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Journal articles on the topic 'InterDuck (Group of artists)'

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Published: 25 July 2024
Last updated: 19 July 2025

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1

Cole, Thomas B. "Group of Artists." JAMA 307, no. 7 (2012): 642. http://dx.doi.org/10.1001/jama.2012.99.

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2

Green, Alison. "Citizen Artists: Group Material." Afterall: A Journal of Art, Context and Enquiry 26 (January 2011): 17–25. http://dx.doi.org/10.1086/659292.

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3

Sturken, Marita. "Women Artists’ Group Fights Discrimination." Afterimage 25, no. 6 (1998): 5. http://dx.doi.org/10.1525/aft.1998.25.6.5.

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4

Fowler, Joan. "Women Artists Action Group Seminar." Circa, no. 41 (1988): 26. http://dx.doi.org/10.2307/25557339.

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Cummins, Pauline. "The women artists action group." Women's Studies International Forum 11, no. 4 (1988): 403–4. http://dx.doi.org/10.1016/0277-5395(88)90093-3.

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Rawstrone, Annette. "We've explored…artists." Nursery World 2024, no. 2 (2024): 28–29. http://dx.doi.org/10.12968/nuwa.2024.2.28.

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7

Butler, Allison. "Earthworks: Visual Artists for the Earth Group." Leonardo 20, no. 2 (1987): 205. http://dx.doi.org/10.2307/1578353.

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8

Nelson, Glen. "Mormon Artists Group: Adventures in Art Making." Dialogue: A Journal of Mormon Thought 39, no. 3 (2006): 115–24. http://dx.doi.org/10.2307/45227285.

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9

Feser, Frauke. "The visiting artist researcher experiment." Journal of Science Communication 14, no. 01 (2015): C02. http://dx.doi.org/10.22323/2.14010302.

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The visiting artist researcher experiment discussed here brought together visual artists and climate scientists, amongst them my research group which studies storms. The artists’ stay led to a dialogue between our diverging perspectives and an open exchange of ideas. The exchange in my research group was more interactive than I had expected. Many conversations provided insights into ideas and work flows of the artists and, eventually, a new view on our storm studies.
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Zaynutdinova, Zukhra. "ACTIVITY OF THE GROUP OF ARTISTS "5 + 1" IN CONCEPTUAL ART." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 12 (2021): 6–12. http://dx.doi.org/10.37547/history-crjh-02-12-02.

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The article examines the role and significance of the "5 + 1" group in the development of contemporary art in Uzbekistan in the context of the creativity of the group's artists. The ideas and aesthetics of paintings, installations, video art in the work of individual artists are revealed in detail.
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Russell, Will G., and Michelle Hegmon. "Identifying Mimbres Artists." Advances in Archaeological Practice 3, no. 4 (2015): 358–77. http://dx.doi.org/10.7183/2326-3768.3.4.358.

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AbstractPast researchers have identified individual styles of painting in Mimbres Black-on-white bowls, leading Steven LeBlanc to recently call for the development of quantitative methods to enable and assess such identifications. We propose such a methodology here. Through a process of pair-wise, micro-stylistic comparisons, bowls painted by a single artist or group of closely cooperating artists are analytically linked in chain-like fashion. Two bowls are attributed to the “same hands” if their similarity measure is at or above 70 percent. Similarity measures are determined by comparing minu
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Lake, Susan. "The Challenge of Preserving Modern Art: A Technical Investigation of Paints Used in Selected Works by Willem de Kooning and Jackson Pollock." MRS Bulletin 26, no. 1 (2001): 56–60. http://dx.doi.org/10.1557/mrs2001.20.

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Willem de Kooning (1904–1997) and Jackson Pollock (1912–1956) are perhaps the best-known members of the abstract expressionist movement, a group of diverse artists from disparate backgrounds who radically transformed American art during the 1940s and into the 1950s. While the development and legacy of abstract expressionism remains a subject of considerable debate, what this diverse group of artists had in common was the belief that the materials, and the ways the artists applied them, are crucial to the expression of their art.
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Vašíčková, Kateřina, Andrea Mikotová, and Lucie Šilerová. "Stress in Music Managers and Artists: Pilot study on Czech and Slovak Students." Zeitschrift für Kulturmanagement 4, no. 1 (2018): 133–44. http://dx.doi.org/10.14361/zkmm-2018-0108.

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AbstractThe aim of the presented study was to do a pilot research on the comparison of the incidence of stress in a group of students of music management and art of music. We examined whether artists and music managers differ in the perception of the intensity of stress when playing (working) solo from the intensity when playing (working) in group. Furthermore, we focused on the most common stressors and main stress symptoms among music managers and artists. Total 63 students of music, cultural or art management (average age 28.6 years; 69.8 % were women) and 75 students of art of music (avera
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14

Hanrahan, Stephanie J. "Sport Psychology and Indigenous Performing Artists." Sport Psychologist 18, no. 1 (2004): 60–74. http://dx.doi.org/10.1123/tsp.18.1.60.

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A group of students from the Aboriginal Centre for the Performing Arts participated in a mental skills training program that focused on goal setting, self-confidence development, and team building. There were 13 two-hour sessions held over a 20-week period. The participants, cultural issues, and the basic structure of the program are described. The author’s observations regarding competition, displays of affection, collective values, and the importance of family and nature are provided. The participants qualitatively evaluated the program. Conclusions related to group process, program structur
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15

Stack. "Gender and Suicide Risk Among Artists: A Multivariate Analysis." Suicide and Life-Threatening Behavior 26, no. 4 (1996): 374–79. http://dx.doi.org/10.1111/j.1943-278x.1996.tb00841.x.

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Research on mental disorders among male artists has suggested that artists are at risk of suicide. However, given that men are higher in suicide risk than women, the presumed suicide risk of artists may be an artifact of sampling bias. A logistic regression analysis of data from 21 states finds that artists have a 270% higher risk of suicide than nonartists. However, after controlling for gender and sociodemographic variables, this risk level is reduced to 125%. The findings are related to both psychiatric and work‐related stress factors that may place artists at risk of suicide as an occupati
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16

Głaz, Stanisław. "Relationship of Personality Traits and Hope With Job Satisfaction in the Life of Polish Artists and Pedagogues." Journal for Perspectives of Economic Political and Social Integration 28, no. 2 (2023): 89–120. http://dx.doi.org/10.18290/pepsi-2022-0009.

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The purpose of this paper was to show the relationship between personality traits and hope, as well as the job satisfaction in the lives of artists and pedagogues (teachers). The research was conducted among artists and pedagogues living and working in Poland. Research tools such as: Job Satisfaction (SSP) by Zalewska, Personality Inventory (NEO-FFI) by Costa and McCrae, and the Hope Scale (HS) by Snyder were used. The obtained results show that extraversion correlates significantly and positively with job satisfaction, while neuroticism – negatively – in the group of pedagogues. Agency correl
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17

Moss, Anne Eakin, Niloofar Haeri, and Narges Bajoghli. "Legacies of Protest Art in Iran." Public Culture 36, no. 2 (2024): 153–79. http://dx.doi.org/10.1215/08992363-11158958.

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Abstract This article examines the art practice of a group of professors and students—who later came to be known as Group 57—at the Fine Arts College of the University of Tehran during the revolutionary period of 1978 to 1980. Through interviews with artists and art historical research, the authors describe the artists’ workshop where they produced posters against the Shah, the United States, and imperialism. Their posters drew on the bold colors, clear text, symbolic imagery, and easy reproducibility of international radical poster art and the early Russian revolutionary avant-garde. The auth
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18

Shirai, Yumi, and Carissa Maria DiCindio. "Museum as a Mutual Learning Space for Artists with Intellectual and Developmental Disabilities and University Students." Canadian Journal of Disability Studies 11, no. 3 (2022): 30–60. https://doi.org/10.15353/cjds.v11i3.926.

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Using a university museum as a mutual learning space, guided by the core principles of multivocality and inclusive arts practice, six adult artists with intellectual disability and 16 undergraduate students collaborated to plan a public art exhibition. In this article, we describe the facilitation of the 6-week group process with artists with intellectual disability who have varied cognitive and communication abilities, to curate their own stories and prepare for a public art exhibition, and students to gain field experiences as community art educators, working with a community artist group. B
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19

Ardelt, Monika, and Lucinda Orwoll. "DOES AGE AFFECT CREATIVE PROCESS AND STYLE? A COMPARISON OF OLDER AND YOUNGER VISUAL ARTISTS." Innovation in Aging 3, Supplement_1 (2019): S417—S418. http://dx.doi.org/10.1093/geroni/igz038.1558.

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Abstract This study investigated differences in the creative process and style between 85 older (age 60-89 years, M=72.39) and 63 younger (age 27-58 years, M=41.95) visual artists who were nominated as artistically creative exemplars. Answers to open-ended survey questions were coded and compared by age group. Results of t-tests showed that the described creative process and style were similar for older and younger artists, with many being inspired by their environment or ideas and engaging in an intuitive and visual style. However, younger artists were more likely than older artists to be ins
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20

Winestein, Anna. "Artists at Play." Experiment 25, no. 1 (2019): 328–45. http://dx.doi.org/10.1163/2211730x-12341346.

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Abstract The exhibition of Russian folk art at the Paris “Salon d’Automne” of 1913 has been generally overlooked in scholarship on folk art, overshadowed by the “All-Russian Kustar Exhibitions” and the Moscow avant-garde gallery shows of the same year. This article examines the contributions of its curator, Natalia Erenburg, and the project’s instigator, Iakov Tugendkhold, who wrote the catalogue essay and headed the committee—both of whom were artists who became critics, historians, and collectors. The article elucidates the show’s rationale and selection of exhibits, the critical response to
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21

Ittu, Gudrun-Liane. "Siebenbürgisch-deutsche Künstlerinnen vom Ende des 19. und Anfang des 20. Jahrhunderts." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (2020): 127–55. http://dx.doi.org/10.24193/subbhistart.2020.07.

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"Transylvanian German women artists from the end of the 19th and beginning of the 20th century. The paper is aiming at analyzing the life and art of a group of six German women artists from Transylvania, the first ones who studied abroad, real forerunners for the next generation of female plastic artists. Emancipated ladies, determined to become artists and earn their own money, the gifted women studied in Budapest, Vienna, Munich or Paris. Only Molly Marlin did not come back home, while the others had a prodigious artistic and pedagogical activity, being present at the annual exhibitions, tog
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22

Styrna, Natasza. "Malarki, rzeźbiarki i graficzki z krakowskiego Zrzeszenia Żydowskich Artystów (1931–1939)." Studia Judaica, no. 2 (48) (2021): 407–35. http://dx.doi.org/10.4467/24500100stj.21.017.15072.

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Painters, Sculptors and Graphic Female Artists From the Kraków Association of Jewish Artists, 1931–1939 Eleven women belonged to the Kraków Association of Jewish Artists, active in the 1930s. They dealt with painting, graphic art and sculpture. Unfortunately, not much has survived from their achievements. One of the most interesting artistic personalities in this group was Henryka Kernerówna, educated in Vienna. From 1918 on, female artists younger than her could benefit from studies at the Academy of Fine Arts in Kraków. In the reviews of the exhibitions of the Association, the gender of arti
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23

Jee, Sangbaum, and Sungah Ahn. "Analysis of Social Network and Performance of High-Income Artists." Korean Society of Culture and Convergence 45, no. 7 (2023): 299–310. http://dx.doi.org/10.33645/cnc.2023.07.45.07.299.

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This study is the first research to derive a social network activity index based on the career factors of the top 50 artists and analyze its relationship with transaction performance. The analysis results indicate that personal network centrality among artists has the most significant impact on transaction performance, followed by the importance of group network centrality. Additionally, the study categorizes artists into three clusters based on their careers: major and awards, education and number of solo exhibitions, and whether they studied abroad and social experience. These clusters demon
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24

Grube, Katherine. "Labouring bodies: Big Tail Elephants in 1990s Guangzhou." Journal of Contemporary Chinese Art 7, no. 2-3 (2020): 201–19. http://dx.doi.org/10.1386/jcca_00026_1.

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Big Tail Elephant Working Group (daweixiang gongzuo zu, hereafter BTE) is synonymous with the city of Guangzhou and the surrounding Pearl River Delta. Formed in 1991, the group is most closely associated with the artists Chen Shaoxiong (1962–2016), Liang Juhui (1959–2006), Lin Yilin (1964–) and Xu Tan (1957–). This article re-examines BTE artists’ practice from 1991 to 1994 and argues that the artist’s performing body provides the critical lens through which to understand BTE artists’ work during this time. Acknowledging that the experience of BTE’s work was primarily physical, embodied and pe
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25

Borowska, Marta. "Wystawy Związku Plastyków Pomorskich i Grupy Plastyków Pomorskich w Muzeum Miejskim w Bydgoszczy w latach 1930–1936." Porta Aurea, no. 17 (November 27, 2018): 133–61. http://dx.doi.org/10.26881/porta.2018.17.06.

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The displays of particular artistic associations in the Municipal Museum in Bydgoszcz between 1930 and 1936 are being discussed. The history of Pomeranian artistic associations is not a well-known subject, and no dedicated monographs have been written to date. It appears commonly in the history of the regional chapter of the Polish Association of Visual Artists (Związek Polskich Artystów Plastyków) located in Bydgoszcz.
 The basic sources include the Archive of the Leon Wyczółkowski District Museum in Bydgoszcz and information contained in Polish press of the period in question. There wer
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26

Ilyasova, R. I. "Artistic Design in Soviet Tatarstan on the Example of “Group No. 17”." Art & Culture Studies, no. 1 (March 2024): 326–49. http://dx.doi.org/10.51678/2226-0072-2024-1-326-349.

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The article is devoted to a little-studied page of the late Soviet art of Tatarstan: the activity of design artists of the 1970s-1990s — “Group No. 17” (E. Golubtsov, V. Nesterenko, A. Leukhin, O. Boyko, R. Safiullin, V. Vyaznikov, and A. Yakupov), whose works represented the characteristic features of the technical aesthetics of the Senezh studio. The purpose of the article is to identify the context and facts related to the creative activity of the participants of this association, outline their range of interests, and study their projects. The first part of the article analyses the activiti
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27

Sandberg, Berit. "Art Hacking for Business Innovation: An Exploratory Case Study on Applied Artistic Strategies." Journal of Open Innovation: Technology, Market, and Complexity 5, no. 1 (2019): 20. http://dx.doi.org/10.3390/joitmc5010020.

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Despite a growing interest in the effects of arts-based interventions on organizational change, concepts aiming at business innovation and product development other than residencies are rare. Furthermore, little is known about the role and impact of artists involved in idea-generating formats. How does the personal presence of artists in a heterogenous working group influence the procedure? To what extent do artists unfold their creative qualities while dealing with such a non-artistic challenge? The paper introduces a method named Art Hacking that applies professional labour attitudes typical
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28

Reagan, Trudy Myrrh. "Ylem: Serving Artists Using Science and Technology, 1981–2009." Leonardo 51, no. 1 (2018): 48–52. http://dx.doi.org/10.1162/leon_a_01192.

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YLEM: Artists Using Science and Technology, a nonprofit group in the San Francisco Bay Area, was active from 1981 to 2009, publishing the YLEM Newsletter (later, the YLEM Journal). In the 1990s, it published the Directory of Artists Using Science and Technology, illustrated with members’ work, and established its website, < www.ylem.org >. YLEM’s public Forums introduced artists to science, scientists to art and the general public to new artistic and technological expression. It organized field trips to laboratories, industrial sites and artists’ studios and mounted exhibitions of member
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Durand-Ruel, Victoria Mouraux, and John Zarobell. "Contemporary art from the Global South in the art auction market from 2020 to 2022." Arts & Communication 2, no. 1 (2023): 1608. http://dx.doi.org/10.36922/ac.1608.

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In recent years, emerging artists from the Global South have garnered substantial attention in the art market. This study seeks to examine the market value and ecosystem evolving around these emerging artists by analyzing the sales results of 51 artists between 2020 and 2022. This research aims to establish patterns linking unprecedented sales results with exhibition history and highlights the essential network required for these artists’ commercial success. The study reveals that the emergence of artists in the global art market results from a deliberate effort by a network of stake
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30

Mon, Nor Suliana Mak, Siti Zuraida Maaruf, and Akmal Ahamed Kamal. "The Development of Artique - Independent Artists and Online Art Criticism." European Journal of Social & Behavioural Sciences 30, no. 2 (2021): 3358–68. http://dx.doi.org/10.15405/ejsbs.293.

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Learning art online breaks the geographical barriers and frontiers between art students, artists, galleries, and museums. Studio critique can now be performed beyond the brick walls of a physical room through the virtual platform. This research studies on the impact of art criticism in an online gallery for independent artists which was developed through the design and development method (DDR) while Visual Culture Model was employed for Phase One in the Needs Analysis. The positive feedback obtained from five independent artists who participated in the research revealed that it is common for a
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31

Okeke, C. "The Sensitive Line: Seven artists of the nsukka group." Nka Journal of Contemporary African Art 1998, no. 8 (1998): 54–57. http://dx.doi.org/10.1215/10757163-8-1-54.

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32

Robinson, Susan. "Paintings of Fluorite from a Select Group of Artists." Rocks & Minerals 88, no. 1 (2013): 66–71. http://dx.doi.org/10.1080/00357529.2013.747918.

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33

Patel, Bindesh, Saloni Vyas, and Dhruvisha Sojitra. "Hand Gripping Assessment in Female Nail Artist: A Cross-Sectional Study." International Journal of Health Sciences and Research 14, no. 8 (2024): 394–402. http://dx.doi.org/10.52403/ijhsr.20240844.

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Background: Nail artists are exposed to various ergonomic stressors due to repetitive hand movements, which may affect their hand grip strength and pinch strength. This study aims to assess these parameters in female nail artists to understand the potential occupational impacts on hand function. Materials and Methods: A cross-sectional study was conducted involving 100 female nail artists aged 18-35 years, working in various nail salons in Surat. The Jamar hand dynamometer and Jamar pinch meter were used to measure hand grip strength and pinch strength in both dominant and non-dominant hands.
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34

Robertson, Jack. "The exhibition catalog as source of artists’ primary documents." Art Libraries Journal 14, no. 2 (1989): 32–36. http://dx.doi.org/10.1017/s0307472200006210.

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Exhibition catalogs and related ‘ephemera’ frequently include statements by artists which can be regarded as primary documents. Artists’ statements which are included in catalogs of group exhibitions tend to be relatively difficult to access and so are easily overlooked, while statements included in ephemeral publications associated with group exhibitions are virtually irretrievable even when such material is retained by libraries. Some help is available from published bibliographies and online databases; more thorough cataloging procedures are also available.
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35

Vogelaar, Josien. "A RING WITH MAGICAL POWERS: DUTCH ARTISTS WITH INTELLECTUAL DISABILITIES JOIN THE FASHION PROJECT OUTSIDERWEAR." Cadernos CEDES 42, no. 116 (2022): 85–97. http://dx.doi.org/10.1590/cc259067_in.

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ABSTRACT This article presents a collaborative project carried out with these outsider artists and a group of young Dutch creatives. The project initiated by the cultural entrepreneur Jan Hoek consists of creating a fashion label Outsiderwear, in which young creatives, mostly fashion designers, were matched with outsider artists from Outsider Art Studios in Amsterdam; working together, the pair developed a collection. The idea was to establish a structural collaboration between professional creatives and outsider artists. Data is presented using interviews in order to construct a case study.
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López-Piñeiro, Sergio. "Reconsidering the enabling architect." Architectural Research Quarterly 14, no. 3 (2010): 286–88. http://dx.doi.org/10.1017/s1359135510001119.

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A trade can be of two types depending on the observation skills of its workers: deception managers or truth revealers. The first group is composed of spies, con artists and negotiators: all of them try to show what is not while ambiguously hiding what really is. Artists mainly define the second group: for them, an artistic product only works when it opens up the reality it aims to describe. Art is or is not. There is no middle ground: period.
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37

KEMPLEY, EILÍS. "Julian Trevelyan, Walter Maclay and Eric Guttmann: drawing the boundary between psychiatry and art at the Maudsley Hospital." British Journal for the History of Science 52, no. 4 (2019): 617–43. http://dx.doi.org/10.1017/s0007087419000463.

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AbstractIn 1938, doctors Eric Guttmann and Walter Maclay, two psychiatrists based at the Maudsley Hospital in London, administered the hallucinogenic drug mescaline to a group of artists, asking the participants to record their experiences visually. These artists included the painter Julian Trevelyan, who was associated with the British surrealist movement at this time. Published as ‘Mescaline hallucinations in artists’, the research took place at a crucial time for psychiatry, as the discipline was beginning to edge its way into the scientific arena. Newly established, the Maudsley Hospital r
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38

Dockx, Nico, Johan Pas, and Gustavo Grandal Montero. "A kind of a ‘Huh?’ A conversation about artists’ publications." Art Libraries Journal 49, no. 2 (2024): 65–70. http://dx.doi.org/10.1017/alj.2024.5.

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At the request of the Middelheim Museum, artist Nico Dockx and art historian Johan Pas, from the ArchiVolt research group of the Royal Academy of Fine Arts Antwerp, undertook a survey of the museum's library collection. Between March 2022 and December 2023, they examined the phenomenon of artists' publications from a range of perspectives, through a series of conversations with artists, designers, publishers and collectors, a symposium, and the book A kind of a ‘Huh?’ Artists' publications: (Not) a user's manual. We discussed these and other related projects with them.
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Yu, Sang-Min, and Yun-Suk Lee. "A Study on the Relationship between Institutional Factors and Stress in Popular Culture Artists." Korea Association Of Cultural Economics 27, no. 1 (2024): 181–207. http://dx.doi.org/10.36234/kace.2024.27.1.181.

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This study aims to analyze the stress experienced by popular culture artists in the changing work environment. This study used the data from the '2021 Survey on Artists & Activities' in Korea. We analyzed the impact of institutional factors on artists' stress by popular culture field through Ordered logistic regression analysis between film, broadcast, and popular music artists and their stress levels. Career Interruption, Activities period, education, On-the-job injury, residence area and full-time status of broadcast artist significantly affected artist's stress. Also, Public Pension Sal
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Lawson, Carl J. "Mortality in American Hip-Hop and Rap Recording Artists, 1987–2014." Medical Problems of Performing Artists 30, no. 4 (2015): 211–16. http://dx.doi.org/10.21091/mppa.2015.4039.

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BACKGROUND: The deaths of American hip-hop and rap recording artists often receive considerable media attention. However, these artists’ deaths have not been examined as a distinct group like the deaths of rock, classical, jazz, and pop music artists. This is a seminal epidemiological analysis on the deaths of an understudied group, American hip-hop and rap music recording artists. METHODS: Media reports were analyzed of the deaths of American hip-hop and rap music recording artists that occurred from January 1, 1987 to December 31, 2014. The decedents’ age, sex, race, cause of death, stage na
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Willy, Bachtiar Deddy Mulyana Edwin Rizal Nuryah Asri Sjafirah. "Identity Transformation by Artists Transferring to Musawarah Discussion Community." Multicultural Education 9, no. 4 (2023): 54. https://doi.org/10.5281/zenodo.7872777.

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<em>This research is aimed at exploring the identity transformation undergone by artists who &ldquo;hijrah&rdquo; or make a transfer of lifestyle within a Young Person&rsquo;s Discussion Community called Musawarah. This community is based on a lifestyle that is &ldquo;Sakinah Mawaddah Warohmah&rdquo; meaning a Place /condition of Peace/ serenity, all Encompassing Love and Spiritually Blessed. The group consists of 19 males and 6 females originating from the middle class who have made a conscious decision to change their lifestyle. The theoretical perspective used for this research is a phenome
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Kristāla, Ance, Lote Katrīna Cērpa, and Sabīne Ozola. "EXPLORING THE INTERSECTION OF RESEARCH, IDENTITY FORMATION AND ARTMAKING IN AN ARTS-BASED RESEARCH PROJECT." Culture Crossroads 24 (December 5, 2024): 127–39. https://doi.org/10.55877/cc.vol24.415.

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The article presents findings of a collaborative arts-based research project titled “A Journey to Utopia” undertaken by a group of early-career sociologists and artists. By examining qualitative data collected throughout the project, the article aims to illuminate unprecedented outcomes of arts-based research engagement and its impact on emerging artists. The project facilitated professional identity exploration and reflexivity, revealing the intricate and delicate process of becoming an artist. The crucial findings demonstrate the mutually beneficial effects of collaborative arts-based resear
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Bramantijo, Bramantijo. "Menjelajah Kultur Majapahit, Mencari “Identitas” Seni Rupa Kontemporer Jawa Timur." Jurnal Budaya Nusantara 1, no. 1 (2017): 31–43. http://dx.doi.org/10.36456/b.nusantara.vol1.no1.a989.

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The identity of Indonesian art is loaded with political contents in the interests of harmony. Indentity becomesthe differentiator and positioning in artwords. East Java gets the fortunes to be the locus of Majapahit and heritage ofthe Majapahit culture, but the atmosphere of contemporary art gives artists of freedom to explore the variety oftraditional cultures in various loci and make as identity. The sole recognition of a culture by a group community is nolonger relevant. The other way, it occurs the ability of artists to discover the characteristics of traditional cultures and topresent it
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Golan, Romy. "Vitalità del negativo/Negativo della vitalità." October 150 (October 2014): 113–32. http://dx.doi.org/10.1162/octo_a_00203.

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Vitalità del negativo nell'arte italiana 1960/70, an exhibition that occupied the ground floor of the monumental Palazzo delle Esposizioni from November 30, 1970, to January 31, 1971, revived an ideologically loaded site in Rome under the mantle of contemporary art. Curated by Achille Bonito Oliva, it featured thirty-four Italian artists from a wide range of schools and mediums: painters from the Scuola di Piazza del Popolo (the Roman school of Pop); members of the ′60s Milanese group Azimut; kinetic environments by Padua's Gruppo N and Milan's Gruppo T; artists from Arte Povera; and other, mo
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Firth-Eagland, Alissa. "Negotiating Serendipitous Specifics or Curating Site-Specific Performances That Didn’t Begin That Way." Canadian Theatre Review 126 (March 2006): 42–44. http://dx.doi.org/10.3138/ctr.126.007.

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In June 2005, I curated Sound Madness 2, an evening of sound works and performances by artists-in-residence from the Sound + Vision Creative Residency at the Banff Centre. This group of artists from Japan, Mexico, the United States and Canada were at the centre to explore, experiment and play within the fields of music, sound, popular culture and contemporary visual culture.1
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Moschopedis, Eric. "Bubonic Tourist and Yukon Arts Centre Lay Some Yukon PIPE: Project History." Canadian Theatre Review 126 (March 2006): 88–91. http://dx.doi.org/10.3138/ctr.126.018.

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During the summer of 2005, Calgary’s Bubonic Tourist was commissioned by Yukon Arts Centre executive director Chris Dray to workshop and facilitate a group of eight emerging artists in Whitehorse. The objective was to create community through performance by providing Yukon artists with tools for creating original site-specific performance and by curating a Yukon PIPE (Performance in Peculiar Environments) Festival.
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47

Mason, Helen, and Lyn Robinson. "The information‐related behaviour of emerging artists and designers." Journal of Documentation 67, no. 1 (2011): 159–80. http://dx.doi.org/10.1108/00220411111105498.

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PurposeThis paper aims to report an empirical study of the information‐related behaviour of emerging artists and designers. It also aims to add to understanding of the information behaviour of the group both as practising artists (a little understood category of information users), and also as “new practitioners”.Design/methodology/approachA literature analysis is used to guide creation of an online questionnaire, eliciting both qualitative and quantitative data. A total of 78 practising artists participated, all having graduated in the seven years prior to the survey.FindingsThe group have ge
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Piątkowska, Renata. "Artystki i miłośniczki sztuki – kobiety w żydowskim życiu artystycznym międzywojennej Warszawy. W kręgu Żydowskiego Towarzystwa Krzewienia Sztuk Pięknych." Studia Judaica, no. 1 (47) (2021): 175–211. http://dx.doi.org/10.4467/24500100stj.21.007.14609.

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Artists and Art Lovers: Women in the Jewish Artistic Life of Interwar Warsaw. In the Circle of The Jewish Society for the Encouragement of Fine Arts Research on Jewish artistic life in interwar Warsaw, especially in the context of the activities of the Jewish Society for the Encouragement of Fine Arts (Żydowskie Towarzystwo Krzewienia Sztuk Pięknych), reveals active and numerousparticipation of women, both artists and art lovers (by and large a group of professionals, bourgeois, political and social activists, Jewish art collectors). In the article, special attention is paid to Tea Arciszewska
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Bañez, Richard Mendoza. "Thematic Construction of Digital Visual Arts: Implications for Digital Pedagogy." Journal of Learning for Development 10, no. 2 (2023): 196–209. http://dx.doi.org/10.56059/jl4d.v10i2.773.

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This paper attempts to describe the signifier choice of student artists in thematic representations of digital visual arts and determine its implications for digital pedagogy. Utilising a qualitative approach to research and covering a corpus of six digital artworks of student artists, the semiotic analysis utilising Peirce’s (1991) sign modes showed the student artists’ preference for mostly indexical and symbolic signifiers in thematic representations of Filipinos’ resiliency to the pandemic. This signifier choice of student artists was influenced by their experience, family, self, other art
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Frohnapfel, David. "Notes on How to Irritate a Group of Committed Artists: Politics of Emotions at the Ghetto Biennale in Port-au-Prince." Space and Culture 23, no. 1 (2019): 61–76. http://dx.doi.org/10.1177/1206331219871435.

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The Ghetto Biennale was founded in 2009 by British photographer, filmmaker, and curator Leah Gordon in collaboration with members of the Haitian artist group Atis Rezistans. The biennale is rooted in considerations around contemporary art as a place of klas privilege and social exclusion. The organizers took on the complicated task of bringing together artists from different socioeconomic strata in a short-time residency project in an informal neighborhood. Many of the visiting artists produce art that can be described as a socially engaged artistic praxis. By analyzing the Ghetto Biennale as
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