Relevant bibliographies by topics / Carpenter Center for the Visual Arts

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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 'Carpenter Center for the Visual Arts'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Carpenter Center for the Visual Arts"

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Hamburger, Esther Império, Cecília Mello, and Giuliana Bruno. "Interview with Giuliana Bruno." Significação: Revista de Cultura Audiovisual 50 (December 6, 2023): 1–31. http://dx.doi.org/10.11606/issn.2316-7114.sig.2023.219151.

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Giuliana Bruno is Emmet Blakeney Gleason Professor of Visual and Environmental Studies at Harvard University, situated in the Carpenter Center for Visual Arts. For over three decades, her critical thinking has been characterized by sophistication, rigor and originality, placing her among the leading world academics exploring intersections between visual arts, art history, architecture, film, and visual culture studies. Bruno's interdisciplinary approach has fostered connections between these fields, enriching our understanding of visual culture. Her work anticipated the field of ‘media archaeology’, uncovering and analyzing historical layers and traces embedded in visual artifacts for deeper contextual insights. She has also contributed significantly to spatial theory, particularly in relation to the intersection of architecture, art, and film, exploring how spaces and places shape our experiences and perceptions. In anticipation of her visit to São Paulo in December 2023, Significação: Revista de Cultura Audiovisual conducted a two-hour online interview with Bruno, focusing on Atmospheres of Projection and her other groundbreaking contributions.
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Kim, Nam-Hoon. "A Study on Le Corbusier's Carpenter Center for the Visual Arts : Focused on Experience of Architectural Promenade." Architectural research 14, no. 2 (June 30, 2012): 67–73. http://dx.doi.org/10.5659/aikar.2012.14.2.67.

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García Bueno, Antonio, and Karina Medina Granados. "conversando con... William J.R. Curtis." EGA Revista de expresión gráfica arquitectónica 24, no. 37 (November 18, 2019): 12. http://dx.doi.org/10.4995/ega.2019.12683.

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<p>William J.R. Curtis (Kent, 1948), es un galardonado historiador de reconocido prestigio internacional y crítico de arquitectura, a la vez que escritor, comisario y fotógrafo. Sus obras escritas son referentes para el estudio de la arquitectura.<br />Aprovechando la visita realizada a Granada con motivo de su exposición “Abstracción y Luz” que tuvo lugar en el Palacio de Carlos V en la Alhambra entre los meses de septiembre y noviembre de 2015, nos pudo mostrar sus diferentes facetas humanistas a través de su obra y su visión de la arquitectura, el paisaje y el mundo.<br />Curtis realizó sus estudios en el Courtauld Institute of Art de la Universidad de Londres y posteriormente en la Universidad de Harvard.<br />Ha impartido docencia en Historia del Arte, Teoría del Diseño y la Arquitectura en universidades de todo el mundo (Europa, Estados Unidos, Latino América, Australia, Asia,…). Universidades como Harvard, Universidad de California, Asociación de Arquitectura de Londres, Universidad de Cambridge, ETSAB Barcelona, son algunas de las instituciones que han tenido el placer de contar con William Curtis como docente.<br />Entre sus muchas obras escritas de historia, crítica y teoría, ha tratado temas muy variados como la arquitectura contemporánea, paisajismo, diseño, historiografía, educación visual, arquitectura vernácula, arquitectura india, arquitectura bereber del pre-Sáhara… Se puede destacar su libro Modern Architecture Since 1900 (Phaidon, tercera edición revisada 1996), que ha sido referente a nivel internacional y traducido en cinco idiomas. Otros de sus libros con gran impactos han sido: Le Corbusier: Ideas and Forms (Phaidon, segunda edición 2015); Denys Lasdun: Architecture, City, Landscape (Phaidon, 1994). Entre sus contribuciones más recientes encontramos: Abstractions in Space: Tadao Ando, Ellsworth Kelly, Richard Serra (Pulitzer Foundation, St. Louis, 2001); Barcelona 1992-2004 (Guim Costa, Gustavo Gili, 2004); y RCR Aranda, Pigem, Vilalta Arquitectes: Entre la abstracción y la naturaleza (Gustavo Gili, Barcelona, 2004).<br />Añadir que ha escrito gran cantidad de monografías sobre arquitectura moderna y contemporánea, así como sobre Le Corbusier. Sus críticas y monografías se pueden encontrar en revistas internacionales de reconocido prestigio entre las que se encuentra, entre otras, El Croquis (Madrid) y Architectural Review (Londres).<br />Mencionar que William Curtis ha sido conferenciante en muchos encuentros y debates críticos en todo el mundo. Ha participado como jurado en competiciones internacionales de diferente índole, así como ha ocupado diferentes puestos honoríficos en numerosas instituciones.<br />Junto con todos estos méritos, hay que mencionar los últimos premios con los que ha sido galardonado: Medal of Foundation for Museum of Finnish Architecture, 50th Anniversary, 2006; y Premio de Oro a la Aportación Global de la Arquitectura (CERA, A+D, India, 2014).<br />Para completar su faceta humanista, William además de escritor de libros y ensayos críticos, realiza pinturas, dibujos y fotografías sobre la abstracción de la naturaleza y su forma de ver el mundo. Entre sus exposiciones se encuentran: Mielen Maisemia/Mental Landscapes (Museo de Arquitectura de Finlandia, Helsinki 2000); Mental Landscapes/Paisajes Mentales (Círculo de Bellas Artes, Madrid 2002); Carpenter Center for the Visual Arts (Harvard 2004); Architectures du Monde. Le regard de William J.R. Curtis (Centre Méridional de l’Architecture et de la Ville en Toulouse, 2004-2005); Structures of Light (Museo Alvar Aalto, Finlandia, 2007).<br />Y por último Abstracción y Luz/Abstraction and Light (Patronato de la Alhambra y Generalife, Granada, 2015), gracias a la cual ha sido posible esta entrevista.<br />Rodeado de sus dibujos y pinturas, Williams nos ha contestado a nuestras preguntas, enfatizando en temas como la luz, la sombra, el agua y el espacio. Mientras, sentíamos la fuerza y presencia de estos conceptos en su obra, reforzados por el espacio en el que estaban expuestos, el Palacio de Carlos V en la Alhambra.<br />A través de sus fotografías y dibujos nos muestra su forma de mirar el mundo mediante la abstracción.</p>
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Ingram, Jack. "Dark Star, John Carpenter (1974)." Design and Culture 1, no. 2 (July 2009): 209–12. http://dx.doi.org/10.2752/175470709x12450568847730.

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Sprague, Laura Fecych. "The Decorative Arts and Crafts of Nantucket. Charles H. Carpenter, Jr. , Mary Grace Carpenter , Arthur d'Arazien." Winterthur Portfolio 23, no. 1 (April 1988): 89–91. http://dx.doi.org/10.1086/496363.

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Rather, Susan. "Carpenter, Tailor, Shoemaker, Artist: Copley and Portrait Painting around 1770." Art Bulletin 79, no. 2 (June 1997): 269. http://dx.doi.org/10.2307/3046246.

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Desser, David. ": Order in the Universe: The Films of John Carpenter . Robert C. Cumbow." Film Quarterly 44, no. 4 (July 1991): 36–37. http://dx.doi.org/10.1525/fq.1991.44.4.04a00160.

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Henderson, Linda Dalrymple. "Mysticism as the "Tie That Binds": The Case of Edward Carpenter and Modernism." Art Journal 46, no. 1 (1987): 29. http://dx.doi.org/10.2307/776840.

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Wendelken, Cherie. "The Tectonics of Japanese Style: Architect and Carpenter in the Late Meiji Period." Art Journal 55, no. 3 (1996): 28. http://dx.doi.org/10.2307/777763.

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Desser, David. "Review: Order in the Universe: The Films of John Carpenter by Robert C. Cumbow." Film Quarterly 44, no. 4 (1991): 36–37. http://dx.doi.org/10.2307/1212772.

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Dissertations / Theses on the topic "Carpenter Center for the Visual Arts"

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Tanyeri, Gozde. "A visual arts center." Thesis, Virginia Polytechnic Institute and State University, 1996. http://hdl.handle.net/10919/53428.

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The thesis idea of "A Visual Arts Center" for the Nation's Capital came to life based on my desire to visual arts and artists, exhibition and working, under the same roof, and mainly to solve the problem of appreciation and ignorance towards arts. What I have observed was that Washington, D.C. is the Capital of the superpower Nation, the Capital of the U.S. government, the Capital of politics. "...In science, I found everything was very clear. Art? Art was always art appreciation, or reading poetry or looking at paintings to appreciate them and so on, but not making paintings, making poetry, making architecture. Art is still on the margin. It is not really absorbed or integrated into the whole. This goes away only by a deep educational system starting from the nursery on through the whole system." Walter Gropius, On Science and Art. The Visual Arts Center, in my vision, is a center where making, seeing, learning and touching become as one cultural activity. Appreciation of the arts literally lies at the back of learning more about the materials, ideas, styles and making things. One can only understand himself and his abilities through making things.
Master of Architecture
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Soto-Medina, Eduardo. "The University of Maryland Center for the Visual Arts." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3631.

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Thesis (M. Arch.) -- University of Maryland, College Park, 2006.
Thesis research directed by: School of Architecture, Planning and Preservation Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Adamovich, Andrey. "Adaptive Envelope : Contemporary center of visual arts in Frihamnen." Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-34711.

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The main idea of my thesis work is to deal with the problem of an adaptive reuse of an existing building, which has been designed many years ago and now lost its function. And the way I am approaching this - is through the idea of infection.  What if an existing building becomes infected by new purposes and qualities, and if so then how this move could be performed and realized? Unlike the majority of the adaptive reuse projects, mine has at its core the idea of introducing new feathers and elements in the way that it’s natural and a bit illusive, without contrasting the newly added to already existed. My goal is not to reveal this materiality difference. What I’m presenting today is a completely new envelope but from the inside you still can see this repetition of circular forms and understand that these are the same silos, which at some point were deformed in order to perform a different functions.
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Kabir, Fatema Q. "Phenomenon of Visual Perception Seen Over Wexner Center for Visual Arts and Knowlton School of Architecture." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1229295464.

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Barker, II James L. "In Search of Perspective: How We Understand Space Through Visual Horizons." Thesis, Virginia Tech, 2009. http://hdl.handle.net/10919/42355.

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This thesis is a study of perspective. Visual perspective invokes (thus creating) both understandings & misunderstandings of space through the use of depth. Depth in my opinion is perspectiveâ s ultimate aspiration; no great illustration or portrait of perspective can exist without an exuberant understanding of depth. Depth in architecture therefore becomes... [1] how the design & comprehension of space creates a volumetric understanding and sense of scale, and [2] how architecture can portray an intellectual understanding of its configuration and construction. . . A sort of architectural reality (to its representation).
Master of Architecture
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Fridley, Michael D. "Support materials for the use of Pygraphic's The music writer in the beginning music theory class at Sacramento High School Visual and Performing Arts Center : in partial fulfillment." Scholarly Commons, 1988. https://scholarlycommons.pacific.edu/uop_etds/2150.

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The objective of this project was to develop the necessary materials to facilitate the use of The Music Writer in the music theory class of Sacramento High School’s Visual and Performing Arts Center. The materials were designed to correct the deficiencies in the programs’ documentation, and include tutorials that sequentially introduce beginning students to the basic features of the program. The course is designed to teach skills and techniques in music fundamentals while providing students with practical experience involving the current technological advances in the field. These materials will enable the students to utilize professional level software in their study of basic music theory. Specifically, they will be able to use the program to write a simple diatonic melody, which has been composed as an assignment for the course.
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Manasrah, Ahmad Adli. "Human Motion Tracking for Assisting Balance Training and Control of a Humanoid Robot." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4141.

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Abstract This project illustrates the use of the human's ability to balance according to his center of gravity as demonstrated in two applications. The center of gravity of a human is explained in detail in order to use it in controlling the Aldebaran NAO robot and in the robot-assisted balance training. The first application explains how a humanoid robot can mimic a human's movements via a three dimensional depth sensor where the sensor analyzes the position of a user's limbs and how the robot can lift one foot and balance on the other by redistributing the its body mass when the user lifts his foot. The results showed that this algorithm enabled NAO to successfully mimic the users' arms, and was able to balance on one foot by repositioning its center of mass. The second application investigates how individuals with stroke lean when undergoing robot-assisted balance training. In some instances, they can develop inappropriate leaning behaviors during the training. The Kinect sensor is used to assist in optimizing patients' results by integrating it with the training program. The results showed that the Kinect sensor can improve the efficiency of the process by giving users graphical information about their mass distribution and whether they are leaning correctly or not.
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Vásquez, Goñi Josephine Consuelo. "Centro de Formación y Difusión de Artes Visuales en Lima Norte." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/625934.

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Estar en contacto con las artes nos trae múltiples beneficios, por lo que el CAV tiene como objetivo principal, la difusión del arte y de la cultura, donde la expresión creativa responde a una finalidad y a un uso. Actualmente los centros de exposición y de educación de arte dentro de Lima Metropolitana, se encuentran centralizados principalmente en los distritos de Cercado de Lima, Miraflores y Barranco, por lo que el proyecto propone ser un punto de encuentro y de integración de la ciudad en Lima Norte, espacio inexistente a pesar del exponencial crecimiento demográfico. El centro busca concebir espacios adecuados, en donde los artistas puedan desarrollar y producir sus creaciones, así como generar una interacción entre los usuarios. Propio de la identidad multicultural de la zona, el arte urbano se convierte en una potente herramienta integradora dentro de la ciudad, por lo que el arte de las calles es llevado a las galerías. De igual manera, el centro concibe una escuela con visión empresarial y enseñanza integral, en donde el estudiante puede insertarse en el mundo laboral dentro de un corto plazo.
Being in contact with the arts brings us many benefits, thats why the center has as its main objective, the difussion of art and culture, where creative expression responds to a purpose and to a use. Currently the art exhibition and education centers within Lima Metropolitana, are centralized mainly in the districts of Cercado de Lima, Miraflores and Barranco, so the project proposes to be a meeting and integration point of the city in Lima Norte, non-existent space despite exponential demographic growth. The center seeks to conceive suitable spaces, where artists can develop and produce their creations, as well as generate an interaction between users. Owing to the multicultural identity of the area, urban art becomes a powerful integrating tool within the city, so that streert art is taken to the galleries. Furthermore, the center conceives a school with a business vision and an integral education, where the student can be inserted into the working world within a short time.
Tesis
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Hollis, Alan D. "Implementing Best Practices of Museum Exhibition Planning: Case Studies from the Denver, Colorado Art Museum Community." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279314066.

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Palmiter, Erica Maria. "The artist as researcher : a narrative case study of Lead Pencil Studio." 2013. http://hdl.handle.net/2152/21404.

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This thesis is a narrative case study that examined the studio art practice of Lead Pencil Studio, a Seattle-based artist collaborative that explore our spatial relationships with architecture through site-specific installations. The case study specifically focused on the work of Daniel Mihalyo and Annie Han (Lead Pencil Studio) while they were at the Visual Arts Center in The University of Texas at Austin for a spring 2013 artist-in-residence program. The research focused specifically on the artists’ day-to-day process, examining the thoughts and actions that went into creating their work, Diffuse Reflection Lab, a two-story plywood structure that examined reflection’s effect on architecture through various vignettes. Through concentrated observations of the Lead Pencil Studio’s work and three semi-structured interviews, this thesis examined how traditional research practices are integrated into the studio art process. By examining the art/research relationship the author also situates this work in the field of practice-based research. While this work specifically focused on the research conducted by a pair of professional artists, it also extends to a broader argument about the role of research in art lessons. Since this thesis is based in art education, it connects the themes observed in the artists’ studio practice to interdisciplinary learning and arts integration. The author ultimately argues that Lead Pencil Studio’s art/research practice can be used in the classroom as an example of transdisciplinary learning and that it models a rigorous approach to creativity within other disciplines.
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Books on the topic "Carpenter Center for the Visual Arts"

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Byers, Dan, writer of foreword, Allan Stacey editor, Flint-Gohlke Lucy editor, and Carpenter Center for the Visual Arts, eds. Pacing. Cambridge, MA: Carpenter Center for the Visual Arts, Harvard University, 2020.

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Kate, Palmer, Dolan Julia, Carpenter Center for the Visual Arts, Fogg Art Museum, and Harvard University Art Museums, eds. A new kind of historical evidence: Photographs from the Carpenter Center collection. [Cambridge, Mass.]: Harvard University Art Museums, 2005.

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1932-, Eisenman Peter, Trott Richard, Papadakēs A, Forster Kurt Walter, Jencks Charles, and Somol R. E, eds. Wexner Center for the Visual Arts. London: Academy Editions, 1989.

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Neidich, Warren. Warren Neidich: 5.3-6.30.91, MIT List Visual Arts Center : 4.12-5.12.91, Photographica Resource Center. Cambridge, Mass: MIT List Visual Arts Center, 1991.

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Andreas, Papadakis, and Johnson Philip 1906-, eds. Wexner Center for the Visual Arts: [architects] Peter Eisenman, Richard Trott. London: Academy, 1989.

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Rafael, Moneo José, Vidler Anthony, and Eisenman/Trott Architects, eds. Wexner Center for the Visual Arts, the Ohio State University: A building. New York: Rizzoli, 1989.

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Almeida, Sonia. Sonia Almeida. Cambridge, MA: MIT List Visual Arts Center, 2014.

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A, Orsi Robert, and Davis Museum and Cultural Center., eds. Divine mirrors: The Virgin Mary in the visual arts. Oxford: Oxford University Press, 2001.

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Hsu, Tishan. Tishan Hsu: Paintings : MIT List Visual Arts Center, May 7-June 26, 1988. Cambridge, Mass: MIT List Visual Arts Center, 1988.

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1961-, Friis-Hansen Dana, and MIT List Visual Arts Center., eds. Rebecca Purdum: Paintings : MIT List Visual Arts Center, March 14-April 22, 1990. Cambridge, Mass: MIT List Visual Arts Center, 1990.

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Book chapters on the topic "Carpenter Center for the Visual Arts"

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Teodorescu, Marius A. "Unit 3 Overview: Neuroaesthetics Approaches to the Visual Arts—Creation." In Neuroaesthetics, 107–20. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-42323-9_8.

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AbstractThe unit overview is focused on the creation of art and aesthetic objects. Given the fact that the line between art and non-art has become thinner and thinner during the last decades, we pursue the creation of a varied number of visual media, ranging from classical portraits to selfie and selfie-editing behaviours. Also, we bring into view authorship issues, arising both from classical art philosophy and contemporary situations, such as AI-generated art. The function and meaning of portraits across the ages is a key part of the discussion in this chapter, treating art as utilitarian and aesthetic at the same time. Moreover, the reasons for creating art lay at the center of trying to analyze art creation from a neurological perspective. Defining the artist/creator and establishing his or her position as aesthetic expert becomes crucial in this respect. We present the current limitations in the field of neuroaesthetics regarding art and portrait creation and we try to re-contextualize research from the perception field of neuroaesthetics and apply it to the art-production field.
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Nikonanou, Niki, Panagiotis A. Kanellopoulos, Elena Viseri, and Elina Moraitopoulou. "Educational Commons in Art Museums." In Educational Commons, 151–72. Cham: 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 transformation of the museum towards an open-source institution through the cultivation of commoning practices in museum education. We also highlight the value of delving into forms of creative artistic engagement that induce unlearning traditional roles and questioning hierarchical power distribution.
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Corbusier, Le. "Carpenter Center for the Visual Arts, Harvard University 1963." In The le Corbusier Guide, 136–37. Elsevier, 1987. http://dx.doi.org/10.1016/b978-0-85139-155-7.50052-7.

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O’Neill, Shaleph. "Towards a Semiotics of Visual Music." In The Intermediality of Contemporary Visual Arts [Working Title]. IntechOpen, 2023. http://dx.doi.org/10.5772/intechopen.110777.

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‘Visual Music’ has a long history, much longer than most people realize. Over time, several eminent scientists, musicians, and artists have tried to establish correspondences between sound and vision. Some of these efforts were based on scientific principles, some on genuine synesthetic experiences, while others were more obviously creative aesthetic choices. With the resurgence of interest in this field, the argument presented here is that now is the time to re-evaluate this canon of knowledge, to identify more clearly, and expand the core concepts at its center. A selection of works, by pioneering film makers from the twentieth century, are examined from a semiotically informed perspective, to reevaluate some of the history of Visual Music alongside new ideas from the adjacent fields of science, psychology, and neuroscience. To this end a range of principles/parameters are outlined that arguably constitute the fundamentals of all creative approaches that translate between sound and vision going forward.
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Oladumiye, Bankole E. "Computer Graphics Reflection in African Digital Age Visual Designs." In Advances in Media, Entertainment, and the Arts, 291–302. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-8679-3.ch021.

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African concept of visual design was derived from the concept of creation which has been noted to be the exclusive preserved of the gods. Design and art as it were, are created with intrinsic value such as inventions, innovations technical prowess and deep imagination. To create design in Africa content is unique therefore; design forms which keep on occurring in African arts obviously have significance in the life of those who created them for the purpose of aesthetics and beauty in African digital designs This paper is not mere description or just an historical narration of African digital design and visuals but centers on the deviation of African people from their original system of design and imbibing computer graphic digital application as an alternative to pen and paint box creative designs The paper concluded that the conventional African visual designs should be guided against because African design is center on values and experience which is concern with the essence of African personality and existence of transmission of design legacy from parents to children which leads to physical or merit pattern, which later becomes the object of perception, admiration, and utilization. Computer graphics and visual design reflection in African design is therefore cognitive reaction scientifically which implies conceptualization and, inspiration in 21st century.
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McCarroll, Meredith. "Writer as Choreographer: Critical Response Process in the Writing Center." In Writing In and About the Performing and Visual Arts: Creating, Performing, and Teaching, 241–50. The WAC Clearinghouse; University Press of Colorado, 2019. http://dx.doi.org/10.37514/atd-b.2019.0292.2.16.

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"The Journey to the Center of the Earth." In Advances in Multimedia and Interactive Technologies, 122–34. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4627-8.ch006.

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The “Journey to the Center of the Earth” project is a mental investigation about the interior of the Earth intended to encourage the reader to conduct an experiment in thinking and communicating with the use of visual language. Inspiration for this project comes from the theme of the interior of the Earth and some literary connotations. The challenge is to go on an imaginary trip in a transparent, pressure, and temperature resistant elevator descending to the center of the Earth, visualize its core, and make visual and verbal notes from the trip. Pictorial and verbal presentations are integrated with the physical geology-related concepts, events, processes, language arts, and connotations pertaining to cellular biology. The project is also about our awareness of the dynamics, forcefulness, and fragility of the matter under the ground we are living on.
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Polisi, Joseph W. "It Was Not a Matter of Friendship but Principle." In Beacon to the World, 70–90. Yale University Press, 2022. http://dx.doi.org/10.12987/yale/9780300249965.003.0006.

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This chapter tackles further challenges during William Schuman's presidency as well as further additions to the Lincoln Center for the Performing Arts. The chapter begins with the opening of the new Metropolitan Opera House in 1966. Although it was already the fifth new venue to be opened since 1962, the Met was, by far, the most anticipated hall at the new arts center. In addition to the performing art of opera appearing onstage at the Met, the visual arts were also represented in the new building through the work of distinguished international artists. And as the construction of buildings moved toward completion, the idea of creating new constituents also surfaced, including the potential for film and even a mall. By the end of 1966, however, a serious rift had developed between William Schuman and John D. Rockefeller 3rd. The latter's sound business practices and the former's vision of those creating art at the highest level of excellence and integrity gradually came at odds with one another.
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Kendrick, Erin. "Being Alive. Being a Woman. Being Colored." In With Fists Raised, 277–98. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859777.003.0014.

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This chapter discusses the dilemma faced by black female visual and performance artists Faith Ringgold, Barbara Jones-Hogu, Dindga McCannon and Ntozake Shange – at the height of the Black Arts movement. It is questioned that if the goal of the Black Arts movement was to reclaim and redefine what it was to be black in America - was it propagated at the expense of black women's mental, physical, and emotional health? The chapter chronicles the efforts of each of these black women artists to use their works of art to center their authentic lived experiences collectively and individually as a vehicle for critical thought and critique, policy change, and inclusion. Lastly, writer Erin Kendrick, discusses how the contributions of these black women artists created an opportunity for both self-discovery and self-preservation in her own contemporary body of work.
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Meglin, Joellen A. "World Travelers." In Ruth Page, 29–58. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190205164.003.0002.

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The argument is made that, in 1924–1926, with the creation of the Chicago Allied Arts (CAA), Chicago became the center of ballet in America. Composer John Alden Carpenter served as the organization’s guiding spirit, Bolm as its artistic director and choreographer, and Nicolas Remisoff as its chief designer. As its name suggests, CAA’s mission was to promulgate new music in part by building ballets as total art works with internationalist choreography and cutting-edge design. CAA drew on Russian emigrant and American talent in equal measure, engaging guest artists the likes of Tamara Karsavina and Vera Mirova. Page’s apprenticeship took place in this milieu of the Russian ballet—based on the Diaghilev model—in the United States. Yet, under the aegis of CAA, she created her first piece of ballet Americana, The Flapper and the Quarterback (1926), drawing on the American vernacular. In this way, she appropriated African American jazz as her global calling card. By 1928, Page’s approach was perceived to represent the wave of the future, and she was chosen, instead of Bolm, to give concerts with a pickup company at the Imperial Theatre in Tokyo, in conjunction with the coronation ceremonies of Emperor Hirohito. She spent the next six months touring Asia and Europe. An invitation to perform in Moscow offered another occasion to tour Europe and absorb international zeitgeists. At home, as the newly appointed ballet director and première danseuse of the Ravinia Opera, she would put her observation of world dance to good use.
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Conference papers on the topic "Carpenter Center for the Visual Arts"

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Saldarriaga, Juan Alejandro. "Diagrama y Arquitectura. La Sintaxis Espacial en el Carpenter Center for the Visual Arts." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.888.

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Resumen: El proceso de diseño para el CCVA comienza con dos frases que escribe Le Corbusier durante su primera visita al sitio en 1959. Sólo cinco meses después hace los primeros dibujos. De ahí la relación de este edificio con la sintaxis, si ésta se entiende como la búsqueda del orden y de la relación de los espacios. La sintaxis se observa aquí desde las primeras imágenes literarias hasta el nivel de definición de la forma, en el que se usan maquetas esquemáticas y desarmables, así como recortes de las áreas requeridas por el programa, con los que se experimenta de diversas maneras en un plano del sitio. Además de su interés persistente por diversos tipos de circulación, esta metodología emparenta al edificio con algunos proyectos de Le Corbusier donde también hace uso de los diagramas funcionales, o "diagrammes à bulles", como él los llama. El mismo tipo de diagrama fue usado más tarde por Bill Hillier en un método para analizar la arquitectura que llamó la "sintaxis espacial". Este método, además de analizar el orden y la relación de los espacios, permite entender su permeabilidad con el espacio público. Al ser un edificio atravesado por una ruta pública, y al iniciarse con imágenes literarias, se hace pertinente verlo a través de su sintaxis espacial. Abstract: The design process for the CCVA begins with two phrases that Le Corbusier writes during his first visit to the site in 1959. Only five months later the first drawings appear. Hence the relationship of the building with the syntax, if this is understood as the search for the order and the relationships in space. The syntax is observed here from the first literary images up to the definition of the form, in which schematic architectural models are used, but also cut-out areas required by the program, which are disposed in different ways on a site plan. In addition to his persistent interest in various types of movement, this methodology can also be seen in other projects where Le Corbusier also makes use of functional diagrams, or as he calls them: "diagrammes à bulles ". The same kind of diagram was used later by Bill Hillier in a method for analyzing architecture that he called the "space syntax". This method, in addition to analyzing the order and the relationship of spaces, can help to understand their permeability with respect to public space. As a building crossed by a public path, and as design process that starts with literary images, it becomes relevant to see it through its spatial syntax. Palabras clave: Le Corbusier; diagrama, sintaxis espacial; espacio público; métodos de creación. Keywords: Le Corbusier; diagram, space syntax; public space; creation methods. DOI: http://dx.doi.org/10.4995/LC2015.2015.888
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Fontana, Maria Pia, and Miguel Mayorga. "Le Corbusier. Arquitectura urbana: Millowners Association Building y Carpenter Center." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.972.

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Resumen: La obra de Le Corbusier es una amplia exploración de soluciones urbanas y arquitectónicas que plantean relaciones de continuidad entre edificio y ciudad, arquitectura y entorno, espacio interior y espacio exterior: rampas, cuerpos bajos, entrantes y salientes, plantas libres y fachadas con espesor, son algunos de los elementos de integración y/o de mediación utilizados por el maestro suizo. El Millowners Association Building de 1954 ubicado en la ciudad de Almedabad en la India, y el Carpenter Center for Visual Arts de la Graduate School of Design of Harvard de 1961-1964 en la ciudad de Cambridge, en Estados Unidos, son dos edificios que presentan rasgos característicos en común: una volumetría básica, uso del hormigón armado visto, uso de similares elementos de fachada y una rampa que sobresale del edificio y que confiere a ambos un carácter reconocible y peculiar. Los dos edificios ya han sido puestos en relación por diferentes críticos como Giedion 1967, o Frampton 1975, e incluso se ha considerado uno como antecedente del otro. Sin embargo, un análisis comparativo permite verificar que aunque la rampa es el elemento común más evidente, éste juega un papel muy diferente en la definición de las relaciones urbanas de cada uno de los edificios con su entorno inmediato y con la ciudad. Y además que también, en la relación del edificio con la ciudad entran en juego otros elementos y soluciones arquitectónicas, que de manera solidaria, son determinantes definidores de su relación con el entorno y su carácter urbano. Abstract: The work of Le Corbusier is a comprehensive exploration of urban and architectural solutions which show continuity relationships between city and building, architecture and environment, interior and exterior space throughout elements of integration and / or mediation used by the Swiss master like ramps, lower volumes, incoming and outgoing, open floor plans and thick facades. The Association Millowners Building (1954) located in the city of Almedabad in India, and the Carpenter Center for Visual Arts at the Graduate School of Design of Harvard (1961 to 1964) located in the city of Cambridge, in the United States, are two buildings that have some characteristics in common, like a basic volume, use of reinforced concrete, using similar facade elements and a projected ramp gives a recognizable and distinctive character of both buildings. Different authors compared the two buildings as Giedion 1967 or 1975 Frampton, and have stated that one has been based on the other. However, a comparative analysis verifies that although the ramp is the most obvious common element, it plays a very different role in the definition of urban relationships of each of the buildings with their immediate environment and the city. Moreover other elements configure crucial aspects in the relationship between the buildings and the urban space creating architectural solutions and interesting relations that are crucial for the definition of the relationship with the environment and the urban character of every building. Palabras clave: Le Corbusier, Millowners Association Building, Carpenter Center for Visual Arts, Urban Architecture. Keywords: Le Corbusier, Millowners Association Building, Carpenter Center for Visual Arts, Arquitectura Urbana. DOI: http://dx.doi.org/10.4995/LC2015.2015.972
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Alonso García, Eusebio. "El espacio público en Le Corbusier. Evolución de su pensamiento y de sus estrategias formales." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1012.

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Resumen: Se analiza el papel del espacio público en diferentes obras de Le Corbusier, en sus diferentes categorías –paisaje, espacio urbano, colectivo, comunitario, de encuentro y relación, social, circulatorio, etc. – y en su implicación en las estrategias formales y espaciales. Articularemos estas reflexiones en tres apartados. El primero incidirá en la relación o identificación que se produce entre paisaje y espacio público en sus propuestas urbanísticas en las décadas de los años veinte y treinta. En el segundo apartado contrastaremos las diferencias y similitudes entre dos proyectos, UHM y Ronchamp, entendidos a veces como contradictorios pero en cuya solución proyectual resulta determinante el diseño y ubicación de los espacios colectivos de encuentro y relación de la comunidad; y ello a pesar de sus diferencias programáticas. En el tercer apartado veremos la interacción con el paisaje urbano que establece la dialéctica entre arquitectura y ciudad en dos proyectos de los últimos años, Centro de Artes Visuales Carpenter y Hospital de Venecia. Esta breve selección de edificios y proyectos, dentro de la dilatada producción de Le Corbusier, permitirá, por su adscripción temática y cronológica, establecer una adecuada perspectiva temporal en la compresión del tema y su evolución. Abstract: It is analysed the role of the public space in different works of Le Corbusier, in their different categories - landscape, urban space, collective, community, meeting and relationship, social, circulatory, etc. - and their involvement in formal and spatial strategies. We are going to distribute these reflections into three sections. The first will affect the relationship or identification that occurs between landscape and public space in its urban planning proposals in the decades of the 1920s and 1930s. In the second section, we will contrast the differences and similarities between two projects, UHM y Ronchamp, sometimes understood like contradictory but in whose design solution is determining the design and location of collective spaces of encounter and relationship of the community; and it occurs despite their functional differences. In the third section we will see the interaction with the urban landscape that the dialectic between architecture and town sets in two projects of last years, Carpenter Visuals Arts Center and Venice Hospital. This brief selection of buildings and projects, within the extensive production of Le Corbusier, will allow, by its thematic and chronological affiliation, to establish a suitable temporal perspective in the understanding of the subject and its evolution. Palabras clave: espacio público; interrelación; paisaje; infraestructura; contexto; ciudad. Keywords: public space; interface; landscape; infrastructure; context; town. DOI: http://dx.doi.org/10.4995/LC2015.2015.1012
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Jasper, Michael. "On Diagonal Time in Le Corbusier’s Visual Arts Center." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.647.

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Abstract: This paper introduces the concept of diagonal time as an interpretive category for understanding composition strategies and spatial effects in certain projects of Le Corbusier. It is organized around two propositions: first, there is a largely untheorised temporality created in certain works of modernist architecture and those of Le Corbusier in particular; second, this temporality can be characterized as one not bound to a vision in motion nor does it require a body’s movement to gain presence. In order to test these propositions the paper undertakes a formal analysis of Le Corbusier’s Visual Arts Center, Cambridge, Massachusetts (1960-1964). The Visual Arts Center’s apparent reliance on movement for its coming into being is interrogated by focusing on other devices and strategies. Four such strategies are explored: oblique and transverse form relationships, expressive volumes, figure/ground ambiguities, and voided centres. Building on the archival and critical-historical work of Curtis and Sekler, the paper advances a line of inquiry into modernist architecture’s trajectory only alluded to in secondary scholarship, contributes to understanding key formal elements in an important building from Le Corbusier’s late period, and addresses a major conference theme, that of the transversal. Keywords: architecture; composition; Le Corbusier; space; temporality; Visual Arts Center. DOI: http://dx.doi.org/10.4995/LC2015.2015.647
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Clara Roberti, Ana, Helena Santos, and Daniel Brandão. "Sobreiro: participation and intervention of local communities in the historical and artistic construction of a stigmatized neighborhood." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001879.

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This paper intends to discuss a collaborative initiative, carried out within the scope of a doctoral scientific research in the field of Arts and Design and an institution that supports socio-economically vulnerable communities. The work took place in the Sobreiro Social Housing, located in the city of Maia, in Portugal, home to more than 600 families. By using methodologies specific to arts and cultural studies, three main outputs were created: a documentary film, a photo exhibition, and a series of community forums that happen throughout 2018. The purpose of this participatory study was to tell the story of the neighborhood with the help of its first residents and to stimulate the young residents (between 13 and 16 years old) reflection on the present and the future of the community. The whole process was conducted through proximity to the local population and the neighborhood Community Center. This article presents and discusses the ethnographic repertoire gathered within this research, which includes oral and visual memory thanks to the direct participation of the residents in the research process, which valued their own perspective, creativity and points of view.
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Reports on the topic "Carpenter Center for the Visual Arts"

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Our Voices, Our Images: A Celebration of Hispanic Heritage Month. Inter-American Development Bank, August 2003. http://dx.doi.org/10.18235/0006425.

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This event brought together winners of an art and literature competition for Washington DC artists who explored issues and events relevant to Hispanic Americans and the Hispanic experience in the United States. The exhibition was a joint initiative of the IDB Cultural Center and the D.C. Commission on the Arts and Humanities. The Awards Ceremony took place in September 2003 at the IDB Cultural Center Art Gallery with the participation the Honorable Anthony Williams, Mayor of the District of Columbia. The selected visual artists and poets received IDB Cultural Center grants.
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Faces of Northeastern Brazil: Popular and Folk Art. Inter-American Development Bank, February 2002. http://dx.doi.org/10.18235/0005912.

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On occasion of the IDB¿s 43rd Annual Meeting of Governors this exhibition honors the City of Fortaleza, capital of the State of Ceará in Brazil. Around eighty wooden sculptures depicting animals, fantastic imagery and religious figures, toys, ceramic plaques, masks, were displayed along with an assortment of objects associated with popular traditions and imagination in Brazil. Outstanding among the pieces is a real Jangada, the boat developed and used by the local fisherman which has become the symbol of the State of Ceará. The Center worked in collaboration with Mrs. Dodora Guimaraes, Chief of the Raimundo Cela Visual Arts Center in Fortaleza, part of the Secretariat and Culture.
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