of the Messiah”by the latter. As a result of comparing the preliminary sketches of theartist, interpreting one of the drawings made by Nikolai Gogol forAlexander Andreyevich, as well as studying the similar religious andpolitical views of the writer and painter, a conclusion is drawn abouttheir fruitful cooperation in developing the concept of the famous painting.The compositional motifs prompted by Nikolai Gogol to AlexanderAndreyevich Ivanov and embodied in “The Apparition of the Messiah”include a number of interconnected and complementary Christian images.Transformed in baptism, ancient and modern humanity, what was depicted by the artist in the outlines of the temple, was the reconstructeddepicted by the artist in the outlines of the temple, was the reconstructed“fall of Adam”, the New Testament Noah’s ark — the ship of the Church,the “echidna” serpent of the baptised pagans. The latter image finds itscorrespondence in a whole series of Nikolai Gogol’s works of art, from“Evenings on a Farm Near Dikanka” to “Dead Souls”. Nikolai Gogol andAlexander Andreyevich Ivanov find deep unanimity in the developmentof the main messianic content of the picture.
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Conference papers on the topic "Artist (Ship)"

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Andrews, David. "100 Things (or so) a Ship Designer Needs to Know." In SNAME 14th International Marine Design Conference. SNAME, 2022. http://dx.doi.org/10.5957/imdc-2022-230.

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It is probably invidious for anyone to propose some 100 things one should know about regarding an endeavour as diverse and complicated as ship design, however we are all familiar with little books in bookshops with “100 things and artist/architect etc. should know”, often accompanied by witty cartoons. Alas the latter has not yet to be achieved in this case – perhaps readers can provide their own illustrations to many of the items or more likely add their own. The presenter/author of this listing has provided more conventional keynotes than this to several IMDC conferences. These have included “The Fascination of Ship Design” to the 2006 IMDC at Ann Arbor and “Is Marine Design now a Mature Discipline?” to the 2012 IMDC in Glasgow. As the originator of the IMDC State of Art Reports and since 2015 the International Chair of the IMDC series of conferences, the author has sought to bring together those issues that highlight the unique nature of Ship/Marine Design. Aside from ships being our largest mobile artefacts, the process by which they are conceived and brought to fruition is as varied as there are different vessels and consequently it is hard to pin down. In a recent substantial publication, the author produced an argument that the earliest stages of the design of complex vessels were indeed sophisticated, not least in the decision making that should underlie such a process. A summary of this argument and several other publications attempting to address many of the wider aspects of the process are presented as scene setting to the just over one hundred short statements that are listed as one way to convey to current and future practitioners of this challenging “art”, as summarising “what one ought to know”. The listing is largely due to the author ‘though there are some from other practitioners of ship design that were too good to not include. The author has also found that there seems to be about seven broad categories that the statements seemed to address within the overall ”ship design” field. These are also presented for others to challenge.
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Yan, Minghao. "Cruise Ship Pricing Strategy Research." In 2016 International Conference on Economics, Social Science, Arts, Education and Management Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/essaeme-16.2016.86.

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Hellmann, Jens-Holger, Karl-Heinz Rupp, and Walter L. Kuehnlein. "Model Tests: LNG-Carriers in Ice." In 25th International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2006. http://dx.doi.org/10.1115/omae2006-92604.

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Approximately on third of the world’s known and not yet exploited reserves of natural gas are in Russia. The overwhelming majority of these reserves are in Artic and Subarctic areas. But not only in Russia, also in other areas like Canada and USA, natural gas reserves are found in harsh and ice covered environments. As a consequence, the LNG ship technology is going towards Arctic LNG-Carriers. New developments in ice navigation, winterization and ship sizes are generating a new exiting challenge for shipping and ship building industries all over the world. Existing ice class regulations should be only considered as a first guide for designing ice-going vessels. Because the future performance in ice covered waters of new developed LNG-Carriers needs to be investigated in much more detail, therefore ice model tests are imperative. It is common practice guiding ships in ice-covered waters by using one or two icebreakers for wider LNG-Carriers. The LNG-Carrier is following in the broken channel of about 1.25 to 2 times the widths of its beam. For the model tests a parental level ice sheet of target ice thickness will be prepared according to HSVA’s standard model ice preparation procedure. In order to obtain a defined friction coefficient between the ice and the model hull, HSVA applies a special paint composition to the models of ice-going vessels. The channel will be broken with the help of two stock icebreakers towed through the level ice generating the most realistic wide ice channel. The prime objectives of such ice model tests are: • Evaluation of the icebreaking performance in a wide ice channel, • Propeller-ice-interactions and • how the ice is transferred aside and below the vessel.
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Marczak, Elzbieta. "IN SEARCH OF NAVAL BEAUTY. HISTORICAL STUDY OF SHIP ARCHITECTURE." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/5.3/s21.040.

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Zhao, Moyang. "A Study on the Grey Evaluation Method of Ship Safety Risk." In 2018 International Conference on Sports, Arts, Education and Management Engineering (SAEME 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/saeme-18.2018.81.

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"The Artistic Characteristics and Analysis of Singing of Mr. Shi Guangnan's Coloratura Vocal Works." In 2017 4th International Conference on Literature, Linguistics and Arts. Francis Academic Press, 2017. http://dx.doi.org/10.25236/iclla.2017.26.

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Du, Jungang, and Dong Huang. "Empiric Study of Ship Maintenance Price Index based on The Hedonic Model." In 2015 International Conference on Economics, Social Science, Arts, Education and Management Engineering. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/essaeme-15.2015.154.

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Zhang, Shukui, Keyin Miao, and Jing Li. "Selection of Ship Traffic Accidents Forecasting Models in Downstream Waterway of Yangtze River." In 2018 International Conference on Sports, Arts, Education and Management Engineering (SAEME 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/saeme-18.2018.47.

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Burima, Maija. "INESE ZANDERE�S �THE SHIP�S LOG BOOK� AS AN EXAMPLE OF HIBRIDITY." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s27.064.

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Liu, Wenbai, Qifei Fang, and Zhouxiang Wu. "The Inspiration of Hongqiao Traffic Hub to the Planning of Cruise Ship Home." In Proceedings of the 2018 International Conference on Management, Economics, Education, Arts and Humanities (MEEAH 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/meeah-18.2018.14.

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Reports on the topic "Artist (Ship)"

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Health hazard evaluation report: HETA-2007-0127-3068, evaluation of exposures at a pottery shop, FUNKe Fired Arts (formerly known as Annie's Mud Pie Shop), Cincinnati, Ohio. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control and Prevention, National Institute for Occupational Safety and Health, August 2008. http://dx.doi.org/10.26616/nioshheta200701273068.

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