Academic literature on the topic 'Artists' studios in photography'

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Journal articles on the topic "Artists' studios in photography"

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Koureas, Gabriel. "Parallelotopia: Ottoman transcultural memory assemblages in contemporary art practices from the Middle East." Memory Studies 12, no. 5 (2019): 493–513. http://dx.doi.org/10.1177/1750698019870689.

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This article engages with the conversations taking place in the photographic space between then and now, memory and photography, and with the symbiosis and ethnic violence between different ethnic communities in the ex-Ottoman Empire. It questions the role of photography and contemporary art in creating possibilities for coexistence within the mosaic formed by the various groups that made up the Ottoman Empire. The essay aims to create parallelotopia, spaces in the present that work in parallel with the past and which enable the dynamic exchange of transcultural memories. Drawing on memory the
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Sawant, Shukla. "The Trace Beneath: The Photographic Residue in the Early Twentieth-century Paintings of the “Bombay School”." BioScope: South Asian Screen Studies 8, no. 1 (2017): 1–29. http://dx.doi.org/10.1177/0974927617700768.

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This essay examines the interface between the indexical and the gestural, through the practice of early twentieth-century painters active in the Bombay Presidency and adjoining princely states such as Kolhapur and Aundh. It draws upon archival materials such as biographies, memoirs, and photographs documenting artists at work in the studio, as well as remains of posed photographs that were produced as aide-mémoire for paintings. It throws light on the fraught place of photography as aesthetic practice in the art academy, its association with colonial protocols of scientific accuracy, capture a
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Aytemiz, Pelin. "Making Grandfather Come Out Better." Middle East Journal of Culture and Communication 8, no. 2-3 (2015): 355–73. http://dx.doi.org/10.1163/18739865-00802010.

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In contemporary Turkey, a growing number of lower to middle-income families bring old and often damaged photographs of their deceased family members to digital studios for restoration. Digital restoration artists, whether working online or from photography studios, retouch these photographs in often highly creative ways, such as adding color and fantasy backgrounds, or combining discrete portraits into fictional (diachronic) family portraits. Digital technologies such as the Photoshop program are here called upon to perform a very old desire: that of ensuring a dead person’s continued presence
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Shields, Alison. "Studio conversations." International Journal of Education Through Art 14, no. 3 (2018): 379–84. http://dx.doi.org/10.1386/eta.14.3.379_3.

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In 2014, I embarked on a cross-Canada journey, visiting artists in their studios. Through interviews with artists and photograph documentation of the studios, I sought to understand the creative processes that occur within these spaces through art making. This visual essay draws from metaphors used by artists to describe a studio alongside photographs that I took to reveal my visual exploration of the space and my visual analysis and interpretation of the metaphors. Through the use of these metaphors alongside the photographs, I propose that a studio is more than a room, but rather a way of th
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Ogden, Kate Nearpass. "Musing on Medium: Photography, Painting, and the Plein Air Sketch." Prospects 18 (October 1993): 237–81. http://dx.doi.org/10.1017/s0361233300004920.

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The relationship of photography and painting has greatly intrigued art historians in recent years, as has the uneasy status of photography as “art” and/or “documentation.” An in-depth study of 19th-century landscape images suggests two new premises on the subject: first, that opinions differed on photography's status as an art in the 19th Century, just as they differ today; and, second, that the landscape photograph is more closely related to the plein air oil sketch than to the finished studio easel painting. For ease of comparison, the visual material used here will consist primarily of land
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Wulan, Evi Retno. "Written Approval for Commercialization of Portrai Photography: A Study of Law No. 28 of 2014 in the context of Improving the Distro Business in Indonesia." IJEBD (International Journal of Entrepreneurship and Business Development) 5, no. 4 (2022): 759–63. http://dx.doi.org/10.29138/ijebd.v5i4.1909.

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Purpose: The purpose of this research is to examine the rules of written approval for the Commercialization of Portrait Photography as contained in Article 12 Paragraph (1) of the Copyright Law No. 28 of 2014 in the context of Improving the Distro Business in Indonesia.
 Design/methodology/approach: The type of legal research used is normative juridical research. The approach used in this research is the statutory approach and the conceptual approach. The sources of legal materials used in this doctrinal research consist of primary legal materials and secondary legal materials. The collec
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Abdullina, Darina Aleksandrovna. "Сhildin the Image or Image of Achild : Russian Child Portrait in Painting and Photography of the Late 19 th − Early 20 th Century". Secreta Artis, № 2 (12 серпня 2021): 68–83. http://dx.doi.org/10.51236/2618-7140-2021-4-2-68-83.

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The stylistics of the child portrait in Russia in the 1850s – early 20th century underwent significant changes due to the emergence of photography (light painting). From the very beginning of its era, the 1850s, early photography borrowed composition, means of expression, and attributes from painting. Towards the end of the century, artists began to pay attention to the achievements of portrait photography, striving to depict children not in a staged way, but rather in moments of play, studies and rest, taking heed of photographic effects, in particular, cropped and “blurred” compositions. Man
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Kratz, Corinne A. "Afterword Uncertain trajectories and refigured social worlds: the image entourage and other practices of digital and social media photography." Africa 89, no. 2 (2019): 323–28. http://dx.doi.org/10.1017/s0001972019000032.

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Drawn from East, West, Central and Southern Africa, the case studies in this special issue build on several decades of important work on photography in Africa. That work has examined colonial photography and postcards, studio work from colonial times to the present, activist photography, photojournalism, and artists who work with photographic images. It has addressed issues of representation, portraiture, aesthetics, self-fashioning, identities, power and status, modernities and materiality, the roles of photographs in governance and everyday politics, and the many histories and modes of socia
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Mwiti, Anne. "Leveraging art markets by artists from Africa with a special interest in the Kenyan art scene: The discrete charm of the NFTs from an artist's perspective." Prace Kulturoznawcze 29, no. 1 (2025) (2025): 109–18. https://doi.org/10.19195/0860-6668.29.1.8.

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Abstract: This paper offers an overview of the African art scene, with a special focus on the Kenyan art scene. It will also examine non-fungible tokens (NFTs) as a new marketing tool and platform for artists from Africa, exploring how this technology has diversified artistic practices through experimentation beyond traditional painting and sculpture to video, performance art, installations, photography, and digital media. The paper does not delve into the technicalities of creating NFTs but presents an overview and experiences based on conversations with artists and a gallery owner based in K
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Nestayko, Markiyan. "Photos of Levko Yanushevych on the pages of Ukrainian magazines." Proceedings of Research and Scientific Institute for Periodicals, no. 10(28) (January 2020): 362–75. http://dx.doi.org/10.37222/2524-0331-2020-10(28)-26.

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The article studies the activities of one of the famous Ukrainian photographers of the XX century — Levko Yanushevych in the field of photography. We have systematized and characterized the artist’s photographs on the pages of Ukrainian and foreign (for Ukrainian emigrants) periodicals of the XX century, specifically, «Dilo», «Nashi Dni», «Nova Khata» (all titles in Lviv), «Kholms’ka zemlya» (Krakow), «Ukrainskyi visnyk», «Holos» (both in Berlin), «Na slidi» (Augsburg). The process of shaping Yanushevych’s creative personality via a prism of public activity and cooperation with famous figures
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Dissertations / Theses on the topic "Artists' studios in photography"

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Medford, Marsha Kay. "Respiratory health hazards of artists in their studios." Thesis, The University of Arizona, 1989. http://hdl.handle.net/10150/277152.

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Artists are exposed to numerous respiratory health hazards in the production of art. Little is known of artists' studio behaviors or of their health beliefs related to respiratory toxins. The Health Belief Model hypothesizes that individuals require a minimal level of relevant health motivation and knowledge before attempting to prevent a health condition, as well as a perception of their vulnerability to health conditions they view as threatening, conviction in the efficacy of preventive behaviors, and a perception that recommended preventive action entails few difficulties. This descriptive
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Green, Morgan A. "One Practice, Three Studios: A Comparative Case Study of Three Studios for Artists with Disabilities." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1337789881.

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Powell, David. "Working within the traditions of a building culture." PDF viewer required Home page for entire collection, 2008. http://archives.udmercy.edu:8080/dspace/handle/10429/9.

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Peditto, Gena M. "Artists on display : open studios and the search for community empowerment." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/38654.

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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2007.<br>Includes bibliographical references (p. 93-95).<br>The much publicized and mythologized transformation of cities such as Barcelona and urban neighborhoods like SoHo in New York City, have led to broader ideas about the "Creative City," the "Creative Economy," and the "Creative Class." In an attempt to reap the promised riches of wealth, job creation, and prestige, some cities have developed strategies to promote their "livable" neighborhoods and attract "creative" workers and cultural tourism,
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Abowd, Gabriele Therese. "Making room for art case studies of midwestern women artists and their studios /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3324529.

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Thesis (Ph.D.)--Indiana University, School of Education, 2008.<br>Title from home page (viewed on May 12, 2009). Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 2990. Adviser: Lara Lackey.
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McGill, David Paul. "An Appalachian Architecture, an Appalachian Architect." Thesis, This resource online, 1985. http://scholar.lib.vt.edu/theses/available/etd-11072008-063240/.

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Mangieri, Scott J. "Curiosity and identity in Cornelius Gijsbrechts' trompe l'oeil studio walls." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 52 p, 2008. http://proquest.umi.com/pqdweb?did=1597631101&sid=11&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Beyer, Deborah Z. "Time puzzle /." Online version of thesis, 1990. http://hdl.handle.net/1850/11332.

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Kafer, Elijah. "Techné exploration of unmanifested shifts in cultural landscapes /." This title; PDF viewer required Home page for entire collection, 2008. http://archives.udmercy.edu:8080/dspace/handle/10429/9.

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Michael, Maureen K. "Precarious practices : artists, work and knowing-in-practice." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/21879.

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This study presents a new perspective on work practice in conceptual art. Using ethnographic evidence from five visual artists, the study used a combined visual arts and practice orientated perspective to explore the materiality of their everyday work and the sociomaterial practices shaping it. Close scrutiny is given to the forms of expertise embedded in this through concepts of knowing-in-practice and epistemic objects. Emerging from the findings is clearer understanding of how an arts-based methodology might enhance knowledge about artists’ knowing-in-practice. Popular representations of co
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Books on the topic "Artists' studios in photography"

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Skrylëv, Raulʹ. Masterskai︠a︡ russkogo izobrazitelʹnogo iskusstva: Konet︠s︡ XX - nachalo XXI veka. Stradiz, 2014.

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Morisson, Patrick. Artists in situ. D. Montanari, 1997.

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Daninos, Davide. Dove nascono le idee: Luoghi e volti del pensiero nelle foto Magum. Contrasto, 2018.

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Bielsku-Białej, Muzeum Historyczne w., ed. Dawne atelier fotograficzne Bielska-Białej. Muzeum Historyczne w Bielsku-Białej, 2019.

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Berengo-Gardin, Gianni. Lo studio di Giorgio Morandi. Charta, 1993.

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Chua, Jermaine, and Angela Ye. From brush to lens: Early Chinese photography studios in Singapore. Edited by Sun Yat-sen Nanyang Memorial Hall (Singapore). Sun Yat Sen Nanyang Memorial Hall, 2019.

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Mjeda, Luka. Luka Mjeda: Luka i umjetnici = Luka and the artists. Muzej za umjetnost i obrt, 2004.

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Mjeda, Luka. Luka Mjeda: Luka i umjetnici = Luka and the artists. Muzej za umjetnost i obrt, 2004.

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Patricia, Mathieu. 129 artistes belges: 129 Belgische kunstenaars. Exhibitions International, 2016.

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Pellegrini, Roberto. Ateliers. Salvioni edizioni, 2018.

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Book chapters on the topic "Artists' studios in photography"

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Hudson-Miles, Richard. "10. The Conflict of the Faculties, Again." In Being in Shadow and Light. Open Book Publishers, 2025. https://doi.org/10.11647/obp.0427.10.

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Scenes of the history of conflict within the university, and also the university’s conflictual history and present, shape this chapter. Short textual essays are combined with original composite images made by combining artists’ representations of the university with conflict photography taken by members of the University and College Union, the main trade union of British university workers, during recent demonstrations. The essays touch on critical university studies from Kant to Derrida to Readings, via discussions of university protests such as the Harvard Butter Rebellion, May ‘68 in Paris
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Reynolds, Kimberley. "Chapter 9. Politics, art, and pedagogy in Edith Tudor-Hart’s photographs of children." In Children’s Literature, Culture, and Cognition. John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.09rey.

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Edith Tudor-Hart, a photographer working in Britain from the 1930s to the 1950s, became exceptionally good at photographing children. Her final series of images, published in a classroom text called Moving and Growing (1952), were created through a collaborative method she developed by combining her teaching experience and her training as an artist with her political conviction that photography is a democratic medium. The results are dynamic photographs that capture children moving, risking and creating. Shortly after Moving and Growing was published, Tudor-Hart abandoned photography and destr
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Ferreira-Meyers, Karen, and Bontle Tau. "Visual Autofiction: A Strategy for Cultural Inclusion." In Palgrave Studies in Life Writing. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78440-9_9.

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AbstractVisual autofiction can be seen as a storytelling method used by contemporary visual artists to initiate cultural inclusion within a field that has historically favored Western narratives and excluded many others. This chapter, which builds on theoretical reflections on autofiction, contends that contemporary artists endeavor to be culturally included in broad, decolonized visual narratives, through the use of innovative visual autofictional methods to represent their experiences. In the case of South African visual artist Bontle Tau, autofiction is used as a strategy to construct a mul
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Rossi, Leena-Maija, and Sari Karttunen. "5. The Helsinki School." In Gender-Based Violence in Arts and Culture. Open Book Publishers, 2025. https://doi.org/10.11647/obp.0436.05.

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The Helsinki School was founded as a coaching project for photography students in the early 1990s at the University of Art and Design Helsinki, currently the Aalto University School of Art, Design &amp; Architecture. Curator Timothy Persons, who held the position of Adjunct Professor, began to internationalise the photography programme, with a module ‘Helsinki School Studies’ established in the Master’s Programme in Photography. The School taught a handpicked group of students, took them to international art fairs and introduced them to curators and buyers. The Helsinki School was largely cele
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Mazza, Caterina. "Tracce dell’invisibile. Poesia e fotografia in dialogo per raccontare il triplice disastro del Tōhoku." In Connessioni. Studies in Transcultural History. Firenze University Press, 2024. http://dx.doi.org/10.36253/979-12-215-0422-4.09.

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The paper primarily centres around the volume titled Out of Sight. Fukushima à l’abri du regard. Aimaina sōshitsu, which was published in France in 2020. This composite volume features a collection of photographs by French photographer Delphine Parodi, who has resided in Japan since 2009. It also includes twenty-four poetic texts by bilingual writer Tawada Yōko, who has been based in Germany since 1982, as well as a compilation of anonymous testimonies from survivors of the triple Tōhoku disaster in March 2011. The paper engages in a reflection on the mediating role of literary and documentary
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Weida, Courtney L. "Gendering the Hoard." In The South Station Hoard. punctum books, 2014. https://doi.org/10.21983/p3.0085.1.08.

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Art and art education projects can be cross disciplinary, experimental, and provocative. In teaching and researching within the field of art education, my collaborations with art historians and studio artists enrich my sense of documentation and analysis of visual cultures. For this reason, I was intrigued when my colleague mentioned her exciting project idea inspired by the Staffordshire Hoard, a magnificent collection of gold jewelry and weapons discovered in the summer of 2009. Leahy and Bland note the Staffordshire Hoard collection was conspicuously missing “feminine objects, such as dress
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Nikonanou, Niki, Panagiotis A. Kanellopoulos, Elena Viseri, and Elina Moraitopoulou. "Educational Commons in Art Museums." In Educational Commons. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-51837-9_9.

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AbstractThis chapter reports on four case studies that took place at four museums of the Metropolitan Organisation of Museums of Visual Arts (MOMus) in Thessaloniki, Greece, the Museum of Contemporary Art, the Experimental Center for the Arts, the Museum of Photography and the Museum of Modern Art-Costakis Collection. Different groups of young people participated in case studies that sought to bring together educational commons and collaborative artistic experimentation, leading to the co-creation of artistic projects. The chapter focuses on how commoning processes might contribute to the tran
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Boulet, Louis. "The Dominance of Monographic Exhibitions in French Photographic Institutions: Data, Criticisms and Impact on Artists’ Visibility." In Contemporary Photography as Collaboration. Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-41444-2_7.

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Majewska, Martyna Ewa. "The Outrageous Abstraction of Senga Nengudi's Performance Photography." In African American Artists Performing for the Camera After 1970. Routledge, 2025. https://doi.org/10.4324/9781003470663-3.

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Bosoni, Giampiero. "For a Novel and Transversal Narration of Extemporaneous Places of Artistic and Design Thinking." In Springer Series in Design and Innovation. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_56.

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AbstractMany public places in our cities, such as cafés, restaurants, dairies, theatre foyers, wine bars, brothels, bookshops, discos, art galleries, street corners and squares, have been historic and ritual points of reference for artists communities. Such environments whose particular “atmospheres” have created ideal places where these authors have met, known, admired, fought, and enjoyed themselves. Places in which they may also have shared fundamental moments as well as artistic and design intuitions. For different eras, yesterday as today, we pinpoint historical maps of the various cities
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Conference papers on the topic "Artists' studios in photography"

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Svansson, Einar. "THE BEAUTY OF GARBAGE_ART OF PHOTOGRAPHY MEETS ENVIRONMENTALISM." In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscah.2024/vs10.21.

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Artists and university professors face an increasingly complex environment. There is access to abundance of information and the AI revolution helps everyone to deliver more detailed and structured knowledge. This is an opportunity to try new methods and novel combinations in the artistic and learning processes and use more diverse ideas and methods. We want to highlight the development in recent years in our personal life in Iceland in the use of photography in this context. It all started in the Covid-19 pandemic crisis with lockout and exile at home. The parents of the university professor f
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NECHIFOR, Oana. "(At) Home and (On) the Road: Contemporary Photography Techniques of Documenting the Migration Phenomenon." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0025.

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The current presentation includes several queries regarding the interaction of migration and globalization – one of the most significant phenomena of social transformation in recent decades, as well as the meanings that this interaction presents for artistic research and practice. The major social and cultural transformations that have taken place in recent decades following more intense migratory movements have sparked an interest among artists for creating visual discourses, which, by using languages specific to different genres and environments, contribute to the dissemination of knowledge
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Etinger, Darko. "A Task-Technology Fit Model for Digital Audio Workstations Evaluation." In Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002867.

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Music industry changes in the last decade largely shifted the music production tasks from big established studios to music artists. With the addition of online music streaming platforms, an end-to-end process of music creation, publishing, delivery, and consummation is achieved. This phenomenon emphasizes music artists as content creators to handle music production. Digital audio workstation systems enabled end users to compose, record, mix and master music. This research focuses on identifying the fit between various tasks music artists must perform during music creation and the technical cha
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Nascimento, Suely. "Marlene's house." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.106.

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As an artist-researcher, I have been developing the research “Marlene's house” in the Doctorate in Arts, Graduate Program in Arts, Institute of Art Sciences, Federal University of Pará, since 2018. An extension of the research I produced in the Master's Degree in Arts, at the same institution of higher education, from 2016 to 2018. It is a poetics built from family and affective memory, in which photography, video, sound, writing, smell, taste, touch and feeling merge. And it is part of research line 1, on poetics and acting processes, dedicated to research in the arts, with a focus on poetics
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Ahtik, Jure. "A new method for analysing eye-tracking measurement data." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p93.

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When it comes to the function of photography in graphic communication, we should be aware of many different aspects of the medium. The standard criterion for a correct and successful photograph should always be its technical and artistic aspect. If something is not right, for example, if the exposure or composition are not correct, a photo should not be used for professional purposes. The third aspect is the content or meaning, where final decisions are usually made. With this in mind, editors are usually presented with photos from which they must select those to be used in a final publication
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Olarescu, Dumitru. "Ion Creanga phenomenon in audiovisual images." In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.03.

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The destiny and literary creation of Ion Creangă crystallized into an unprecedented phenomenon in our culture, always inciting artists and literati to the most diverse interpretations and visions. But a re-interpretation of the “spectacle of the world”, created by the great storyteller from Humulești, requires great aesthetic and artistic efforts. To argue these ideas, we will refer to the non-fiction film “Ion Creangă” directed by Vlad Druc, based on a script signed by Anatol Codru, cameraman - Ion Bolboceanu. In search of the most appropriate audiovisual equivalents for the rendering/interpr
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Glasser, Adrian, and Howard C. Howland. "Artistic transformations in image processing." In OSA Annual Meeting. Optica Publishing Group, 1986. http://dx.doi.org/10.1364/oam.1986.thn9.

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We have examined certain transformations, linear and nonlinear, which transform frame-grabbed black-and-white photographic images into artistic renditions of the original. Such transforms resemble sketches, sketch and wash renditions, or mosaics. Generally these transforms involve a large reduction in information of the original photographic image, and we have attempted to measure this reduction using coding algorithms. The reverse, increase in information when an artist creates a painting from a sketch, was also evaluated. Lastly, we also studied the importance of the information retained and
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Жарикова, И. В., and Ю. В. Гусарова. "THE AUTHOR`S CERAMIC SOUVENIR AT FESTIVALS AND MARKETS: RETHINKING THE THEME." In Образ, знак и символ сувенира. Материалы IX Всероссийской национальной научно-практической конференции. Crossref, 2023. http://dx.doi.org/10.54874/9785605054283_222.

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Последние годы устойчиво растет интерес к авторской керамике. Возникают студии и мастерские. Появляются площадки для общения зрителей и художников — маркеты и фестивали авторской керамики. Становятся востребованными небольшие эксклюзивные работы, выполненные в стиле основных работ художника. В результате взаимодействия сторон происходит переосмысление художниками сувенирной тематики. Возникает сувенир как побочный продукт творчества. In recent years, interest in the author’s ceramics has been steadily growing. Studios and workshops are emerging. There are platforms for communication between vi
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Lasaosa, Virginia Espa, María José Gutiérrez Lera, María Cañas Aparicio, and María Adelaida Gutiérrez Martín. "Veinte años de docencia de la fotografía. Estudio de caso: Escuela de Arte de Huesca (España), Twenty years teaching photography. Case study: The Art School of Huesca (Spain)." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6741.

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ResumenEl Ciclo Formativo de Grado Superior en Fotografía pertenece a la familia profesional artística de Comunicación Gráfica y Audiovisual y forma parte del sistema educativo español público.Esta comunicación presenta un panorama de la evolución de los estudios sobre fotografía en las Escuelas de Artes Plásticas y Diseño, exponiendo, a través del ejemplo de la Escuela de Arte de Huesca, el caso de la Comunidad Autónoma de Aragón.La implantación del grado superior de fotografía en Huesca se incardinó en la estructura propicia que aportaba una ciudad acostumbrada a valorar este modo de expresi
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Jun Han, Young. "Future Image making in the era of Metaverse: Focus on Non-Fungible Tokens and the Future of Art." In AHFE 2023 Hawaii Edition. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004456.

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The meaning of visual imagery encapsulates the essence of the era's aspirations. This meaning can vary across different cultures, and metaphorical expressions can also differ significantly. Throughout history, the evolution of images has experienced diverse transformations. In the present day, these images continue to undergo digitization, evolving their meanings through various markets and novel formats. As an illustration, the convergence of art, photography, and the implementation of smart contracts in the form of Non-Fungible Tokens (NFTs) has gained momentum alongside virtual currencies l
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Reports on the topic "Artists' studios in photography"

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Editors, Intersections. On Religion: Photography in Collaboration. Intersections, Social Science Research Council, 2024. http://dx.doi.org/10.35650/int.4061.d.2024.

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This article showcases photographic essays produced by collaborations between visual artists, journalists, and religious scholars through a partnership between New York University and the Magnum Foundation.
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Sequeira, Dora María, Ileana Alvarado V., and Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured wi
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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The w
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Paradox and Coexistence: Latin American Artists, 1980 - 2000. Inter-American Development Bank, 2002. http://dx.doi.org/10.18235/0005931.

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The show represents a number of artistic trends developed by Latin American artists during the last two decades of the 20th Century. An assortment of works in different media¿oil on canvas, acrylics, rusted steel, photography, video, photography collage, ceramic, cedar wood and ropes, and paper sculpture¿provides a general view of the latest art trends in Latin America. The exhibit complements the book ¿Art of Latin America, 1981-2000¿ by Colombian Professor Germán Rubiano Caballero, which was launched in English and Spanish. Galleries and artists from Latin America and the United States colla
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First Inter-American Competition and Exhibition of Digital Photography. Inter-American Development Bank, 2004. http://dx.doi.org/10.18235/0008284.

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First Inter-American Competition and Exhibition of Digital Photography sponsored by the IDB Cultural Center and the IDB Information and Communication Technology for Development Division, met January 12 and 13, 2004, in Washington, D.C., and reviewed 300 entries submitted by 100 artists from 20 countries.
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First Inter-American Competition and Exhibition of Digital Photography. Inter-American Development Bank, 2004. http://dx.doi.org/10.18235/0005914.

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During 2003-04, a completely virtual project was organized to promote regional integration through the use of new information and communication technologies for development among other things. A jury reviewed 300 entries submitted by 100 artists from 20 countries. The exhibition was launched on the Internet in February 2004 announcing the results: Awards were given to Alejandro Crisóstomo F. (Guatemala); Miguel A. Caprara (Argentina); Ricardo Vargas B. (Peru); and Juan A. Sánchez O.(Colombia). Honorable Mentions were to given to: Raul A. Villalba (Argentina); Gonzalo Contreras del Solar (Boliv
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