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1

Suboticki, Ivana. "About the Cover Artist." Nordic Journal of Science and Technology Studies 4, no. 2 (2016): 56. http://dx.doi.org/10.5324/njsts.v4i2.2186.

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Suboticki, Ivana. "About the cover artist." Nordic Journal of Science and Technology Studies 5, no. 1 (2017): 40. http://dx.doi.org/10.5324/njsts.v5i1.2317.

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<em><strong>Michael Pinsky</strong> </em>is a British artist who is working on numerous international<br />projects by using innovative methods to tackle some of<br />the most challenging subjects that shape and influence the public<br />realm
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Suboticki, Ivana. "About the Cover Artist." Nordic Journal of Science and Technology Studies 5, no. 2 (2017): 85. http://dx.doi.org/10.5324/njsts.v5i2.2432.

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4

Sørensen, Elin Tanding. "About the cover artist." Nordic Journal of Science and Technology Studies 6, no. 1 (2018): 60. http://dx.doi.org/10.5324/njsts.v6i1.2733.

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 Elin Tanding Sørensen is a landscape architect and visual artist. She is currently a PhD-fellow at the Faculty of Landscape and Society, Norwegian University of Life Sciences, and works as a freelancer with the enterprise Urban Living Laboratory.
 
 
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Anfinsen, Martin. "About the cover artist." Nordic Journal of Science and Technology Studies 8, no. 1 (2020): 34. http://dx.doi.org/10.5324/njsts.v8i1.3587.

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Setsuko Kurioka studied at the Trondheim Academy of Fine Art and later worked from Lademoen Kunstnerverksted. The artist is now based in Asker, near Oslo, where she has her studio. Currently, Kurioka works on a grant from Arts Council Norway, and her pieces has been featured multiple times in the annual Autumn Exhibit. Her work has also recently been acquired by the National Museum of Decorative Arts.
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Ingeborgrud, Lina, and Martin Anfinsen. "About the cover artist." Nordic Journal of Science and Technology Studies 8, no. 2 (2020): 49. http://dx.doi.org/10.5324/njsts.v8i2.3836.

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7

De Ambrogi, Marco. "Cover artist for 2019." Lancet Infectious Diseases 19, no. 1 (2019): 2. http://dx.doi.org/10.1016/s1473-3099(18)30754-0.

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De Ambrogi, Marco. "Cover artist for 2020." Lancet Infectious Diseases 20, no. 1 (2020): 2. http://dx.doi.org/10.1016/s1473-3099(19)30719-4.

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9

Twitchell, Lane. "ABOUT THE COVER ARTIST." Dialogue: A Journal of Mormon Thought 39, no. 3 (2006): 177–78. http://dx.doi.org/10.2307/45227301.

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10

Gutsarieva, Tala, and Evgeniya Evpak. "High-Profile Strategies for Popularity of Cover Singers: The Phenomenon of Lucia Chebotina." Communications. Media. Design 9, no. 4 (2024): 134–51. https://doi.org/10.17323/cmd.2024.24399.

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The article elicits whether the media content with cover-versions of popular songs, published by an artist in social media and new media, might have a positive effect on perception of the media-image of the artist among the artist’s target audience and supports the high-profile of the artist. A case-study of music legacy of the Russian popular singer and famous cover artist Lucia Chebotina is provided. The study concludes that the practice of releasing the cover versions of popular songs has a potential to increase the high-profile of the artist and help the artist to attract the new followers
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11

Singh, Gary. "Resident artist [About the Cover]." IEEE Computer Graphics and Applications 39, no. 3 (2019): 5–7. http://dx.doi.org/10.1109/mcg.2019.2908271.

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12

Ware, R. "Note On The Cover Artist." British Journal of Aesthetics 50, no. 3 (2010): 331. http://dx.doi.org/10.1093/aesthj/ayq023.

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13

Martin, E. "Note on the Cover Artist." British Journal of Aesthetics 51, no. 4 (2011): 459. http://dx.doi.org/10.1093/aesthj/ayr035.

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14

Bortsova, K. "Note on the Cover Artist." British Journal of Aesthetics 52, no. 4 (2012): 441. http://dx.doi.org/10.1093/aesthj/ays049.

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15

Wright, L. "Notes on the Cover Artist." British Journal of Aesthetics 54, no. 4 (2014): 515. http://dx.doi.org/10.1093/aesthj/ayu065.

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16

Kusturica, Taida. "Note on the Cover Artist." British Journal of Aesthetics 56, no. 4 (2016): 434. http://dx.doi.org/10.1093/aesthj/ayw083.

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17

De Ambrogi, Marco. "Our cover artist for 2021." Lancet Infectious Diseases 21, no. 1 (2021): 21. http://dx.doi.org/10.1016/s1473-3099(20)30947-6.

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18

Morgan, Jules. "Sarah Carpenter: cover artist and cover star, 2018." Lancet Psychiatry 5, no. 1 (2018): 24. http://dx.doi.org/10.1016/s2215-0366(17)30492-3.

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19

Yingshi, Taylor. "Cover Art." Columbia Journal of Asia 1, no. 1 (2022): i. http://dx.doi.org/10.52214/cja.v1i1.9507.

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Artist Statement: This cover is meant to reflect Asia's chaos, warmth, and ebullience. The streets packed with cars, the confluence of traditional and modern architecture — for me, these are defining characteristics of this expansive and nebulous continent. As for the butterflies, they symbolize new beginnings and migration, a metaphor for both the widespread Asian diaspora and the birth of the CJA itself. Taylor Yingshi, the artist, can be found on Instagram @yingshiart or at tayloryingshi.com.
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20

Board, Editorial. "Cover Art." Public Voices 1, no. 3 (2017): 6. http://dx.doi.org/10.22140/pv.462.

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21

Ortega, José Luis. "Cover versions as an impact indicator in popular music: A quantitative network analysis." PLOS ONE 16, no. 4 (2021): e0250212. http://dx.doi.org/10.1371/journal.pone.0250212.

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In contemporary popular music, covering or adapting previous songs signals a tribute or reworking of popular hits, which implies acknowledgement of the original musicians. This connection can be interpreted as a form of musical impact among artists. A network graph with more than 106k artists and 855k cover versions extracted from the web site SecondHandSongs was created. The objective is to explore the shape of this network, identify the most relevant artists according to different impact measurements and to visualize connections between music genres. This analysis is done from a longitudinal
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22

De Ambrogi, Marco. "Our new cover artist for 2022." Lancet Infectious Diseases 22, no. 1 (2022): 2. http://dx.doi.org/10.1016/s1473-3099(21)00578-8.

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23

Du Pasquier Grall, Aude. "Cover Artist Statement: The Male Cycles." Women's Studies 42, no. 5 (2013): 599–602. http://dx.doi.org/10.1080/00497878.2013.794067.

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24

De Ambrogi, Marco. "The cover artist for this year." Lancet Infectious Diseases 18, no. 1 (2018): 20. http://dx.doi.org/10.1016/s1473-3099(17)30712-0.

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De Ambrogi, Marco. "Our new cover artist for 2023." Lancet Infectious Diseases 23, no. 1 (2023): 21. http://dx.doi.org/10.1016/s1473-3099(22)00825-8.

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26

Wong, Forest. "Cover Art." Columbia Journal of Asia 1, no. 2 (2022): i. http://dx.doi.org/10.52214/cja.v1i2.10312.

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 Artist Statement: I read through the abstracts and the creative pieces and what stood out to me were ideas of revolution, identity, progress, and change. I came up with the design by drawing purely from the aesthetic aspects of different theater traditions in Asia. For example, I looked at makeup styles from Kathakali and Kabuki, pattern designs from Wayang Kulit, and costuming from JingJu. This decision was made as a way to create something that people could identify as having Asian elements but not specific to any one country. The decision to include the fire is to communicate this id
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27

Shuster, Steven. "Story Preaching: The Literary Artist's Gift to Preachers." Journal of Communication and Religion 12, no. 1 (1989): 22–27. http://dx.doi.org/10.5840/jcr19891214.

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This article offers an argument for preaching as storytelling. Literary artists communicate truth by lifting the veils that cover life's mysteries. Preachers, on the other hand, tend to descrjbe the mysteries with which they wrestle. Their expression comes via explanation. Studying the work of the literary artist can increase appreciation for the invitations to the imagination, which can complement other preaching styles.
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28

Ustinov, A. B., and I. E. Loshchilov. "Nikolai Zabolotsky and His Artists." Studies in Theory of Literary Plot and Narratology 15, no. 1 (2020): 260–90. http://dx.doi.org/10.25205/2410-7883-2020-1-260-290.

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The essay reconstructs the history of Nikolai Zabolotsky’s relations with artists, starting with his debut book of poems “The Pillars,” published in February 1929 and throughout the 1930s. Zabolotsky can be considered an artist both in a broad (an artist as a creator) and in a professional sense: before “The Pillars,” he attended Pavel Filonov’s workshop, created some drawings, and designed his handwritten books using the technique of Filonov’s “analytical art.” He included some of these calligraphic manuscripts in his collection “Ararat” (1928). He also painted the cover putting in the center
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29

Amador, Ezequiel. "Ad Feminam: Martine Gutierrez and the Language of Advertising." Camino Real. Estudios de las Hispanidades Norteamericanas 15, no. 18 (2023): 187–211. https://doi.org/10.37536/cr.2023.18.2873.

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Martine Gutierrez (b. Apr. 16, 1989, Berkeley, CA) is a Guatemalan American artist, a trans woman of Indigenous Maya descent, and the cover girl of artworks that pass as advertisements. At the age of thirty- four, her billboards, bus shelter ads, and fashion magazine spreads have caught the attention of major media outlets. Often branded as a “Latinx artist,” it is striking that the media never discusses Gutierrez in relation to other Latina/x artists. In this paper, I situate Gutierrez within a lineage of Latina/x and Chicana/x artist-activists, such as Ester Hernández (b. 1944, Dinuba, CA) a
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30

Ball, Andrew J., and Aleksandr Rybin. "About the Cover." Screen Bodies 6, no. 1 (2021): vii—x. http://dx.doi.org/10.3167/screen.2021.060102.

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The cover of this issue of Screen Bodies features the digital work “Crypto Queen” by restlessperson (Aleksandr Rybin), which the artist has minted as an NFT. We spoke with Rybin about the subject matter of his work, connections between digital and analog art, and the future of NFTs. His work is available on KnownOrigin.
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31

Chude-Sokei, Louis. "A Conversation with Cover Artist Abu Qadim Haqq." Black Scholar 51, no. 3 (2021): 72–73. http://dx.doi.org/10.1080/00064246.2021.1932372.

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32

Sokolove, Deborah. "Reflections by the Cover Artist: Remembering the Incarnation." Liturgy 14, no. 3 (1998): 41–44. http://dx.doi.org/10.1080/0458063x.1998.10392411.

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33

De Ambrogi, Marco. "Introducing our cover artist for 2025: Lillian Li." Lancet Infectious Diseases 25, no. 1 (2025): 18. https://doi.org/10.1016/s1473-3099(24)00818-1.

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34

De Ambrogi, Marco. "Introducing our cover artist for 2024: Miriam Martincic." Lancet Infectious Diseases 24, no. 1 (2024): 18–19. http://dx.doi.org/10.1016/s1473-3099(23)00763-6.

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35

Black, Charlene Villaseñor. "Judithe Hernández, Aztlán’s First Cover Artist." Aztlán: A Journal of Chicano Studies 45, no. 1 (2020): 1–19. http://dx.doi.org/10.1525/azt.2020.45.1.1.

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36

Fish, Durland. "Charley Harper, Renowned Wildlife Artist and Journal Cover Artist for Vector-Borne and Zoonotic Diseases." Vector-Borne and Zoonotic Diseases 8, no. 2 (2008): 301–2. http://dx.doi.org/10.1089/vbz.2008.3663.obit.

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37

Churchill, Suzanne W. "“The Whole Ensemble”: Gwendolyn Bennett, Josephine Baker, and Interartistic Exchange in Black American Modernism." Humanities 11, no. 4 (2022): 74. http://dx.doi.org/10.3390/h11040074.

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Since her debut in Paris in 1925 and meteoric rise to stardom, views of Josephine Baker have been dominated by the white artists and audiences who constructed her as an exotic “Other”. This article revisits the phenomenon of “La Bakaire” from the perspective of a Black female artist who witnessed her performance first-hand and participated in the same Jazz Age projects of fashioning New Negro womanhood and formulating Black Deco aesthetics. When Gwendolyn Bennett saw Baker perform, she recognized her as a familiar model of selfhood, fellow artist, and member of a diasporic Black cultural commu
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38

Bauer, Sara. "Artist's Statement: Grief." Interdisciplinary Journal of Partnership Studies 10, no. 2 (2023): 8. http://dx.doi.org/10.24926/ijps.v10i2.5581.

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39

Williams, Justin A. "Interview with Amelia Thomas (Unity), cover artist of this issue." Global Hip Hop Studies 5, no. 1 (2024): 13–21. http://dx.doi.org/10.1386/ghhs_00080_7.

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Justin Williams interviews street artist Unity (Amelia Thomas) who did the graffiti art for the cover of this Special Issue. The article discusses Unity’s background as breaker and ideas around education and knowledge within hip hop culture.
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40

Alexandrova, Elmira K. "“Thinking About You, About Our Accidental ʽWritten Meeting’...”: Letters from P.A. Radimov to A.A. Izmailov (1915–1917)". Literary Fact 2, № 36 (2025): 92–109. https://doi.org/10.22455/2541-8297-2025-36-92-109.

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The present study is devoted to the publication of letters from P.A. Radimov (1887−1967), a peasant poet, a famous realist artist, one of the last Wanderers (Peredvizhnik), and the first chairman of the Association of Artists of Revolutionary Russia, to the A.A. Izmailov (1873–1921), famous journalist and literary critic. At the time of the writers’ epistolary acquaintance, Izmailov was an accomplished journalist, a popular parodist, and head of the literary-critical department of Birzhevye Vedomosti. Radimov was a successful young artist, performing with the Wanderers (Peredvizhnik), and an a
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41

Maršík, Ladislav, Petr Martišek, Jaroslav Pokorný, et al. "KaraMIR: A Project for Cover Song Identification and Singing Voice Analysis Using a Karaoke Songs Dataset." International Journal of Semantic Computing 12, no. 04 (2018): 501–22. http://dx.doi.org/10.1142/s1793351x18400202.

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We introduce KaraMIR, a musical project dedicated to karaoke song analysis. Within KaraMIR, we define Kara1k, a dataset composed of 1000 cover songs provided by Recisio Karafun application, and the corresponding 1000 songs by the original artists. Kara1k is mainly dedicated toward cover song identification and singing voice analysis. For both tasks, Kara1k offers novel approaches, as each cover song is a studio-recorded song with the same arrangement as the original recording, but with different singers and musicians. Essentia, harmony-analyser, Marsyas, Vamp plugins and YAAFE have been used t
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42

Schaeffer, Jeff. "Q&A with Bruce Koike, This Month's Cover Artist." Fisheries 41, no. 5 (2016): 228–29. http://dx.doi.org/10.1080/03632415.2016.1172889.

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43

Prudon, Theodore. "Art, Architecture and Public Space in New York, 1950–1970." Art and Architecture, no. 42 (2010): 78–89. http://dx.doi.org/10.52200/42.a.6isnhkdw.

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In the decades after World War II there was much discussion about the need for collaboration between the architect and artist either as embodied in one or as distinctly different creative talents working closely but creatively independently together. Many saw little actual collaboration and questioned the relationship artistically or saw art as a cover for otherwise bland architecture. However, architects like Wallace K. Harrison, Gordon Bunshaft, and others worked regularly with artists like Josef Albers, Isamu Noguchi, Gyorgy Kepes or Richard Lippold. While many of those art installations re
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44

Saidova, Anzhela Saidovna. "DECORATIVE AND STYLISTIC ORIGINALITY OF UNTSUKUL ORNAMENTAL COMPOSITIONS NOTCHES OF G. GAZIMAGOMEDOV." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 22 (June 15, 2020): 97–104. http://dx.doi.org/10.31029/vestiyali22/14.

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This article discusses the famous works of the national artist of the Russian Federation G. G. Gazimagomedov, characterizing his ornamental art in a new perspective, through complex formations taken from the traditional material culture of the Avars. The author made an attempt to cover present an artistic of the works of the applied artist, to identify the artistic style and direction in the modern ornamental Untsukul art of notching and inlay. Systematization and analysis of the ornamental notch of G. Gazimagomedov allowed us to get acquainted with the variety of different compositions. The a
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45

De León, Christina L. "On Cover Artist Antonio Manuel: The Cock and the Golden Egg." Review: Literature and Arts of the Americas 44, no. 2 (2011): 187–89. http://dx.doi.org/10.1080/08905762.2011.614450.

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46

Whaley, Anthony. "Cover Letter: Considering Curveballs: An Interview with Voices from the Middle Cover Artist Miguel Díaz Rivas." Voices from the Middle 32, no. 1 (2024): 10–12. https://doi.org/10.58680/vm202432110.

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47

TURCHYNYAK, Yaryna. "CONCEPTUAL ISSUED AND SEMANTICS ELEMENTS, AIMS OF ARTS BY THE MYRON LEVYTSKY." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 212–22. http://dx.doi.org/10.30970/vas.20.2019.10626.

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The main objective of the research conceptual issued relate to the definition and semantics of the book-covers by Myron Levytsky features are explore. The book-cover is supremely multifunctional process and depends to a large extent issues. The design and layout of a book includes many different elements. Methodology. The research is based on an abstract to the integrity specific approach that allows us to consider the comparative analysis. Relevance of the study. The research includes specific issues of modern art that are integrity in the layout of a book-cover. The graphic art by the Myron
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48

Rusinko, Elaine. "Rear Cover: “We Are All Warhol’s Children”: Andy and the Rusyns." Carl Beck Papers in Russian and East European Studies, no. 2204 (November 5, 2012): A. http://dx.doi.org/10.5195/cbp.2012.190.

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Andy Warhol is the world’s most famous American of Carpatho-Rusyn ancestry, and the icons of the Ruthenian Byzantine Catholic Church were his first exposure to art. His unexpected death in 1987 was followed by the fall of communism in Eastern Europe and the rise of the Rusyn movement for identity, which embraced the flamboyant pop artist, filmmaker, and jet setter as their iconic figurehead. From their own idiosyncratic perspective, the traditional, religious, provincial Rusyns have reconstructed the image of Andy Warhol, pointing up aspects of the artist that have gone largely unnoticed. In a
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49

Khrapachov, O. "Role of Creative Symposia in forming the Artist." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 235–43. http://dx.doi.org/10.33838/naoma.27.2018.235-243.

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The cooperative creative work in the art has always facilitated the creation of artistic works of high quality and required this process to be organized in a certain way, from both material and ideological perspective. There are plenty of creative symposia and plein-airs in Ukraine. Therefore, in our opinion, it is important to generally characterize this process and to reveal trends and prospects for creative projects in the modern artistic world. The plein-air is instructive from both theoretical and practical perspective. Exactly on the plein-airs an artist experiences a first shock from wh
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50

Hooper, Deborah. "Christine and the Queens and the art of the cover version: interpretations, audience, place." Contemporary French Civilization 48, no. 4 (2023): 353–71. http://dx.doi.org/10.3828/cfc.2023.21.

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More than many pop artists, Christine and the Queens performs cover versions of familiar songs, often on live TV or radio shows. His selections frequently are interpretations of hits from the 1980s and 1990s. However they are more than the chance to share a nostalgic trip with the audience. In France, he often chooses familiar songs by much-loved singers from the French tradition, thus reassuring them of his Frenchness, despite his growing position on the world stage. On platforms overseas, he often selects huge hits by global anglophone stars, so claiming his place amongst the most successful
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