Relevant bibliographies by topics / Group Art or Death (Group of Artists)

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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 'Group Art or Death (Group of Artists)'

Author: Grafiati
Published: 27 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Group Art or Death (Group of Artists)"

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Nyarko, Nyamekye Nyamekye. "Can Art be Offensive? To Whom? A View of Artistic Obligations." International Journal of Current Research in the Humanities 27, no. 1 (2024): 426–34. http://dx.doi.org/10.4314/ijcrh.v27i1.27.

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All over the world, there are artists of varied fields. These artists express their skills, thoughts, philosophies, and beliefs through their artistic works. Humans are not a homogenous group who share common and basic beliefs and philosophy of life. Consequently, any work of art is mostly not going to be liked by all. To address the need the question; can art be offensive and to whom? requires us to first examine the works of art and the persons who appreciate them as a means of examining how artworks could be considered offensive to people. This article uses textual and content analysis as a
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Hall, Gregory M. "Tension in the Field of Art: The Practical Tattoo Artist and Perceptions of the Fine Art Community." Qualitative Sociology Review 10, no. 2 (2014): 102–14. http://dx.doi.org/10.18778/1733-8077.10.2.06.

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This is an ethnographic study utilizing observation and in-depth interviews. The following research analyzes a collaborative circle of tattoo artists and its tension with the fine art community. The tension is a result of perceptions of the fine art community and the nature of tattoo shops as enterprises. This article contributes to the understanding of collaborative circles by incorporating taste distinctions and a formal group element, the enterprise. Taste distinctions and the enterprise allow artists to erect boundaries between themselves and others in the art community.
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Adams, Jacqueline. "When Art Loses its Sting: The Evolution of Protest Art in Authoritarian Contexts." Sociological Perspectives 48, no. 4 (2005): 531–58. http://dx.doi.org/10.1525/sop.2005.48.4.531.

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Change in art is an understudied topic in sociological research. This article examines protest artworks ( arpilleras) produced by shantytown women during and shortly after the dictatorship in Chile, to explore the question why political art that is for sale changes over time. This research is based on 136 semi-structured and in-depth interviews with various members of the art world in Chile, Europe, and the United States, a year's worth of participant observation of art groups in Santiago and over five hundred photographs of arpilleras, taken by the author and analyzed thematically. Political
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O'Neill, Mary. "Speaking to the dead: Images of the dead in contemporary art." Health: An Interdisciplinary Journal for the Social Study of Health, Illness and Medicine 15, no. 3 (2011): 299–312. http://dx.doi.org/10.1177/1363459310397978.

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In this article I explore works by three artists in which we can see images that relate to bereavement. In the work of the first two, Araya Rasdjarmrearnsook and Andres Serrano, we can see photographic images (still and moving) of human corpses, which have been criticized as morbid and unhealthy. However I argue that it is not in fact images of death or the dead that are problematic but those images which present or evoke evidence of the emotions associated with death, and create a situation where we imagine the circumstances of our own deaths or the death of those we love. Images of the dead
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Lee, Jung-Hyun, and Hee-Chung Lee. "A Study on Commercialization of Mullae Art Village and Changes in Art Ecology." Korean Association of Urban Policies 14, no. 4 (2023): 143–65. http://dx.doi.org/10.21447/jusre.2023.14.4.8.

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This paper aims to analyze the impact of the commercialization of the recently emerged Mullae Art Village, an art cluster, on the art ecology, specifically the creative activities of artists. To achieve this goal, Focus Group Interviews (FGI) and in-depth interviews were conducted with a total of 13 artists. Various data related to Mullae Art Village were also analyzed to examine the current state of commercialization and its effects on the art ecology. The analysis revealed that Mullae Art Village has entered a rapid stage of commercialization. Significant changes in the local space are rapid
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Savran, David. "The Death of the Avantgarde." TDR/The Drama Review 49, no. 3 (2005): 10–42. http://dx.doi.org/10.1162/1054204054742390.

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Despite the disappearance of the historical avantgarde before WWII, both scholars and the popular press are reluctant to relinquish the belief in a radical, American, theatrical avantgarde. No other artists epitomize this avantgarde more than the Wooster Group, which, in its 30 years of work, has gradually become recognized as the emblematic avantgarde company. But was the avantgarde that developed in the 1970s ever really an avantgarde at all?
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Pusposari, Wulan, Novi Anoegrajekti, and Sitti Gomo Attas. "PEREMPUAN DAN KEMATIAN DALAM SASTRA BANDINGAN: KOLABORASI LAB TEATER CIPUTAT INDONESIA DAN THEATRE COMPANY SHELF JEPANG." Dialektika: Jurnal Bahasa, Sastra, dan Pendidikan Bahasa dan Sastra Indonesia 10, no. 1 (2023): 68–84. http://dx.doi.org/10.15408/dialektika.v10i1.31622.

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The comparative literature used by artists creates a unique experience in supporting the appearance of the works of art they are contemplating. The purpose of writing is to explain the interrelated themes/motifs in the two literary works, namely the short story Rintrik by Danarto and the play Sotoba Komachi by Yukio Mishima and to correlate comparative literary studies in theater collaboration work through testimonies from actors/artists involved in the collaborative program. The research method used is descriptive qualitative by placing the object of research, namely the Indonesian Lab Teater
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Rohmah, Sofiatur, Siti Nor Maisyah, Nurdiana Aprilia Firdausi, Intan Maulydia Taufany, and Ainun Amira. "Akuntansi Seni Jaranan Pada Masyarakat Kalibaru Dengan Pendekatan Etnografi." Jurnal Akuntansi Terapan dan Bisnis 3, no. 2 (2023): 110–16. http://dx.doi.org/10.25047/asersi.v3i2.4513.

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The research aims to depict and interpret accounting practices within the Jaranan art community and understand the accounting concept within the cultural context of Jaranan art. Cultural art is created by humans as a symbol of belief in the surrounding environment, reflecting back to the creator to follow their teachings. The Jaranan art in Kalibaru is known as Jaranan Campursari Turonggo Sakti. The author observes Jaranan art in Kalibaru as an organization and a means of livelihood for artists involved in this Jaranan art group. Data were obtained from informants (members of the Jaranan art c
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Wright, Richard. "The Posthumous World: Our selves, Our Bodies and a World that Will Continue Without Us." Proceedings of the ACM on Computer Graphics and Interactive Techniques 8, no. 3 (2025): 1–7. https://doi.org/10.1145/3736790.

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How would our attitudes to death and dying change if we could see how a human body is reabsorbed back into the environment? What kind of visualisation could evoke such a response? The Posthumous World is an interdisciplinary research project about death, dying and our relationship with the planet. At its centre will be a new artwork – a scientifically accurate, visual simulation of a human body being reabsorbed back into the environment after a so-called green burial. The body in question will be the artist's own. Taking the form of a computer animated, durational sculpture, the viewer will se
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Dubrovskaya, Dinara V. "А Message from the Imperial Court to the European Reader as Written by the Painter Wang Zhicheng (Jean-Denis Attiret; 1702–1768)". Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, № 5 (2024): 156. https://doi.org/10.31696/s086919080032227-6.

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French painter Jean-Denis Attiret (1702–1768) lived and worked in Beijing from 1739 until his death among the small number of European artists working at the Manchu court of China during the heyday of the Qing Empire. Attiret (Wang Zhicheng) is rightfully considered the second figure in a close-knit group of masters who personified the Sino-European style, which introduced China to European art and after the destruction and looting of the Yuanming Yuan Palace in 1860 – Europe to the art of China. Being not only the “right hand” of famous Giuseppe Castiglione, but also a court artist of Qianlon
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Dissertations / Theses on the topic "Group Art or Death (Group of Artists)"

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Apte, Savita. "Unchallenged dichotomies : modernism and the Progressive Group in India." Thesis, SOAS, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504469.

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Duran, Adrian R. "Il Fronte Nuovo delle Arti realism and abstraction in Italian painting at the dawn of the Cold War, 1944--1950 /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.87 Mb., p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3220804.

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Thorpe, Josh. "Here hear my recent compositions in a context of philosophy and western 20th century experimental art /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59209.pdf.

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Roza, Alexandra M. "Towards a modern Canadian art 1910-1936 : the Group of Seven, A.J.M. Smith and F.R. Scott." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20178.

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During the 1910s, there was an increasing concerted effort on the part of Canadian artists to create art and literature which would affirm Canada's sense of nationhood and modernity. Although in agreement that Canada desperately required its own culture, the Canadian artistic community was divided on what Canadian culture ought to be. For the majority of Canadian painters, writers, critics and readers, the future of the Canadian arts, especially poetry and painting, lay in Canada's past. These cultural conservatives championed art which mirrored its European and Canadian predecessors. Their do
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Borders, Elizabeth Furlong. "Working in an Artist Collective in Portland Oregon: The artistic benefits of cooperation and place in an underground art world." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/188.

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This ethnography explores the underground art world in Portland, Oregon by showing how a Portland area artist collective, Oregon Painting Society, navigates their art world. Participant observation, in-depth interviews, and a short latent content analysis triangulate data to show the features and values of the underground art world. Using Becker's concept of art worlds, I show how artists working outside of a traditional art career in a commercial gallery system do their work by exploring how Portland's art world is structured and sustained. I find that group work, cooperation, and resource sh
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Goldman, Noémie. "Un Monde pour les XX: Octave Maus et le groupe des XX :analyse d'un cercle artistique dans une perspective sociale, économique et politique." Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209691.

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Notre thèse se concentre sur la question des mécanismes de restructuration du système du monde de l’art à Bruxelles à la fin du XIXe siècle. Nous cherchons à démontrer comment une nouvelle scène artistique construite autour du cercle des XX à Bruxelles, dont l’épanouissement sera pris en charge par l’animateur d’art Octave Maus, produit un art qui est influencé par les enjeux sociaux et politiques portés par un milieu défini de manière sociale, culturelle et générationnelle.<p>Nous avons ainsi voulu replacer le groupe des XX dans son contexte économique, politique et social. La diversification
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Dessy, Clément. "Les écrivains devant le défi nabi: positions, pratiques d'écriture et influences." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209795.

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En 1888, une communauté de peintres s’associe sous l’appellation « Nabis ». Ce terme, issu de l’hébreu, signifie à la fois les « prophètes » et les « initiés ». Paul Sérusier qui vécut sa rencontre avec Paul Gauguin comme une révélation est à l’origine de la formation du groupe. Une année auparavant, le symbolisme littéraire triomphe en France et suscite l’émulation parmi une nouvelle génération d’écrivains qui se cristallise autour de /La Revue Blanche/ et le /Mercure de France/. Entre les Nabis et les symbolistes s’établit dès lors un intense réseau de collaborations. Tant dans l’élaboration
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McBride, Margaret. "Changing the art culture of Newcastle: the contribution of the Low Show Group of artists." Thesis, 2010. http://hdl.handle.net/1959.13/928250.

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Research Doctorate - Doctor of Philosophy (PhD)<br>Beginning in 1961, the Low Show Group was an active collective of women artists, exhibiting in Newcastle. The group members were Norma Allen, Mary Beeston, Betty Cutcher (Beadle), Elizabeth Martin, Lillian Sutherland and Rae Richards. Madeleine Scott Jones and Lovoni Webb also exhibited in later Low Show Group exhibitions. These artists continued to work independently and Richards is still making and exhibiting art. This study examines the context in which the group was formed and how this impacted on their decision to form a collective. Their
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De, Vries Jetteke. "An investigation of cultural dislocation in the work of selected artists." Thesis, 2015. http://hdl.handle.net/10321/1434.

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Submitted in partial fulfilment of the requirements of the degree of Master of Technology: Fine Art, Durban University of Technology, Durban, South Africa, 2015.<br>This dissertation sets out to investigate cultural dislocation in the work of Leora Farber (1964), Viviane Sassen (1972), George Alamidis (1954) and my art practice. The paper begins by highlighting the importance of this study and defines terminology for the purpose of this research. In addition an explanation of the research methodology used is provided. The study is contextualised through a discussion of writings by
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Maurel, Nicolé. "An investigation into the interrogation of Afrikaner culture and identity in the work of selected artists." Thesis, 2015. http://hdl.handle.net/10321/1439.

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Submitted in partial fulfilment of the requirements of the degree of Master of Technology: Fine Art, Durban University of Technology, Durban, South Africa, 2015.<br>The purpose of this research was to investigate the interrogation of Afrikaner culture and identity in the work of Andries Botha (1952) and Marlene de Beer (1957) in the context of Afrikaner nationalism. Anthony Smith’s theory of ethno symbolism (2010) and writings on nationalism by Montserrat Gibernau (1996, 2004a, 2000b) are used as a theoretical framework for an analysis of Afrikaner culture and identity, in the form of Afrikan
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Books on the topic "Group Art or Death (Group of Artists)"

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Golovanova, Olga. Group Art or Death. State Museum of Contemporary art of the Russian Academy of Fine Arts, 2009.

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Komar, Vitaly. Gedichte ber den Tod: Das Gespenst des Eklektizismus. NGBK, 1988.

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Dingwerth, Shaun Thomas. The Richmond Group artists. Indiana University Press, 2014.

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Al-ldrus, S. Jamal. Prologue: A group exhibition by Intuitive Art Group. Edited by Artemis Art and Balai Seni Visual Negara. Balai Seni Visual Negara, 2013.

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Gallery, Delhi Art, ed. Continuum: Progressive artists' group. Delhi Art Gallery, 2011.

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Zaini, Syahrul Niza Ahmad. Destiny: Young group show. Balai Seni Visual Negara, 2013.

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Gallery, Delhi Art, ed. Mumbai modern: Progressive artists' group, 1947-2013. Delhi Art Gallery, 2013.

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Konsult, Art, ed. Untitled 2010: A group exhibition of eighteen artists. Art Konsult, 2010.

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le-omanut, Muzeʼon Tel Aviv, ред. Roʻi Rozen: Taʻarukhah ḳevutsatit = Roee Rosen : a group exhibition. Muzeʼon Tel Aviv le-omanut, 2016.

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Research, Cv/Visual Arts, ed. Projects between artists. Cv/Visual Arts Research, 2001.

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Book chapters on the topic "Group Art or Death (Group of Artists)"

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Clarke, Paul. "Performing Art History: Non-Linear, Synchronous and Syncopated Times in Performance Re-Enactment Society’s Group Show (Arnolfini, Bristol 2012)." In Artists in the Archive. Routledge, 2018. http://dx.doi.org/10.4324/9781315680972-13.

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Cangiano, Serena, Davide Fornari, and Azalea Seratoni. "Re-search, Re-enactment, Re-design, Re-programmed Art." In Cultural Inquiry. ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_15.

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Kinetic and programmed art has been a trend of contemporary arts that flourished in the 1950s and 1960s. Kinetic artworks often incorporated technology, at that time still immature, and involved the audience in the production of visual, sound, and somatic effects. Gruppo T was the pioneering group at the forefront of this groundbreaking vision of art as reproducible, participatory, and interactive. Through an action research project and the methodological tool of reenactment, a group of researchers, designers, and artists has proposed an alternative way to conserve Gruppo T artworks. The proje
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Harouni, Houman. "12. Art and anti-mathematics." In Studies on Mathematics Education and Society. Open Book Publishers, 2024. https://doi.org/10.11647/obp.0407.12.

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Scattered across history and cultures, we encounter instances of people trying to limit or reject the expansion and application of mathematics. These actions, which we can refer to as “anti-mathematics”, are particularly common among artists of the modern era. This chapter tries to decipher, through a close reading of a large group of examples, the different motivations and desires that give rise to anti-mathematics across different contexts. The author argues that such actions are attempts at shielding particular ways of life from the encroachment of forces (economic, philosophical, and admin
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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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Mazzanti, Anna. "Operazione Arcevia. Existential Community. The Reality of the Experience and the Utopia of the Vision." In Springer Series in Design and Innovation. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_54.

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AbstractOperazione Arcevia (OA) is an urban settlement project, born for the purpose of the social, economic, and touristic regeneration of a marginal area in the Marchigiane hills, characterized by its postwar exodus. Conceived between 1972 and 1974 on the initiative of the businessman Italo Bartoletti, like every newly constituted city it was designed with a political and cultural identity by the architect Ico Parisi in collaboration with two renowned critics (Cripolti and Restany), a psychologist, and a large number of artists (Arman, César, Ceroli, Soto, Staccioli, among others). OA remain
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Grobe, Christopher. "Just Talk." In Art of Confession. NYU Press, 2017. http://dx.doi.org/10.18574/nyu/9781479829170.003.0007.

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This chapter focuses on the solo career of Spalding Gray, who helped popularize confessional monologue in the American theater. Received at first as someone who “talks for a living,” Spalding Gray was rebranded after his death as, in fact, a writer. This simple binary—talk vs. writing—does a disservice to Gray’s monologues, or, as he sometimes called them, his “talking novels.” Placing Gray in his context—as a member of the multimedia experimental theater ensemble the Wooster Group, as an artist poised between theater and performance art, and as a man frankly puzzled by the relationship betwee
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Parfect, Ralph. "Roger Fry, Chinese Art and The Burlington Magazine." In British Modernism and Chinoiserie. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748690954.003.0004.

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The Burlington Magazine for Connoisseurs was founded in 1903 by a group of art theorists, scholars and historians that included Roger Fry, later a co-editor of the magazine for almost ten years (1909-1919). On Fry’s death in 1934, the magazine itself described him as ‘the man who in the past did most to establish it and mould its character’. Part of this character was a consistent attention to Chinese art that he shared with fellow Bloomsbury writers, artists and intellectuals. This chapter illuminates Fry’s practice as a theorist and an editor interested in the arts of China by examining how
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Tancock, John L. "Issues of Authenticity in the Auction House." In The Expert versus the object. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195147353.003.0004.

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Abstract In a museum or in a gallery, where deadlines are seldom as pressing as they are in an auction house, it would not be uncommon for cataloguing research into works of art to continue for months or even years. In an auction house, however, sales are held regularly; even in an area with no more than two major sales a year — the Impressionist and Modern Art Department, for example— catalogue deadlines leave little time for leisurely research. In this department at Sotheby’s, the period covered is from approximately 1870 to 1950, including not only the work of the French Impressionist and m
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Duncan, April D. "Supporting Black Youth Through Grief and Bereavement." In Black Students Matter. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197669266.003.0008.

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Abstract This chapter analyses the different grief events that Black student endure, such as community violence, having an incarcerated family member, and being involved in the child welfare system. Multidimensional grief theory is applied to the various grief events Black students are exposed to, including the death of a loved one and the killing of unarmed Black children and adults, as well as the epidemic of Black hip-hop artists dying. It also discusses the way disenfranchised grief and polyvictimization in Black students further compound childhood traumatic grief. The chapter explains the
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"9. The Government Serves Art: Do Art Subsidies Serve the Public Interest or Group Interests?" In Why Are Artists Poor? Amsterdam University Press, 2002. http://dx.doi.org/10.1515/9789048503650-010.

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Conference papers on the topic "Group Art or Death (Group of Artists)"

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Alonso, Miguel, Bruna Costa, and Luca Ribeiro. "Trying to read: the "In Memorian" artwork." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.124.

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In this presentation we will analyze the multimedia artwork In Memorian, 2021, from the Research Group Realidades (School of Communication and Arts of University of São Paulo, ECA-USP, Brazil). The artwork is a web art that deals with the visualization of data from the coronavirus pandemic in Brazil. These data are appropriated from online databases and it works as the rule of loss of information from 1988’s Brazilian Federal Constitution, Title II - Of Fundamental Rights and Guarantees. The text is fragmented proportionally to Brazilian population and, then, loses its information, pixel by pi
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Tadeu de Godoy, Guilherme. "Manga Rosa Group and Alienarte Magazine: dialogues between editorial design and experimental art." In LINK 2024 Conference Proceedings. Tuwhera, 2024. https://doi.org/10.24135/link2024.v5i1.232.

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This presentation is part of a doctoral thesis that carries out an investigative analysis of the first two editions of Alienarte magazine (1978 and 1979) and the dialogues that emerge from their analysis between graphic design and experimental visual arts, focusing on the work of the Manga Rosa group. The conceptualisations of what can be identified as a magazine editorial product were described, accompanied by a panoramic mapping of the production of editorial products prior to the 1970s. The aim is to identify a connection that brings the production of Alienarte magazines closer to the conte
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Frémontier-Murphy, Camille. "At the Sources of an Artistic Mutation towards Science: the First Years of the Journal Leonardo (1968-1981) as a Forum for the Pioneers of Digital Art." In 28th International Symposium on Electronic Art. Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-8-short-fremontier-murphy-artistic-mutation-towards-science.

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SHORT PAPER. The journal Leonardo was founded in 1968 by Frank Malina, a pioneer of light art in Paris and of aerospace science in the United States. Leonardo encouraged artists to publish their work in the manner of scientists. It was a new initiative developed in the revolutionary context of the 1960s and that allowed artists, scientists, psychologists to exchange on the subjects of art, perceptions, science, society... Many pioneers of digital art took part in the adventure, including Vera Molnar, Zdenek Sykora, Charles Csuri, and the artist-novelist Herbert Franke, who became the advocate
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Brennan, Annmarie, and Jonathan Lovell. "PULSA: The Affective Art of Novel Intelligent Environments." In 105th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2017. http://dx.doi.org/10.35483/acsa.am.105.78.

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Most histories of digital design in architecture are limited, and begin with the initial investigations into artificial intelligence by the Architecture Machine Group at MIT during the 1960s, and end with a mention of the Evolutionary Architecture at the ArchitectureAssociation during the late 1980s and early 1990s. However if one was to examine many of the artworks created during this time, several artists were working with similar ideas, concepts, and technologies on artificial intelligence. This paper is a media archaeology of responsive environments in contemporary practice.It endeavors to
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Lutz, João, and Renata Vilanova. "Dead Cities, Regenerative Design in Serra da Bocaina." In ENSUS 2024 - XII Encontro de Sustentabilidade em Projeto. Grupo de Pesquisa Virtuhab/UFSC, 2024. http://dx.doi.org/10.29183/2596-237x.ensus2024.v12.n1.p1119-1127.

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This paper presents some thoughts on the role of Art as an activity that may lead to social transformations. A group of designers, artists, artisans, teachers, entrepreneurs and rural workers organizes, since 2016, an arts exhibition named BIBO-Biannual Bocaina Art. The actors engaged in this enterprise believe it may result in the development of Sustainable Tourism in Serra da Bocaina, transforming the region into a regenerative territory. The focus of this Participatory Action Research is in the Formoso neighborhood, located in São Jose do Barreiro, São Paulo-Brasil. Some conclusions and pos
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Braz, Soraya, Rodrigo Dorta, Caio dos Santos, et al. "Water, sustainability and poetics in the works of the cAt group." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.91.

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Since 2015, the cAt (science, Art, technology) research group from the Arts Institute of UNESP (São Paulo State University) has reflected upon Art-technology productions, that raise concerns about sustainability related to energy sources and alternative possibilities for energy generation without the direct use of computers and complex technology apparatus, while maintaining relevant aspects of the digital interactive works, such as the use of technology, interaction with the audience and a systemic view. These concerns were initially introduced in the production of the work “Sopro” (“Blow”),
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Корнильева, А. В. "COLOR AND ARTISTIC IMAGE OF WATERCOLOR AND GOUACHE WORKS BY THE MASTERS OF THE “ELEVEN” GROUP." In Цвет в пространственных искусствах и дизайне. Crossref, 2024. http://dx.doi.org/10.54874/9785605245766.2024.04.28.

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Наследию мастеров, входивших в группу «Одиннадцать», посвящено немало публикаций и исследований. В большей степени освещались проблемы цвета и формы, композиции и духовно-содержательного характера произведений, связанные с живописью и скульптурой, в меньшей степени внимание уделялось графике. Были отмечены разные стилевые особенности этих мастеров и в тоже время единство эстетическое и духовное. Особое внимание уделялось крупным, программным произведениям, которые наиболее полно раскрывают художественный мир мастера. Настоящее исследование обращено к анализу малоизученной стороны творчества ху
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Бородкин, П. В., and Т. В. Горбунова. "SCULPTURE AND STAINED GLASS AS A PART OF 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/10.54874/9785605196556.2024.3.02.

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Выставочные пространства редко проводят масштабные групповые показы работ скульпторов, как следствие, затрудняя анализ общих стилистические тенденций и творческих исканий мастеров. Витраж как авторское произведение, в силу преобладания тиражной продукции и специфики работы дизайн-студий, претерпевает ограничения на авторское творчество. Такие тенденции приводят к тому, что арт-рынок не предоставляет современным художникам возможность заявить о себе через авторское творчество. Сложившаяся ситуация не позволяет полноценно развиваться ни арт рынку, ни авторскому творчеству в России. Works of scul
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Moga, Maria, and Dan Radu Moga. "Character Development: Bridging Digital and Traditional Drawing Techniques." In Intelligent Human Systems Integration (IHSI 2024) Integrating People and Intelligent Systems. AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004527.

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Digital painting has some particularities that distinguish it from traditional drawing. These can have an influence on the ways, the stages a visual artist goes through to develop and stabilize a character. These features allow for a clearer ordering of the relationship between structure and function in character design, with a positive influence on the clarity and coherence of visual information.The working hypothesis of this study proposes a better use of digital applications in relation to the representation and structured development of the character. Digital applications allow the inclusi
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Gallik, Ján. "Death as radical border. About Jan Čep’s novel The Border of a Shadow." In The Figurativeness of the Language of Mystical Experience. Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-4.

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The Czech Catholic writer Jan Čep (1902–1974) belonged to the group of authors who built their work on spiritual-religious motifs. Literary critic František Xaver Šalda stated in the bookmark of Čep’s novel The Border of a Shadow (1935) that he is a “poet of death”, namely “a very special, possessing a very special, unusual view of things of life and death”. The language and imagery of his artistic work are based on philosophical-reflexive and meditative lyricism, often with a contemplative overlap. We consider the image of a double home to be one of the key images of Čep’s poetics. Its develo
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Reports on the topic "Group Art or Death (Group of Artists)"

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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations
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Sequeira, Dora María, Ileana Alvarado V., and Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured wi
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A Century of Painting in Panama. Inter-American Development Bank, 2003. http://dx.doi.org/10.18235/0005898.

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An exhibition of exceptional paintings by 25 outstanding artists selected from a survey of a wide-ranging group of art connoisseurs, historians, critics, professors and art dealers in Panama gave the public an overview of the development of painting in Panama over the 20th century. The selection included early 20th century artists such as Roberto Lewis, Humberto Ivaldi, and Manuel Amador; and painters from Mid-century and end of the 20th century. Dr. Mónica E. Kupfer, Former Curator of the Panama's Museum of Contemporary Art, was invited as Associate Curator for this exhibition.
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Graphics from Latin America and the Caribbean: September 10 - November 15, 2002. Inter-American Development Bank, 2002. http://dx.doi.org/10.18235/0005919.

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20 lithographs, etchings, linocuts, woodcuts, silkscreens and other works in various graphic techniques by artists from the Americas were presented at the Robert V. Fullerton Art Museum, California State University, San Bernardino, California. This is the first group exhibition organized by the museum of works on paper by some of the most recognized artists of the 20th century from Latin America and the Caribbean. It includes graphics by José Clemente Orozco, Diego Rivera, David Alfaro Siqueiros; Roberto Sebastián Matta; Enrique Grau, and others.
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