Relevant bibliographies by topics / Garbe Collection

Contents

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

Academic literature on the topic 'Garbe Collection'

Author: Grafiati
Published: 11 December 2022
Last updated: 31 July 2025

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Journal articles on the topic "Garbe Collection"

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Tsantsanoglou, Maria. "George Costakis and the Confines of His Collection." Experiment 30, no. 1 (2024): 36–47. http://dx.doi.org/10.30965/2211730x-12340061.

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Abstract As George Costakis pointed out: “One of the most important precepts for the collector is that he must precisely, even ruthlessly, define the limits of his collection, and he must resolutely remind himself that – on this particular matter – his reach should never exceed his grasp.” Known as the most famous collector of Russian avant-garde, Costakis, never lost his parallel interest in collecting lubki, religious icons, Russian folk toys and also in the art of the so-called “Non-conformists or the alternative art of the 1960s. He had a twin goal: on the one hand, to expand the confines
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Yudenkova, Tatyana Vitalievna. "MIKHAIL AND IVAN MOROZOV AS СOLLECTORS OF RUSSIAN ART". LOMONOSOV HISTORY JOURNAL 64, № 2023, №6 (2024): 171–90. http://dx.doi.org/10.55959/msu0130-0083-8-2023-64-6-171-190.

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In the art history literature dealing with collectors Mikhail (1870– 1903) and Ivan (1871–1921) Morozov, researchers are primarily interested in the artistic stratum connected with European, mainly French, art. The issues of collecting Russian painting, the choice of certain Russian artists, refl ecting the tastes of collectors, the change of artistic preferences in the late 19th and early 20th centuries, almost never attracted the attention of scholars. This article attempts at determining the approach developed by brothers M.A. and I.A. Morozov in collecting Russian art. In this context, it
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Katchen, Michael. "ARCHIVING THE AVANT-GARDE." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 1, no. 1 (2000): 38–41. http://dx.doi.org/10.5860/rbm.1.1.175.

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Every special collection has a distinct personality that is a combination of its contents and the people who work with it. Such is the case with the Franklin Furnace Archive. Everything in Franklin Furnace is a special collection. The institution is governed by a type of reverse Darwinism best described as “survival of everything.” Right now the archive is storing all the virtual material that it produces and presents on the Internet. Not long ago, any physical material that walked through the door was given an accession number and stuffed into a Hollinger record storage box. Eventually, all t
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Петрова, Д. А. "The Graphic Heritage of the Russian Avant-Garde as an Object of Acquisition in the Tretyakov Gallery in the 1920s–1930s." Nasledie Vekov, no. 3(27) (September 30, 2021): 43–53. http://dx.doi.org/10.36343/sb.2021.27.3.003.

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Статья посвящена выявлению особенностей комплектования фондов Третьяковской галереи произведениями графики русского авангарда в 20–30-е гг. ХХ в. в контексте изменения тенденций государственной культурной политики того времени. Исследование выполнено на основе данных Книг поступлений Третьяковской галереи и документов, хранящихся в Отделе рукописей музея. Проанализирована политика приобретения художественных произведений в музейные коллекции, изучена деятельность Музея живописной культуры, произведен анализ поступлений в Третьяковскую галерею. Прослежено изменение вектора культурной политики в
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Portela, Patrícia. "The private collection of Acácio Nobre. Homo universalis of the Portugese Avant-Garde." Forum+ 25, no. 3 (2018): 29–43. http://dx.doi.org/10.5117/forum2018.3.port.

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In 1999 ontdekte Patrícia Portela in de kelder van haar grootouders een doos vol teksten en ontwerpen van Acácio Nobre (1869-1968), een homo universalis van de Portugese avant-garde uit het begin van de twintigste eeuw. De man lijkt echter samen met zijn briljante ideeën weggegomd te zijn uit de geschiedenisboeken. Door de archiefstukken van Acácio Nobre samen te stellen, brengt Portela het collectieve geheugen van een natie weer tot leven.In 1999 Patrícia Portela was rummaging in her grandparents' cellar when she discovered a chest with texts and designs belonging to Acácio Nobre (1869-1968),
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Yanoshevsky, Galia. "Sérialité vs singularité dans les monographies illustrées « Qui êtes-vous? » et « Les Contemporains »." Nottingham French Studies 58, no. 3 (2019): 299–314. http://dx.doi.org/10.3366/nfs.2019.0259.

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Through the notion of seriality, this article aims to study the inherent tension that exists between the principle of serialization and the peculiarity of avant-garde writers who, on the contrary, do not obey a group spirit. From the modest sample studied here (‘Qui êtes-vous?’ and ‘Les Contemporains’), I show that the question was not so much in the differentiation of the series but in the tension between the singularity of the studied writer and the role he or she plays in the ‘series’. Thus, the question of stylistic and poetic choice plays a considerable role in the two series studied and
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Gendreau, Andrée. "Regards croisés : la collection du Musée de la civilisation." Ethnologies 24, no. 2 (2003): 107–24. http://dx.doi.org/10.7202/006641ar.

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Résumé Le visage de la collection du Musée de la civilisation a été dessiné par les collectionneurs, les gestionnaires et les conservateurs. Il nous fait part de regards croisés sur notre société. De regards qui varient selon les collectionneurs, le lieu d’où ils observent, comprennent et analysent la société québécoise. La collection garde les traces des époques, de l’état d’avancement des connaissances, des objectifs poursuivis, et des moyens consentis pour la constituer. Elle est vivante, elle croît et se modifie avec l’histoire du Québec ; ce bref exposé racontera une partie de cet histoir
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Izotov, Andrey Ivanovich. "Literary Manifestos in the Cultural Space of Slavic Modernism and Avant-Garde / ed. by Yu. A. Sozina. Moscow: Institute of Slavic Studies of the Russian Academy of Sciences, 2024. 128 p.: Book review." Philology. Theory & Practice 18, no. 3 (2025): 1136–38. https://doi.org/10.30853/phil20250163.

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The articles in this collection are based on reports presented at the international conference “Literary Manifestos in the Cultural Space of Slavic Modernism and Avant-Garde”, held at the Institute of Slavic Studies of the Russian Academy of Sciences on December 5, 2023. The articles highlight the peculiarities of the development of modernism (avant-garde, surrealism, futurism) in the history of Czech, Polish, Slovak, Croatian, Russian, Ukrainian, and Belarusian literatures. The collection is intended for philologists, historians, and cultural scientists.
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Yudenkova, Tatiana V. "I.A. Morozov’s art collection: the Russian context and the ways of Russian art." LOMONOSOV HISTORY JOURNAL 65, no. 4, 2024 (2025): 177–206. https://doi.org/10.55959/msu0130-0083-8-2024-65-4-177-206.

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In the context of Russian art culture, Ivan Morozov occupies a position of distinction as a prominent collector of contemporary French and Russian art. The influence of his collection on the subsequent development of Russian art, most notably on the generation of young avant-garde artists, is indisputable in the present day. However, it was not until relatively recently that the full significance of the collection and the role of I.A. Morozov in the history of Russian culture was fully recognized. The period of Morozov’s immersion in the European art market, spanning approximately ten years fr
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Nowicka, Daria. "Awangarda panoramicznie." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 305–17. http://dx.doi.org/10.14746/pss.2020.18.19.

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The Seeing Avant-garde [Widzenie awangardy] volume edited by Agata Stankowska, MarcinTelicki and Agata Lewandowska is a collection of the articles about the avant-garde update.Written by many researchers, the articles show a wide scale of research on the contemporaryavant-garde manifested in literature, art, music, theatre and cybernetics. As an extremely valuablepublication, the book in question concentrates on the new and original methods of comparativeresearch, marks new reading directions, and presents contemporary problems of aesthetics.
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Dissertations / Theses on the topic "Garbe Collection"

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Rausch, Juliana Adele. "The New Journalism as Avant-Garde Art." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/443068.

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English<br>Ph.D.<br>Can journalism be avant-garde? This question arises from the body of work produced by the New Journalists, whose leading figures include Truman Capote, Tom Wolfe, Joan Didion, and Norman Mailer. Today, this question is urgent for considerations of the journalist’s role within a political landscape increasingly hostile to the news media. Yet it is a question that has not been sufficiently explored in the field of literary study. Scholars of literary journalism have identified the features of an experimental journalism, traced its historical origins, and made claims about how
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Scott, Emily. "Avant-garde across a Century: Erik Satie and Sonic Youth." Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/996.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Humanities<br>Music
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Castelluccio, Stéphane. "L'hôtel du Garde-Meuble de la Couronne et les collections royales d'objets d'art, 1774-1798." Paris 4, 1998. http://www.theses.fr/1998PA040135.

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Cette étude sur l'hôtel du Garde-Meuble de la Couronne de 1774 à 1798, actuel Hôtel de la Marine place de la Concorde, comprend trois parties; les directeurs au XVIIIe siècle, le décor et le mobilier de leur appartement et les collections royales. Les Fontanieu possédaient la charge d'intendant des meubles de la Couronne depuis Louis XIV. Pierre Elisabeth (1767-1784), cultivé et amateur, connaissait bien le milieu artistique parisien. Thierry de Ville d'Avray (1784-1792) était l'aboutissement de l'ascension sociale de sa famille par l'achat de charges. Moins cultivé que son prédécesseur, il gé
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Hoppe, Meredith. "BREAKING TRADITION: REACHING FOR THE AVANT-GARDE IN THEATRE FOR YOUNG AUDIENCES." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2673.

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This thesis seeks to unearth the concept of breaking tradition in the field of Theatre for Young Audiences (TYA) in the United States by applying the avant-garde theory of Arnold Aronson as a lens through which to investigate the current development of US TYA. After formulating an approach in which to negotiate the concept of the avant-garde, I draft five tenets that currently define tradition in the field of US TYA. Situating these five tenets against Aronson s theoretical framework, I examine three contemporary US TYA plays from the past two centuries: Black Butterfly, Hush: An Interview wi
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Maloy, Jennifer. "Making an Avant-Garde Composition: Intersections of Composition Theory and Innovative Poetics." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/126719.

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English<br>Ph.D.<br>The Making of an Avant-Garde Composition: Intersections of Composition Theory and Innovative Poetics, explores how current discussions in the field of Composition and Rhetoric intersect with the theories and practices of select members of the avant-garde poetry community, focusing on the issues of genre, identity, and language. It examines each of these issues by juxtaposing discussions of leading Composition and Rhetoric scholars with creative and critical work of avant-garde poets, identifying common concerns, and describing diverse approaches to creating innovative writi
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Bisson, Josée. "Identités professionnelles et représentation collective : le cas des responsables de garde en milieu familial (RSG)." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29407/29407.pdf.

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Caron, Mathieu. "Le Garde-Meuble et la Cour. Héritages et goût du mobilier d’Ancien Régime du Consulat au Second Empire." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL137.

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Au sortir de la Révolution, les collections du Garde-Meuble présentaient un aspect singulier : on avait dispersé bon nombre de chefs-d’œuvre du mobilier royal, et dans le même temps, saisi chez les émigrés et condamnés beaucoup de meubles et objets de grande valeur. Napoléon Ier dut compter sur cette dotation pour meubler les palais dont il prenait possession avec le faste adéquat. La valeur de ces remplois de mobilier évolua au fil des régimes: à une valeur purement utilitaire succédèrent bientôt d’autres qualités attribuées à cet héritage, sur les plans historique, artistique, et symbolique.
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Bousselin-Frizon, Audrey. "Offre locale d'équipements collectifs de garde d'enfants et offre de travail des mères : application au Luxembourg, au moyen de modèles multiniveaux." Thesis, Nancy 2, 2009. http://www.theses.fr/2009NAN20003/document.

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La littérature spécialisée analyse la relation entre les contraintes liées à l'offre locale de modes de garde formelle et l'offre de travail des mères dans le cadre d'un modèle d'offre de travail néoclassique standard adapté au cas des mères de jeunes enfants. Dans ces modèles, pour tenir compte des contraintes d'offre de garde formelle, les auteurs ont en commun d'utiliser un taux local d'équipement de ce type de services. Ils considèrent ainsi, de façon plus ou moins explicite selon les cas, que toutes les mères résidant dans la même localité sont face aux mêmes contraintes en termes d'offre
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Tymicka, Monika, Alexander Isaiev, and Kalina Pashkevich. "Application of unusual materials in modern clothing design." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10399.

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The regularities of design of modern clothing with the use of unusual materials have been determined. Based on the conducted researches and creative source, a product line of the collection of women`s clothing has been designed in the material.<br>Визначено закономірності дизайн-проектування сучасного одягу з використанням нетрадиційних матеріалів. На основі проведених досліджень та творчого джерела розроблено та виготовлено в матеріалі модельний ряд колекції жіночого одягу.
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Bliznik, Sean. "WHO AM I?": A SEARCH FOR AMERICA'S IDENTITY THROUGH THEATRE FOR SOCIAL CHANGE." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2288.

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Theatre has always existed as a didactic tool to educate society about society's own successes, failures, and foibles. The theatre and theatre artists have attempted to take society's interpretation of truth and place it on the stage for all to see and experience. Sometimes, theatre creates and performs its own truth in place of society's accepted truth by re-examining pre-existing societal constructs and creating an interpretation of truth that better represents the current state of affairs as the theatre sees it. Therefore, theatre becomes the mode by which society learns, explores, refutes,
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Books on the topic "Garbe Collection"

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Garner, Marcia B. Four generations of cooks: Recipes from those we love : [a collection of the Bruggeman and Garbe families' favorite home-cooked foods]. Donald D. Simmons, 2004.

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Manalili, Fatima. The avant-garde collection. Edited by Orange County Museum of Art (Calif.). Orange County Museum of Art, 2014.

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1955-, Dance Robert, Garbo Greta 1905-1990, and Santa Barbara Museum of Art, eds. Garbo: Portraits from her private collection. Rizzoli, 2005.

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Museo del Palacio de Bellas Artes (Mexico), ed. From impressionism to the avant-garde in the Carmen Thyssen-Bornemisza Collection. Fundaciòn Colleciòn Thyssen-Bornemisza, 2000.

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Sotheby, Parke-Bernet, London. The Greta Garbo collection: Auction Thursday, November 15, 1990 ... . Sotheby's, 1990.

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Réattu, Musée. Oser la photographie: 50 ans d'une collection d'avant-garde à Arles. Silvana editoriale, 2015.

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Georgi, Costakis, ed. Russian Avant-Garde: Pictures from the Collection formed by George Costakis. Sotheby's, 1990.

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Flavio, Fergonzi, ed. The Mattioli Collection: Masterpieces of the Italian avant-garde : catalogue raisonné. Skira, 2003.

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Lutz, Becker, Hollis Richard, and National Touring Exhibitions, eds. Avant-garde graphics 1918-1934: From the Merrill C. Berman Collection. Hayward Gallery, 2004.

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Museum of Arts and Sciences (Daytona Beach, Fla.), ed. Great masters of Cuban art: Ramos Collection = Grandes maestros del arte Cubano : Colección Ramos. Museum of Arts and Sciences, 2009.

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Book chapters on the topic "Garbe Collection"

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Božić, Zrinka. "Art Collective and the Politics of Anonymity." In The Community in Avant-Garde Literature and Politics. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-11557-8_6.

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Kiliszek, Joanna. "Living Simulacrum." In Cultural Inquiry. ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_22.

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The Neoplastic Room at the Muzeum Sztuki in Łódź was originally designed in 1948 by the avant-garde artist Władysław Strzemiński. Destroyed in 1950 and reconstructed in 1960, it became the focal point of the museum, with the ‘International Collection of Modern Art’ by the a.r. group being exhibited there. At the same time, it became a point of reference for contemporary artists and a strategy for building a permanent collection for the museum, as well as a reflection on how the past can give a vision of the future. This essay focuses on the gesture of ‘re-curating’ the Neoplastic Room in relat
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Telichan-Phillips, Andrew, and Daniel Marchwinski. "Hidden Influences in Music Technology: An Approach to Coding Practice." In Music, the Avant-Garde, and Counterculture. Springer Nature Switzerland, 2024. https://doi.org/10.1007/978-3-031-69514-8_15.

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AbstractThe mutual influence of technology and culture has been historically confirmed. Recently, the degree to which technology is being influenced by profit motives has increased dramatically, so much so that technological platforms largely influence the public to meeting these motives. In the context of current musical creative practices, we feel that freedom is being restricted by the commercial industry. In fact, we argue that aspects of existing platforms for musical creation serve mainly to further control culture according to certain ideological, profit-based assumptions. In response,
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O’Sullivan, Jye. "Invisible Environments: CAyC and Countercultural Cybernetics." In Music, the Avant-Garde, and Counterculture. Springer Nature Switzerland, 2024. https://doi.org/10.1007/978-3-031-69514-8_16.

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AbstractIn 1971, the artistic collective Centro de Artes y Comunicación participated in the Argentine Biennial with the exhibition Arte de Sistemas. Luis Benedit’s Laberinto Invisible, a dematerialized labyrinth that required the interactor to navigate a complex series of invisible boundaries, formed part of the core of this exhibition. Expanding on his earlier Laberinto de Hormigas (1970), Benedit created a distinct cybernetically informed political statement by treating the human as a variable element in a system of invisible control. Despite the international profile of this exhibition, how
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Floyd, Kathryn M., and Brett M. Van Hoesen. "Dada Countercultural Practices at the University of Iowa." In Music, the Avant-Garde, and Counterculture. Springer Nature Switzerland, 2024. https://doi.org/10.1007/978-3-031-69514-8_9.

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AbstractThis essay argues that academic scholarship and artistic actions centered on the history of Dada can themselves enact critiques that resonate with Dada’s original resistance to institutional power. Specifically, we discuss the under-examined case of Dada-related studies, exhibitions, and activities at the University of Iowa. Beginning in the 1960s, a unique group of scholars and art practitioners who were interested in and influenced by German Dada converged in this academic setting. Led by professors Stephen C. Foster, Rudolf Kuenzli, Hans Breder, and others in the arts and humanities
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Sistakou, Evina. "Mythography in Alexandrian Verse." In The Oxford Handbook of Greek and Roman Mythography. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190648312.013.7.

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Abstract The chapter explores how the Alexandrian learned poets worked mythography into poetic form. This cultural and aesthetic trend is exemplified by catalog poems with mythological content, usually arranged around a common theme (e.g., metamorphosis, catasterism, or love). Mythography, stemming from archaic and classical poetic and prose sources, found its way into Alexandrian poetry in various ways. The emblematic Aetia by Callimachus, the blending of mythological cycles in Apollonius’s Argonautica, and the mythological enigmas in Lycophron’s Alexandra clearly reflect the aesthetics of co
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"About the Series – Sur la collection – Zur Buchreihe." In Globalizing the Avant-Garde. De Gruyter, 2024. https://doi.org/10.1515/9783111317625-202.

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Grgić, Aida. "L’intérêt supérieur de l’enfant – Un dialogue entre théorie et pratique." In Hors collection. Conseil de l'Europe, 2017. http://dx.doi.org/10.3917/europ.coll.2017.01.0107.

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Aida Grgić examine l’intérêt supérieur de l’enfant sous l’angle de l’article 8 de la Convention européenne des droits de l’homme. Même si la Convention n’est pas une convention spécialisée dans les droits de l’enfant, ni ne mentionne expressément « l’intérêt supérieur de l’enfant », la Cour européenne des droits de l’homme s’est penchée sur cette notion à de nombreuses reprises. Aida Grgić examine de manière systématique les aspects relatifs à la garde et aux droits de visite, aux questions d’identité (paternité, maternité et gestation pour autrui), au placement de l’enfant en vue de sa prise
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"Journal of a Collector." In Avant-Garde, Internationalism, and Politics. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822389699-022.

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Little, I. M. D. "Mainly Self-Employment and Semi-Retirement (1978-1997)." In Collection and Recollections. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198295242.003.0012.

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Abstract Having built a house one kilometre from the village of La Garde Freinet in Provence, my wife and I intended to retire there in 1978. However, a little late in the day, I realized that I would be bored if I had no work to do. I toyed with the idea of changing subjects, but fairly quickly decided cautiously to stick with development economics. So I submitted to the Twentieth Century Fund a plan to write a survey of development theory and policy. This was accepted. The Fund wanted me to do it in two years. I insisted that this was impossible from my base in Provence. They agreed to three
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Conference papers on the topic "Garbe Collection"

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Островская, М. В., and А. В. Карпов. "GUSTAV KLUTSIS'S ARTISTIC HERITAGE: PROBLEMS OF MUSEUMIFICATION, COLLECTING AND THE ART MARKET." In ХУДОЖНИК И МЕНЕДЖЕР В ПРОСТРАНСТВЕ СОВРЕМЕННОГО АРТ-РЫНКА Материалы VII научно-практической конференции молодых ученых. Crossref, 2024. http://dx.doi.org/10.54874/9785605196556.2024.3.05.

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В период сталинского режима множество выдающихся имен было вычеркнуто из анналов истории. Не стали исключением и художникиавангардисты, чье творческое наследие долгое время пребывало в крайне неблагоприятных условиях. Миссия по сохранности произведений искусства была возложена на родственников и коллекционеров. Именно в таком положении оказалось целое собрание работ Густава Клуциса (1895–1938 гг.) — мастера плакатного дизайна и пионера советского фотомонтажа. В статье рассмотрены основные пути миграции работ художника и история формирования музейных коллекций. Основной целью стало выявление по
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Tomassoni, Rosella, Valentina Coccarelli, and Francesco Spilabotte. "THE CRISIS OF THE EGO IN THE PAINTINGS AND DRAWINGS OF GIAN CARLO RICCARDI: BRIEF PSYCHOLOGICAL REFLECTIONS." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/vs08.10.

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The main purpose of this study is to analyse and examine some of the paintings of the Italian avant-garde artist Gian Carlo Riccardi. Our work will focus in particular on a psychological study of the paintings and drawings realised by the artist. Our study basically focuses on the compositions created between the 1980s and 1990s and the graphic works executed in the 2000s. The first category examines certain works characterised by intense abstractionism. The pictorial material used by Gian Carlo Riccardi is manipulated, contaminated and destroyed, leaving only �relics�, symbolising a crisis of
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Zorić, Dragana. "Code Switching: Female Architects of Yugoslav Late Modernism - Between Domesticity and Avant-Garde." In 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.30.

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Female architects of Socialist Yugoslavia, many with families and children concurrent with their career peaks, commonly co-opted an image of the avant-garde artist for their professional lives. The explicit normalcy and domesticity of their private spheres appeared to be largely and publicly suppressed in favor of a black-clad persona, whose work and communication veered away from the everyday and relatable, choosing to focus on the outwardly conceptual, and the abstract. Additionally, the overt separation of the collective government-run architectural practice, and a simultaneous individual (
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Strizhkova, Natalia. "Museum as an Institutional Form of Personal & Social Experiments: Project of Russian Avantgardism Artists." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-10.

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Museums as cultural institutions certainly reflect the sociocultural transformations of the new era and are changing with the new reality. Except for that, a museum is, by definition, an institution of memory, a keeper of history, it is based on adoption: the collection, successiveness and actualisation of past experience. What is perceived as innovation by contemporary society may have historical roots and be an actualisation of innovations of a bygone era. Modern museum development recalls a global project undertaken by Russian avant-garde artists in the early 20th century, and implying the
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Stojiljković, Danica. "The Concept of Synthesis in Yugoslav Socialist Society – Synthurbanism of Vjenceslav Richter." In SPACE International Conferences April 2021. SPACE Studies Publications, 2022. http://dx.doi.org/10.51596/cbp2021.gkjs9365.

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Abstract The avant-garde inclinations in the socio-political and cultural milieu of Yugoslav socialism postulated the concept of synthesis as the central theme in architecture and visual arts. This was facilitated by the critique of functionalist and formal concepts and by promoting ideas of organic systems that balance natural and built environments and are unsustainable outside the context of integrity. Vjenceslav Richter was probably the most persistent in developing the concept of synthesis among Yugoslav architects, proposing a global, holistic and systematic approach. In the early 1960s,
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Elias, Larissa, and Maria Luisa Garrido. "The conception of “fashion-sculpture” in Rei Kawakubo’s costumes for the choreography “Scenario”(1997)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.118.

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“The Rei Kawakubo's fashion-sculpture” is an ongoing Master's project, developed at the Postgraduate Program in Visual Design at the Federal University of Rio de Janeiro. The research is centered on the study of the costumes (and its relationship with movements and spatiality) created by the japanese fashion designer Rei Kawakubo for the dance performance “Scenario” (1997), by the american dancer and choreographer Merce Cunningham (1919-2009). The costumes were adapted from the spring-summer Collection “Body meets dress, dress meets body”, designed by Rei and launched by her brand Comme des Ga
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Campos, João. "Round Bastions and Pentagonal Bulwarks: Castel Nuovo in the Album of Francisco de Holanda (1538-1540)." In FORTMED2025 - Defensive Architecture of the Mediterranean. edUPV. Editorial Universitat Politècnica de València, 2025. https://doi.org/10.4995/fortmed2025.2025.20227.

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The Codex Álbum dos Desenhos das Antigualhas / Album of Drawings of Antigualhas, by Francisco de Holanda, is located in Escorial / Madrid, containing 113 drawn pages (some polychrome) made in situ during his trip to Italy (1538-1540). The Author published later two important treatises (1548): Diálogos em Roma / Dialogues in Rome and Da Pintura Antiga / On Antique Painting. Still a result of the fascination caused by the experience carried out, he wrote and drew, among other works, Da Ciência do Desenho / About the Science of Drawing (1571), Da Fábrica que Falece à Cidade de Lisboa / On the Con
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Vasić, Aleksandar. "Dragutin Gostuški as a Music Critic and an Essayist: The Book Art in the Lack of Evidence." In Iskošeni ugao Dragutina Gostuškog. Muzikološki institut SANU Beograd, 2024. https://doi.org/10.46793/dgost23.259v.

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In 1977, The Serbian Literary Guild (Srpska književna zadruga) published a book by Dragutin Gostuški – Art in the Absence of Evidence. It is the author’s second book, and also the last one published during his lifetime. Like the first, Time of Art, published in 1968, it has remained a sought-after piece of literature, but it has not been reprinted to date. Art in the Absence of Evidence represents the author’s work in a double sense: it brings a selection of texts by D. Gostuški, and a selection made by the author himself. This book is a collection of essays, music criticism, consideration of
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Medić, Ivana. "Dragutin Gostuški’s Cinemusic (and what would Gostuški think about quantum music)." In Iskošeni ugao Dragutina Gostuškog. Muzikološki institut SANU Beograd, 2024. https://doi.org/10.46793/dgost23.321m.

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In this study I advocate two interrelated hypotheses, the first of which is that the composer, musicologist and art historian Dragutin Gostuški (1923–1998), who spent his career at the Institute of Musicology SASA, was an undestined avant-gardist. Although, based on the texts published in Yugoslavia during his lifetime, one might conclude that Gostuški was regarded as a traditionalist by his contemporaries, his extensive manuscript collection and published writings convince us that a real avant-garde spirit actually imbued his multifaceted activities. My second hypothesis refers to the assumpt
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Oprisescu-Dulgheru, A. "Acoustic Resonance Applications in Carbon Capture: Maximizing DAC Performance." In GOTECH. SPE, 2024. http://dx.doi.org/10.2118/219390-ms.

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Abstract This paper introduces a pioneering methodology aimed at significantly enhancing the efficiency of CO2 capture within Direct Air Capture (DAC) stations, leveraging insights derived from extensive research conducted by the esteemed Pacific Northwest National Laboratory. At its core, this study revolves around the strategic deployment of sophisticated sound transducers in close proximity to DAC facilities, with the objective of emitting precisely calibrated ultrasound waves falling within the discerning frequency spectrum of 30 kHz to 60 kHz. This frequency range meticulously corresponds
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