Relevant bibliographies by topics / Bombay School of Art

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

Academic literature on the topic 'Bombay School of Art'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Bombay School of Art"

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Khullar, Sonal. "“We Were Looking for Our Violins”." Archives of Asian Art 68, no. 2 (2018): 111–32. http://dx.doi.org/10.1215/00666637-7162219.

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Abstract This essay examines a creative dialogue between painters and poets, among them Nissim Ezekiel, Adil Jussawalla, Bhupen Khakhar, Arun Kolatkar, Arvind Krishna Mehrotra, Gieve Patel, and Sudhir Patwardhan, in Bombay (Mumbai) during a period that encompassed Khakhar's first solo show at the Jehangir Art Gallery in 1965 and the publication of four books of poetry by Clearing House, an independent press established in 1976 by Jussawalla, Kolatkar, Mehrotra, and Patel. Through a close analysis of word and image, it illuminates the distinctive aesthetics and politics of these artists encapsulated by the terms lifting and loafing. The Bombay painters and poets came to lifting—documenting and defamiliarizing—their environment by citing and subverting street signs, advertisements, state propaganda, calendar art, film posters, and newspaper photographs. They took to loafing—a mode of critical observation and analysis, and the pursuit of committed deprofessionalization and translation across spaces—and mobilized the ordinary, yet extraordinary, spaces of the paan (areca nut wrapped in betel leaf) shop and the Irani restaurant as metaphors of artistic sociability and subjectivity. Through lifting and loafing, the Bombay painters and poets offered a critique of nationalist and bourgeois values, as well as the artistic establishment represented by associations and institutions such as the Progressive Artists Group and Jamsetjee Jeejebhoy School of Art. They diverged from their predecessors and peers in an emphasis on everyday life and found objects, and in bringing together the visual and verbal worlds exemplified by the Baroda (Vadodara)-based journal Vrishchik.
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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 and control, and its use to construct suggestive representational hybrids of the anatomical and the painterly outside the academy. The article explores patterns of patronage and of the use of photography in the practices of art production, publication, and exhibition, looking, in particular, at the role of the photographic basis of the portrait painting, and how photography became a supplement to “life-study” or the practice of drawing from nude models. The gendered politics of this interface, between artist, technology, and female model is a recurrent thread of analysis, drawing on critical debates that were published in Marathi periodicals of the time. The article explores the braiding of technologies in artistic practice in different sites, from the academy and the artist’s studio through to publication and exhibition in galleries, and illustrated magazines. While the essay considers a number of artists, including Ravi Varma, Durandhar, and Thakur Singh, it focuses, in particular, on Baburao Painter for his engagement with photography and painting in a career which traversed theater, painting, photography, and film production.
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Bharucha, Rustom. "Kroetz's ‘Request Concert’ in India, Part Two: Bombay." New Theatre Quarterly 3, no. 12 (1987): 377–88. http://dx.doi.org/10.1017/s0266464x00002517.

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In the first of this series of three articles, published in NTQ 11, the director Rustom Bharucha – born in India. but living and working mainly in New York – described how he initially became intrigued by the idea of transposing Franz Xaver Kroetz's play without words, Request Concert, concerning the last evening in the life of a very ordinary German woman, into a variety of Asian contexts. His ambition was first realized – in collaboration with fellow-director Manuel Lutgenhorst, and with valued assistance from the International School of Theatre Anthropology – in a production mounted in Calcutta, with the actress Joya Sen. The following account of the second production, in Bombay, illuminates both the varieties of Indian urban life and the varieties of theatrical experience, with fascinating insights into the nature of Bombay's competitive, media-saturated society, and the perceptions of the actress Sulabha Deshpande concerning her role and its technical requirements – and how both shed new light on this play and on the nature of theatricality.
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Jain, Sushma. "GRAFFITI ART OF CHANDVAD RAJPRASAD." ShodhKosh: Journal of Visual and Performing Arts 2, no. 2 (2021): 1–13. http://dx.doi.org/10.29121/shodhkosh.v2.i2.2021.26.

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English: A small town named Chandvad is situated on the Agra-Mumbai highway between Nashik and Malegaon in the state of Maharashtra. The Holkar's palace at Chandvad was built between 1753 and 1797. Many paintings have been made on the walls of this palace, which are older than the paintings of Rajbara found in Indore, but from the point of view of study, these paintings could be known much later. In 1929 the eminent archaeologist Shri R.D. When the Chandwad palace was surveyed by Banerjee, no importance was given to the painted walls there. After 12 years, the then District Collector of Nashik district, Shri H. F. Knight saw these paintings in AD 1933 and asked Sir J.J. School of Art Bombay Director Mr. H.J. King was invited. Mr. King was very impressed by those pictures and he studied those pictures closely and sent his report to the Holkar state. The princely state of Holkar again sent Kalaguru Devlalikar ji from Indore to Chandvad for a classified study of those paintings. After about ten years of all these activities, these paintings were preserved in 1944 AD. The frescoes built here were probably built between 1753 and 1797 AD during the construction of the Rajwada.
 
 Hindi: महाराष्ट्र राज्य के नासिक तथा मालेगांव के मध्य आगरा मुम्बई राजमार्ग पर चांदवढ़ नामक एक छोटा सा कस्बा बसा है। चांदवढ़ स्थित होल्करों का राजप्रासाद 1753 से 1797 के मध्य निर्मित किया गया था । इस राजमहल की भित्तियों पर अनेक चित्र बने हैं जो कि इंदौर में प्राप्त राजबाड़े के चित्रों की तुलना में प्राचीन हैं लेकिन अध्ययन की दृष्टि से इन चित्रों का बहुत बाद में जाना जा सका । 1929 में सुप्रसिद्ध पुरातत्ववेत्ता श्री आर.डी. बैनर्जी द्वारा चांदवढ़ राजमहल का सर्वेक्षण किया गया तब वहां की चित्रित भित्तियों को कोई महत्व नहीं दिया गया। इसके 12 वर्ष बाद नासिक जिले के तत्कालीन जिलाधीश श्री एच. एफ. नाइट ने ई. 1933 में इन चित्रों को देखा और उनके महत्व का सही मूल्यांकन करने के लिये सर जे.जे. स्कूल ऑफ आर्ट बाम्बे के संचालक श्री एच.जे. किंग को आमंत्रित किया गया । श्री किंग उन चित्रों से अत्यन्त प्रभावित हुए तथा उन्होंने उन चित्रों का बारीकी से अध्ययन किया तथा अपनी रिपोर्ट होल्कर राज्य को भेजी । होल्कर रियासत ने पुनः इंदौर से कलागुरू देवलालीकर जी को उन चित्रों का वर्गीकृत अध्ययन करने चांदवढ़ भेजा। इन सब गतिविधियों के लगभग दस वर्षों बाद 1944 ई. में इन चित्रों को संरक्षित किया गया । यहां निर्मित भित्तिचित्र संभवतः राजवाड़े के निर्माण के समय 1753 से 1797 ई. के मध्य निर्मित हुए थे ।1
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Varghese, Elsa, Meena Galliara, and Manjari Srivastava. "OSCAR Foundation: empowering lives through football." Emerald Emerging Markets Case Studies 6, no. 3 (2016): 1–32. http://dx.doi.org/10.1108/eemcs-05-2016-0077.

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Subject area Social entrepreneurship, Social enterprise. Study level/applicability Masters Programme in Social Entrepreneurship, Social Work, Business Administration; Management Development Programme for Social Entreprenuers. Case overview Organisation for Social Change, Awareness and Responsibility (OSCAR) Foundation is a non-profit organisation registered in 2010 under the Bombay Public Trust Act, 1950. Born and raised in the slum colony of Ambedkar Nagar, Cuffe Parade, Ashok, the founder, grew up seeing his friends becoming a victim to many socially inappropriate behaviours due to dropping out of school. Inspired by the thought of breaking this vicious cycle, Ashok used football as a mechanism to instil essential life skills among children and youth and encouraged them to continue their education. The success of his pilot motivated him to set up OSCAR. Presently, through its various programmes, the organisation has reached out to more than 3,000 marginalised children and 500 youths and aims to reach out to 20,000 children by 2020. The case highlights the struggles of Ashok’s entrepreneurial journey and maps the new challenges in scaling up his enterprise. Expected learning outcomes The expected learning outcomes are as follows: to identify the characteristics of a social entrepreneur and ascertain the leadership skills required by a social entrepreneur; to scrutinise the life cycle of a social enterprise and develop insights to examine the unique risks and challenges faced at the start-up phase of the social enterprise; and to enhance the understanding of interrelationship between passion, mission focus and challenges to attain financial sustainability for a social venture. Supplementary materials Teaching Notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes. Subject code CSS 3: Entrepreneurship.
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Karande, A. S., and P. B. Shetty. "Urban School Health Problems in Bombay City." Journal of Tropical Pediatrics 38, no. 3 (1992): 142–44. http://dx.doi.org/10.1093/tropej/38.3.142.

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Windover, Michael. "Exchanging Looks: ‘Art Dekho’ Movie Theatres in Bombay." Architectural History 52 (2009): 201–32. http://dx.doi.org/10.1017/s0066622x00004196.

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Bombay of the interwar years was a city in transition. TheUrbs Prima in Indus, and second city of the British Empire, became increasingly both a site of nationalist sentiment and a conduit of cosmopolitan cultural and economic currents. Its urban fabric witnessed the shift from colonial, Victorian city tomodernemetropolis. Captured in A. R. Haseler’s dramatic aerial photograph from the mid-1930S (Fig. 1), the Regal Cinema stands out against the Indo-Saracenic monuments of late imperial Bombay — notably George Wittet’s Gateway of India (1924) seen at the top of the photograph, his Prince of Wales Museum (1923) — its gardens on the bottom left — and, on the right, his Royal Institute of Science (1920). Although not a government-commissioned building, to the right of the Gateway, on the waterside, is the Taj Mahal Hotel (1903), a luxurious structure intended by the Parsi industrialist, Jamsetji N. Tata, to be a location for inter-cultural relations. Extending this type of space to some degree, the Regal was built by another Parsi, Framji Sidhwa, in 1933. The cinema marked the beginning of a decade-long building boom that corresponded with a significant population increase, as more and more migrants joined the city’s growing industrial workforce.The Art Deco styling of the new financial, residential, and commercial buildings, like the Regal, celebrated and framed a modern public culture which responded to the unique socio-political realities of interwar Bombay. ‘Public culture’, a term developed by Arjun Appadurai and Carol Breckenridge, is conceptualized here as a dynamic process of indigenization, one that takes into account the global flow of ideologies through human migration and especially by mass media, one that destabilizes the ‘high-low’ binary and avoids the homogenizing terminology of ‘westernization’ or ‘Americanization’. The Art Deco cinema might be considered a crossroads where the often interpenetrating and sometimes competing narratives of commerce, nation, empire and formations of modern subjectivities intermingled: a nexus of cultural, economic, technological and political flow. The use of Art Deco is important in the context of Bombay as the style signified modernity and a particular sense of cosmopolitanism on the one hand, and yet resonated with or extended pre-existing cultural traditions in a distinctly local manner on the other.
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McGregor, R. S. "Gadyarāja: a fourteenth century Marathi version of the Kṛṣṇa legend. Translated from the Marathi with annotations by Ian Raeside. pp. xxxv, 312. Bombay, Popular Prakashan Pvt. Ltd; London, School of Oriental and African Studies, University of London, 1989. £20.00." Journal of the Royal Asiatic Society of Great Britain & Ireland 122, № 2 (1990): 403–5. http://dx.doi.org/10.1017/s0035869x00108822.

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Jayaram, N. "The ‘Bombay School’ and Urban Sociology in India." Sociological Bulletin 62, no. 2 (2013): 311–23. http://dx.doi.org/10.1177/0038022920130208.

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Jayaram, N. "Introduction: The Bombay School – So-called – and its Legacies." Sociological Bulletin 62, no. 2 (2013): 195–203. http://dx.doi.org/10.1177/0038022920130201.

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Dissertations / Theses on the topic "Bombay School of Art"

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Vance, Nicole Ashley. "Integrators of Design: Parsi Patronage of Bombay's Architectural Ornament." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6053.

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The seaport of Bombay is often referred to as India's "Gothic City." Reminders of British colonial rule are seen throughout South Bombay in its Victorian architecture and sculpture. In the heart of Bombay lies the Victoria Terminus, a towering, hybrid railway station blending gothic and vernacular architectures. Built at the height of the British Empire, the terminus is evidence of the rapid modernization of Bombay through the philanthropy of the Parsis. This religious and ethnic minority became quick allies to the British Raj; their generous donations funded the construction of the "Gothic City." The British viewed the Parsis as their peers, not the colonized. However, Parsi-funded architectural ornament reveals that they saw themselves on equal footing with Bombay's indigenous populations. The Parsis sought to integrate Indian and British art, design, and culture. Through their arts patronage they created an artistic heritage unique to Bombay, as seen in the architectural crown of Bombay, the Victoria Terminus.The Parsi philanthropist, Sir Jamsetjee Jeejeebhoy was the most influential in Bombay's modern art world. He was chosen with other Indian elites to serve on the selection committee for the Great Exhibition of 1851 in London. He selected India's finest works to demonstrate India's rich tradition of the decorative arts. In turn, these works were viewed within the Indian Pavilion by the Victorian public and design reformer Owen Jones. Jones used many of the objects at the India Pavilion in his design book, The Grammar of Ornament. This book went on to inspire the eclectic architectural ornament of Victorian Britain and eventually Bombay. Jeejeebhoy sold the majority of the works from the exhibition to the Victorian and Albert Museum and the Department of Sciences and Art in South Kensington. The objects were studied by design students in South Kensington who were later hired by Jeejeebhoy to be instructors at the Bombay School of Art. This school taught academic European art alongside traditional Indian design forthe purpose of creating public art works. Thus, the Parsis were important cultural mediators who funded British and Indian craftsmen to create symbols of "progress," such as the Victoria Terminus, for a modern India.
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Ithurbide, Christine. "Géographie de l'art contemporain indien : villes, acteurs et territoires : le cas de Bombay (Inde)." Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCC005.

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L'art contemporain indien s'est pleinement inséré dans des dynamiques institutionnelles et marchandes globales au cours des décennies qui ont suivi la libéralisation économique de l'Inde des années 1990. Bombay qui représente depuis la fin du XIXe siècle une capitale commerciale et un carrefour culturel en Asie, s'affirme comme la principale métropole du marché de l'art contemporain indien dont les activités sont regroupées dans le district artistique au sud de la ville. L'objet de cette thèse est d'analyser le processus d'adaptation et de transformation des territoires locaux face à la globalisation de l'art tout en accordant une attention particulière à l'ancrage de ce processus dans un système social local. Au-delà du district artistique, mon approche s'est intéressée à d'autres quartiers et acteurs moins visibles mais indispensables aux activités de l'industrie de l'art contemporain afin de mettre en lumière une globalisation de l'art contemporain « par le bas » et de montrer la continuité entre une économie de l'art mondialisée et une économie informelle. La géographie de l'art proposée s'inscrit au croisement d'une géographie urbaine, industrielle et sociale, accordant par ailleurs une place importante aux travaux de sociologie de l'art et d'anthropologie des mobilités. Cette thèse a ainsi pour ambition de contribuer aux études urbaines en Inde et plus largement aux nouvelles recherches sur les pratiques artistiques et l'économie de l'art dans les Suds<br>Contemporary Indian art has increasingly taken part to global institutional and market dynamics in the decades that followed the economic liberalization of Indian in the 1990s. While representing a commercial capital and a cultural crossroads in Asia since the late XIXth century, Bombay emerged as the leading metropolis for contemporary Indian art market which activities are gathered in the art district in the south of the city. The aim of this thesis is to analyze the process of adaptation and transformation of local territories in response to art globalization whilc focusing on the anchoring the process into a local social system. Beyond the art district, my approach is interested in neighborhoods and actors less visible but essential to contemporary art industry activities. The purpose is to highlight a globalization of contemporary art "from bellow" and underline the continuity between globalized art economy and informai economy. Situated at the crossroad of urban, industrial and social geography, the geography of art proposed is also influenced by researches in sociology of art and anthropology of mobility. This thesis has the ambition to contribute to urban studies in India and more broadly to researches on artistic practices and economy of art in the South countries
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Crawford, Jennifer Marie. "Edinburgh Art School." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/74870.

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Tse, Ching-kan Curry, and 謝正勤. "School of Chinese Art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984836.

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Tse, Ching-kan Curry. "School of Chinese Art." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25950964.

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Feijoo, Manuel. "Vertical School of Art." Thesis, Virginia Tech, 2013. http://hdl.handle.net/10919/23104.

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Vertical Buildings (skyscrapers) challenge our perception of space, our perception of scale, our idea of movement, they challenge the way we live. Currently urban cities are becoming more and more dense. Lack of space is a big issue and now buildings are being torn down and are replaced by skyscrapers. And these new skyscrapers are being redefined to house a living and working environment. <br /><br />Cubism challenges our perception of depth, our tactile sense, our ideas of proportion. Cubism, as a 20th century movement, was in continuous exploration of the senses.  Cubists challenged the conception of art, and consequently shaped and influenced many social movements of their time.<br /><br />Like any human expression, art and architecture are in a continuous evolution. Both share the pursuit of perfection, the exploration of spatial, sensorial, and emotional feelings.  Both are a part of us.<br /><br />With all of these ideas in mind, I started to investigate and explore the idea of a skyscraper that would house an  art school. Where the building and its inhabitants will contribute to its surroundings of the school. <br /><br />There is the challenge of programing the art school into a vertical configuration and at the same time, this challenge offers the possibility of discovery for new organization of the school as a vertical world.<br>Master of Architecture
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Skevk, Therese. "Art and Music Profile School." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-135474.

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Puchyr, Donna Conklin. "The effectiveness of art criticism on pre-school children's art vocabulary." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1991. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M. Ed.)--Kutztown University of Pennsylvania, 1991.<br>Source: Masters Abstracts International, Volume: 45-06, page: 2751. Abstract precedes thesis as [3] preliminary leaves. Typescript. Includes bibliographical references (leaves 39-45).
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Teague, Barbara A. (Barbara Ann). "An Assessment of Arkansas Middle school/Junior High School Art Programs Using National Art Education Association Standards." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331828/.

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The purpose of the study was to make an assessment of Arkansas middle school/junior high art programs using National Art Education Association standards. Data were collected from questionnaires, curriculum guides, and school visitations. Participating in the study were 127 schools enrolling 53,502 students of which 14,755 (28%) were taking art classes. For comparisons, the state was divided into five regions.
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Underhill, Helen P. V. "Art school, art world, art circuit : an ethnography of contemporary visual art education and production in two Palestinian locations." Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30303/.

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Books on the topic "Bombay School of Art"

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Pompidou, Centre Georges, ed. Paris, Delhi, Bombay--. Éditions du Centre Pompidou, 2011.

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Contemporary art: Deutsche Bank Bombay. [Deutsche Bank AG], 1995.

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Rahul, Mehrotra, and Gobhai Noshir, eds. Bombay deco. Eminence Designs, 2008.

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Manning, Mick. Art school. Kingfisher, 1997.

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Deem, George. Art school: Paintings. Thames and Hudson, 1993.

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Day, Harold A. E. Norwich School & Suffolk School Art. Hobart Press, 2007.

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Ranald, Lawrence. The Victorian Art School. Routledge, 2020. http://dx.doi.org/10.4324/9781003020288.

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Douglas, Coupland, ed. School spirit. Dis voir, 2003.

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Chelsea College of Art and Design. BA Honours Fine Art 1994: School of Art. London Institute, 1994.

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Institute, London. Art: The first of four exhibitions : art design fashion film/video ; Camberwell School of Art and Crafts ; CentralSchool of Art and Design ; Chelsea School of Art ; Saint Martin's School of Art. Inner London Education Authority, 1986.

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Book chapters on the topic "Bombay School of Art"

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Siegel, Craig A. "School Art Therapy." In The Wiley Handbook of Art Therapy. John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118306543.ch41.

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Berberian, Marygrace. "School-Based Art Therapy." In Art Therapy Practices for Resilient Youth. Routledge, 2019. http://dx.doi.org/10.4324/9781315229379-22.

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Edwards, Jean, Helen Caldwell, and Rebecca Heaton. "Making digital art." In Art in the Primary School, 2nd ed. Routledge, 2021. http://dx.doi.org/10.4324/9780429296208-12.

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Ranald, Lawrence. "Introduction." In The Victorian Art School. Routledge, 2020. http://dx.doi.org/10.4324/9781003020288-1.

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Ranald, Lawrence. "‘By the Gains of Industry we Promote Art’." In The Victorian Art School. Routledge, 2020. http://dx.doi.org/10.4324/9781003020288-2.

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Ranald, Lawrence. "A worthy façade." In The Victorian Art School. Routledge, 2020. http://dx.doi.org/10.4324/9781003020288-3.

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Ranald, Lawrence. "‘Drawn from the light’." In The Victorian Art School. Routledge, 2020. http://dx.doi.org/10.4324/9781003020288-4.

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Ranald, Lawrence. "Into clean air." In The Victorian Art School. Routledge, 2020. http://dx.doi.org/10.4324/9781003020288-5.

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Ranald, Lawrence. "‘Local centres of civilisation’." In The Victorian Art School. Routledge, 2020. http://dx.doi.org/10.4324/9781003020288-6.

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Askari, Kaveh. "Rex Ingram’s Art School Cinema." In Making Movies into Art. British Film Institute, 2014. http://dx.doi.org/10.1007/978-1-84457-697-5_6.

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Conference papers on the topic "Bombay School of Art"

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Leckman, Tad, Larry Bafia, Peter Bardazzi, et al. "Art school or trade school?" In ACM SIGGRAPH 2006 Educators program. ACM Press, 2006. http://dx.doi.org/10.1145/1179295.1179301.

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Gander, Jonathan, Andrew M. Haslam, and Julian Blanco Rodriguez. "Kingston School of Art." In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.76.

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Spreafico, Maria Luisa, and Eulalia Tramuns. "ORIGAMI, ART AND MATHEMATICS AT SCHOOL." In 12th annual International Conference of Education, Research and Innovation. IATED, 2019. http://dx.doi.org/10.21125/iceri.2019.1128.

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"[Cover art]." In 2011 Workshop and School of Agent Systems, their Environment, and Applications (WESAAC). IEEE, 2011. http://dx.doi.org/10.1109/wesaac.2011.31.

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Wesly, Edward J. "Teaching holography in an art school environment: the program at the School of the Art Institute of Chicago." In Midwest - DL tentative, edited by Rudolph P. Guzik, Hans E. Eppinger, Richard E. Gillespie, Mary K. Dubiel, and James E. Pearson. SPIE, 1991. http://dx.doi.org/10.1117/12.47740.

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Maciuca, Ana. "ART COLLECTORS IN INTERWAR ROMANIA. INTERFERENCES WITH THE ART SCHOOL IN VIENNA." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/61/s14.040.

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Border, Peter M. "A data visualization course at an art school." In ACM SIGGRAPH 2006 Educators program. ACM Press, 2006. http://dx.doi.org/10.1145/1179295.1179324.

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Tedre, Matti. "From a Black Art to a School Subject." In ITiCSE '20: Innovation and Technology in Computer Science Education. ACM, 2020. http://dx.doi.org/10.1145/3341525.3394983.

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Petrov, Plamen, Tatiana Atanasova, and Georgy Kostadinov. "ENHANCING ART EDUCATION IN SCHOOL THROUGH AUGMENTED REALITY." In 7th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS Proceedings 2020. STEF92 Technology, 2020. http://dx.doi.org/10.5593/sws.iscss.v2020.7.2/s13.12.

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Tamas, Borbala. "GENDER ASYMMETRY IN DISTORTED OBJECTS RECOGNITION OF ART AND NON-ART HIGH SCHOOL STUDENTS." In 6th SWS International Scientific Conference on Social Sciences ISCSS 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscss.2019.3/s11.013.

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Reports on the topic "Bombay School of Art"

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Galenson, David. The New York School vs. the School of Paris: Who Really Made the Most Important Art After World War II? National Bureau of Economic Research, 2002. http://dx.doi.org/10.3386/w9149.

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Gifford, John L. Teaching and Learning the Operational Art of War: An Appraisal of the School of Advanced Military Studies. Defense Technical Information Center, 2000. http://dx.doi.org/10.21236/ada381852.

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Benski, Alice. A study of the role of acrylic paints in the secondary and junior high school art curriculum. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.623.

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Demartini-Svoboda, Jana. A study of art education in the elementary school curriculum as amplification of other academic subjects and as a promoter of creativity in the learning process. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.3159.

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Moore, Melissa. Phase II - Procurement of State of the Art Research Equipment to Support Faculty Members with the RNA Therapeutics Institute, a component of the Advanced Therapeutics Cluster at the University of Massachusetts Medical School. Office of Scientific and Technical Information (OSTI), 2011. http://dx.doi.org/10.2172/1037882.

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