Relevant bibliographies by topics / IKEA artist

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

Academic literature on the topic 'IKEA artist'

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

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Journal articles on the topic "IKEA artist"

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Klorman-Eraqi, Na’ama. "Hijacking IKEA." Third Text 34, no. 6 (November 1, 2020): 671–85. http://dx.doi.org/10.1080/09528822.2020.1841417.

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Takeuchi, Melinda. "“True” Views: Taiga's Shinkeizu and the Evolution of Literati Painting Theory in Japan." Journal of Asian Studies 48, no. 1 (February 1989): 3–26. http://dx.doi.org/10.2307/2057661.

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Few cultures had as rich a vocabulary for pictures of specific places as did eighteenth-century Japan. Why then did yet another word, shinkeizu (literally “true-view pictures”), come into being in the late eighteenth century? The answer is that none of the existing terms satisfactorily articulated the ideological essence of a new kind of painting advocated by a group of artists who sought to incorporate into their work styles and concepts associated with the art of the Chinese literatus. These Japanese masters came to constitute a school known as Nanga (the Japanese interpretation of the Chinese “Southern school” of painting; it was also called bunjinga, “literati painting”). For a picture (zu) of a given scene (kei) to be profound, argued the connoisseurs of Nanga, the artist must experience the vista at first hand and then absorb and transmit its essential reality (shin). It was in the circle of the brilliant literati artist Ike Taiga (1723–76) that the concept ofshinkeizu became the integral element of the new Japanese conception of depictions of actual scenes.
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Abley, Ian. "Designer Volumetric at IKEA Prices." Architectural Design 76, no. 1 (January 2006): 60–61. http://dx.doi.org/10.1002/ad.209.

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Löfgren, Orvar. "Design by IKEA. A Cultural History." Design and Culture 7, no. 3 (July 3, 2015): 467–69. http://dx.doi.org/10.1080/17547075.2015.1105510.

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Mura, Maddalena Dalla. "Democratic Design—Ikea, Die Neue Sammlung." Design and Culture 3, no. 1 (March 2011): 103–5. http://dx.doi.org/10.2752/175470810x12863771378879.

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Kitchen. "Conversations with Visual Artists: H. Ike Okafor-Newsum (H. E. Newsum)." Spectrum: A Journal on Black Men 2, no. 1 (2013): 116. http://dx.doi.org/10.2979/spectrum.2.1.116.

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Young, Adriana Valdez. "The IKEA bag dress: Hacking domesticity to play dress up." Women & Performance: a journal of feminist theory 20, no. 2 (July 2010): 217–20. http://dx.doi.org/10.1080/0740770x.2010.492187.

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Dembowski, Peter F. "Garin le Loherenc.Anne Iker-Gittleman." Speculum 74, no. 1 (January 1999): 190–91. http://dx.doi.org/10.2307/2887315.

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Han, Ga-eul, Yunwoo Jeong, and James Andrew Self. "Where does Everyday Design Innovation come from?: Case studies in IKEA Product Hacking." Archives of Design Research 34, no. 1 (February 28, 2021): 53–67. http://dx.doi.org/10.15187/adr.2021.02.34.1.53.

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Ledin, Per, and David Machin. "Forty years of IKEA kitchens and the rise of a neoliberal control of domestic space." Visual Communication 18, no. 2 (March 15, 2018): 165–87. http://dx.doi.org/10.1177/1470357218762601.

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This article uses a social semiotic approach to look at the representations and designs of kitchens in the IKEA catalogue from 1975 until 2016. The authors find a shift from function to lifestyle of the order observed by scholars of advertising. But using Fairclough’s concepts of ‘technologization’ in Discourse and Social Change (1992) and Van Leeuwen’s New Writing (2006) concept, they are able to dig deeper to show that there are four stages of kitchen that become, they argue, more and more codified, with increasing prescription over the meaning of space and also regarding what takes place there. Such coding aligns with the ideas, values and identities of neoliberalism: ‘flexible’, ‘dynamic’, ‘creative’, ‘solutions’ and ‘self-management’. The authors show how the features of New Writing allow a suppression of actual causalities and context, and permit symbolic and indexical meanings to take over. Domestic life itself becomes technologized, coded and stripped down to a number of symbols and indexical meanings which assemble easily into the requirements of the neoliberal order.
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Dissertations / Theses on the topic "IKEA artist"

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Fišerová, Cwiklinski Marta. "Wonderful world with IKEA." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2013. http://www.nusl.cz/ntk/nusl-232371.

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The most important moment of whole project is the change of the status. Creation of unique sarcophagus for an object of mass-production - one of many globally manufactured objects become a part of a unique, authentic object and authorship. Transformation of one of the mass-product to the skeleton of author's object. Mass-product gives dimensions to the original object - it is directing process of creation. By creating its own unique case the object of mass-production is finally closer to human scale: one piece of furniture vs. one carpenter.
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Books on the topic "IKEA artist"

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Ikeda, Shig. Shig Ikeda: Black & white photographs. [S.l.]: Shig Ikeda Inc., 1992.

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Udé, Iké. Beyond decorum: The photography of Iké Udé. Cambridge, Mass: MIT Press, 2000.

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3

Wilson, Kevin. Fangu ikka no kisō tengai na nazomeita seikatsu. Tōkyō: Nishimura Shoten, 2017.

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4

Ceylan, Canan. Feryadımı dinleyin: Sahneden mabede : film artisti iken İslâmı̂ hayata dönüş yapan bir mü'minenin gerçek hayatı. 9th ed. İstanbul: TÜRDAV, 1990.

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5

M. Knoedler & Co. and Akira Ikeda Gallery, eds. David Smith: To and from the figure : Knoedler & Company, New York, April 29 to May 20, 1995 : exhibition travels to Akira Ikeda Gallery, Tokyo, September 1 to September 30, 1995. New York: Rizzoli, 1995.

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6

Aerts, Dirk. Het Bordeel van Ika Loch: De Antwerpse literaire avant-garde in de jaren twintig : publikatie bij de gelijknamige tentoonstelling, 15 mei tot 29 augustus 1993, Archief en Museum voor het Vlaamse Cultuurleven, Antwerpen. Antwerpen: Archief en Museum voor het Vlaamse Cultuurleven, 1993.

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7

Zukin, Sharon. Naked City. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780195382853.001.0001.

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As cities have gentrified, educated urbanites have come to prize what they regard as "authentic" urban life: aging buildings, art galleries, small boutiques, upscale food markets, neighborhood old-timers, funky ethnic restaurants, and old, family-owned shops. These signify a place's authenticity, in contrast to the bland standardization of the suburbs and exurbs. But as Sharon Zukin shows in Naked City, the rapid and pervasive demand for authenticity--evident in escalating real estate prices, expensive stores, and closely monitored urban streetscapes--has helped drive out the very people who first lent a neighborhood its authentic aura: immigrants, the working class, and artists. Zukin traces this economic and social evolution in six archetypal New York areas--Williamsburg, Harlem, the East Village, Union Square, Red Hook, and the city's community gardens--and travels to both the city's first IKEA store and the World Trade Center site. She shows that for followers of Jane Jacobs, this transformation is a perversion of what was supposed to happen. Indeed, Naked City is a sobering update of Jacobs' legendary 1961 book, The Death and Life of Great American Cities. Like Jacobs, Zukin looks at what gives neighborhoods a sense of place, but argues that over time, the emphasis on neighborhood distinctiveness has become a tool of economic elites to drive up real estate values and effectively force out the neighborhood "characters" that Jacobs so evocatively idealized.
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Book chapters on the topic "IKEA artist"

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Zukin, Sharon. "A Tale of Two Globals: Pupusas and IKEA in Red Hook." In Naked City. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780195382853.003.0012.

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It’s a Saturday afternoon in mid-July and the city is swooning in 96-degree heat and fearsome humidity. You think it will be cooler out on the water than in the subway, so you line up at the Wall Street pier in Lower Manhattan to take the free water taxi across the East River to Red Hook, on the Brooklyn waterfront. The ride is sponsored by IKEA, the Swedish big-box chain that opened its first New York City outpost in Red Hook a few weeks earlier. Because the neighborhood is notoriously difficult to reach on public transportation and IKEA is hoping to lure shoppers whose apartments are starved for Scandinavian modern couches but who don’t own cars, the store has decided to sponsor water taxis from Manhattan. They have a system to discourage free riders from Brooklyn. You get your hand stamped before you walk onto the ferry so the taxi company’s employees, on IKEA’s instructions, can refuse to carry any passenger on the return trip who didn’t come to Brooklyn to make a purchase. Sitting on the top deck of the ferry, you’re caught up in an air of joyful anticipation. The small boat is full, with more than thirty passengers, some of them young children and their parents, all smiling and laughing from the unusual pleasure of being out on the water on a sunny afternoon, and from the pleasure of a shopping trip as well. The kids snap photos with cell phone cameras, everyone admires the Statue of Liberty on the other side of the harbor, and a few passengers point out the artificial waterfalls designed by the Scandinavian artist Olafur Eliasson that have been installed on the river for the summer as a public art project. Though the ride takes less than ten minutes, it’s the kind of entertainment New Yorkers love: a chance to act like tourists on the town.
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Forceville, Charles. "Case Studies–Comics." In Visual and Multimodal Communication, 185–216. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190845230.003.0010.

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The antecedents of the genre of comics and graphic novels could be dated as far back as Christ’s Stations of the Cross in numerous churches, but the genre of “sequential art’ ” (Will Eisner 2006 [1985]) really took off in the late 19th century and was baptized the “ninth art” in the course of the 20th. It typically consists of visuals combined with written language. Comics sport a number of visual elements that are to be decoded rather than inferred by the reader-viewer, such as pictograms, balloons, and motion and emotion lines. Moreover, the audience of comics is expected to be familiar with meaning-generating mechanisms such as onomatopoeia and the “gutter,” and to understand how to navigate from panel to panel. Comics artists help their audience achieve relevance by tapping into these readers/viewers’ knowledge of narrative codes and conventions. These include the three classic mechanisms of surprise, suspense, and curiosity, and the distinction between omniscient (or external) narrators and character-narrators. The case studies include panels or sequences from work by Hergé, Shaun Tan, Peter de Wit, Lewis Trondheim, Guy Delisle, Johanna Sinisalo and Hannu Mänttäri, and Alan Moore and Dave Gibbons, as well as IKEA instructions on a do-it-yourself (DIY) package. The chapter shows how achieving relevance requires appropriate reference assignment, enrichment, broadening or narrowing assumptions, processing loose visuals, correctly adducing implicated premises, and generating explicatures and implicatures.
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Conference papers on the topic "IKEA artist"

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Hou, Bojun. "Exploring the Role and Operation Mode of Industrial Design in Public Diplomacy: Taking the Design of “IKEA” Representing Sweden’s National Image (Nordic Image) as an Example." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.100.

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Branco, Ricardo, Tiago Antônio Rizzetti, and Lucas Dias. "Análise Comparativa entre Protocolos para troca de certificados digitais." In XVII Escola Regional de Redes de Computadores. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/errc.2019.9234.

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De maneira gera, quando necessitamos compartilhar um certificado digital de forma segura, encontramos o problema do compartilhamento seguro deste, que muitas vezes é deixado de lado na literatura. Atualmente diversos protocolos e modelos de troca destes certificados são acessíveis na literatura. O presente trabalho tem como objetivo comparar o protocolo para troca de chaves IKE (Internet Key Exchange) com um novo protocolo proposto pelos autores, o qual tem como premissa garantir a integridade da mensagem, utilizando-se de assinaturas digitais, confidencialidade dos dados, a partir de um acordo Diffie Hellman, e outros aspectos essenciais a serem discutidos no decorrer do artigo.
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You might also be interested in the extended bibliographies on the topic 'IKEA artist' for particular source types:
Journal articles
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