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Journal articles on the topic 'Space (Art)'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Gollifer, Sue. "Art Space." Digital Creativity 22, no. 2 (2011): 115–26. http://dx.doi.org/10.1080/14626268.2011.579403.

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2

Miodownik, Mark. "Space art." Materials Today 6, no. 11 (2003): 13. http://dx.doi.org/10.1016/s1369-7021(03)01115-5.

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3

Petrič, E., I. L. Schlacht, and B. Foing. "Art & Space: Eva Petrič's Art Project for Space and in Space." Universal Journal of Geoscience 4, no. 3 (2016): 72–79. http://dx.doi.org/10.13189/ujg.2016.040303.

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4

Tazov, P. Yu. "Marketing of art spaces: essence, characteristics, prospects." Vestnik Universiteta, no. 2 (March 21, 2024): 31–40. http://dx.doi.org/10.26425/1816-4277-2024-2-31-40.

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The article studies the peculiarities of promoting art spaces as significant social and cultural objects that act as a locomotive for territorial development, attracting tourists and involving the population in cultural activities. Theoretical approaches to the marketing of art objects and art industry have been analyzed. The key functions of art spaces have been studied. It is proved that art spaces marketing has a more complex structure due to the promotion object multifunctionality than art objects marketing. The author’s art space marketing communication model has been proposed. It is base

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5

Karimimoshaver, Mehrdad, Bahare Eris, Farshid Aram, and Amir Mosavi. "Art in Urban Spaces." Sustainability 13, no. 10 (2021): 5597. http://dx.doi.org/10.3390/su13105597.

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This study investigates the effect of art on promoting the meaning of the urban space. After considering the semantic dimension of the urban space and the mechanism of transferring the meanings of art through the views of experts, a model is presented for examining the art’s cooperation in promoting urban space meaning. In the first stage, the categories of space meanings influenced by art were extracted using the qualitative method of interpretative phenomenological analysis, and by examining 61 in-depth interviews in 6 urban spaces eligible for urban art in Tehran. In the second stage, these

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6

Rob Latham. "Space Age Art." Science Fiction Studies 42, no. 3 (2015): 597. http://dx.doi.org/10.5621/sciefictstud.42.3.0597.

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7

Gollifer, Sue. "Art Space: editorial." Digital Creativity 22, no. 4 (2011): 289–92. http://dx.doi.org/10.1080/14626268.2011.634422.

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8

Gollifer, Sue, Andy Lomas, William Latham, Stephen Scrivener, Sean Clark, and Daniel Brown. "Art Space: CAS50." Digital Creativity 29, no. 4 (2018): 264–73. http://dx.doi.org/10.1080/14626268.2018.1534476.

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9

Peden, Douglas D. "Wave Space Art." Leonardo 37, no. 5 (2004): 376–82. http://dx.doi.org/10.1162/0024094041955999.

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10

Franceschet, Massimo. "Art for Space." Journal on Computing and Cultural Heritage 13, no. 3 (2020): 1–9. http://dx.doi.org/10.1145/3402443.

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11

Philippe, Jean-Marc. "Space Art: A Call for a Space Art Ethics Committee." Leonardo 23, no. 1 (1990): 129. http://dx.doi.org/10.2307/1578477.

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12

Jiehong, Jiang. "Chinese art outside the art space." Journal of Contemporary Chinese Art 5, no. 2 (2018): 111–15. http://dx.doi.org/10.1386/jcca.5.2-3.111_2.

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13

Shabout, Nada. "Whose Space Is It?" International Journal of Middle East Studies 46, no. 1 (2014): 163–65. http://dx.doi.org/10.1017/s0020743813001347.

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Designers and architects argue that interaction in public spaces is the product of relations between physical, cultural, social, and aesthetic components. As an art historian, my interest in and understanding of the production of public space is necessarily linked to its visual construction and to public art in particular. Urban planners have always included art in public spaces as a means of forming relationships between the people and the space. Governments have similarly understood the political significance of public space and its power to make meaning and have commissioned art accordingly

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14

Gollifer, Sue. "Art Space: ACM SIGGRAPH Art Gallery 2014." Digital Creativity 25, no. 4 (2014): 360–68. http://dx.doi.org/10.1080/14626268.2014.972060.

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15

Gintere, Ieva. "ART SPACE: AN EXPERIMENTAL DIGITAL ART GAME." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 649. http://dx.doi.org/10.17770/sie2020vol5.4817.

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The article examines the discourse concerning modern game theory and suggests a new method of research and knowledge transfer in the field of digital art game creation. The method is embodied in the new game Art Space that utilizes current research results in the field of contemporary aesthetics. Art Space is an experimental digital game that is being created in collaboration between researcher, Dr.art. Ieva Gintere (Vidzeme University of Applied Sciences, Latvia) and the game artist, Mag.art. Kristaps Biters (Liepāja University, Latvia) within the framework of a post-doctoral project. The con

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16

Kang, Taehwan, and Jeongyoon Kang. "A Study on Heterotopia and Private Space in Contemporary Art." Korean Society of Culture and Convergence 45, no. 1 (2023): 523–34. http://dx.doi.org/10.33645/cnc.2023.01.45.01.523.

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The purpose of this study is to discuss the important spatiality in contemporary art. Contemporary spaces show a variety of shapes and scopes, from independent private spaces to wide open public spaces. This aspect of space also appears in the art exhibition hall. Therefore, the purpose of this thesis is to examine the form of space and the viewer's visual perception in installation art among contemporary art fields. Chapter 2 examines the spatiality of installation art and discusses the visual and perceptual experiences felt in space. Chapter 3 examines private space and private space, which

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17

Ho, Christopher, and Rosalyn Deutsche. "The Space of Art." PAJ: A Journal of Performance and Art 20, no. 1 (1998): 118. http://dx.doi.org/10.2307/3245885.

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18

Boyce, Katherine. "Art in Outer Space." Leonardo 22, no. 3/4 (1989): 457. http://dx.doi.org/10.2307/1575452.

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19

Clarke, Jenni. "Deep space abstract art." Practical Pre-School 2013, no. 145 (2013): ix—x. http://dx.doi.org/10.12968/prps.2013.1.145.ix.

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20

Comte, Pierre, Sharon Lipsey, and Philippe Willekens. "Space art and education." Acta Astronautica 41, no. 4-10 (1997): 701–5. http://dx.doi.org/10.1016/s0094-5765(98)00068-x.

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21

Csontos, Dan. "The art of space." Nature Physics 4, no. 11 (2008): 828. http://dx.doi.org/10.1038/nphys1132.

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22

Mitrache, Georgică. "Architecture, Art, Public Space." Procedia - Social and Behavioral Sciences 51 (2012): 562–66. http://dx.doi.org/10.1016/j.sbspro.2012.08.206.

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23

Clarke, David. "Para/site art space." Third Text 14, no. 50 (2000): 73–86. http://dx.doi.org/10.1080/09528820008576838.

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24

Kac, Eduardo. "Space Art: My Trajectory." Journal of Posthuman Studies 6, no. 1 (2022): 4–18. http://dx.doi.org/10.5325/jpoststud.6.1.0004.

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Abstract This essay traces the author’s trajectory in space art. It starts in 1986, when he first conceived of a holographic poem to be flown to deep space (scheduled for liftoff in 2023), and continues into the twenty-first century through several works, including Inner Telescope, realized with the cooperation of French astronaut Thomas Pesquet aboard the International Space Station (ISS) in 2017. The author discusses his theoretical and practical involvement with space-related materials and processes. Special attention is given to his space artwork Adsum, conceived for the Moon.

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25

Kudijanovas, Laurynas. "Art Creating Imperial Space." Lietuvos istorijos studijos 52 (December 21, 2023): 145–50. http://dx.doi.org/10.15388/lis.2023.52.8.

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26

Guzzoni, Ute. "Heidegger: space and art." Natureza Humana - Revista Internacional de Filosofia e Psicanálise 4, no. 1 (2024): 59–110. https://doi.org/10.59539/2175-2834-v4n1-758.

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This article treats some aspects of Heidegger's understanding of the interconnection of space, art and language. Beginning from the Heideggerian problematization of the metaphysical world-view and its concept of space, the first section develops the `occuring' and `spacing' character of space and the interactive interplay of space and human beings. The second part deals with Heidegger's later thinking of the relation between space and things and those specific things which are works of art. Since human dwelling in space may be thought of as inhabiting the space of language, the last part of th

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27

Yusifova, Nardana. "UNIFICATION OF EXACT SCIENCES AND ART (SPACE GEOMETRY-SPACE CHEMISTRY-ART SCIENCE)." PPOR 24, no. 2 (2023): 209–34. http://dx.doi.org/10.36719/1726-4685/94/209-234.

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28

Gan, Xiongwen. "Research on the Application and Development of Digital Media Art in Urban Public Space Design." Journal of World Architecture 8, no. 2 (2024): 62–66. http://dx.doi.org/10.26689/jwa.v8i2.6632.

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Digital media art is an emerging art form that combines digital technology and media art. It has huge potential to bring innovation to urban public spaces and provide them with vibrant artistic experiences. This article analyzes the design significance and value of digital media art in urban public space, its various forms of application in urban public space design, and the innovative ideas and paths that digital media art can take in urban public space to guide the future. The application and innovative methods of digital media art in urban public space design provide certain theoretical and

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29

Bureaud, Annick. "Did You Say Space Art? Leonardo's Commitment to Space Art, 35 Years On." Leonardo 38, no. 5 (2005): 374–75. http://dx.doi.org/10.1162/leon.2005.38.5.374.

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30

Nilasari, Nindita, Tofan Dwi Hardjanto, and Wiwik Retno Handayani. "CHILD-GENDERED MENTAL SPACES TRIGGERED BY SPACE BUILDERS REFLECT ART PSYCHOTHERAPY CLIENTS’ CHILDHOOD EXPERIENCES." SALASIKA Indonesian Journal of Gender Women Child and Social Inclusion s Studies 6, no. 2 (2024): 85–95. http://dx.doi.org/10.36625/sj.v6i2.115.

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ABSTRACT The language behaviour of clients’ reflection journey on art psychotherapy in the final stage of art psychotherapy sessions entitled ‘Reflect Interview’ reflects their childhood experiences that become a lifetime memory. In this paper, the topic of how the clients can construct their conceptual ideas of childhood experiences is discussed under a cognitive approach to language study. This article argues that: 1) There are REFLECTION SPACE, REALITY SPACE, DEPICTION SPACE and POSSIBILITY SPACE of the child-gendered mental spaces in the reflection journey on art psychotherapy, 2) Su

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31

Wang, Jing. "To Make Sounds inside a “Big Can”: Proposing a Proper Space for Works of Sound Art." Leonardo 49, no. 1 (2016): 38–47. http://dx.doi.org/10.1162/leon_a_00895.

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Creators of sound art consider sound as both a tangible reality and a conceptual term; sound art works rely on and use listening as their predominant mode of perception. The author contextualizes sound art in China and problematizes existing venues where sound art is performed and exhibited. She then suggests that a proper space is necessary to certain works of sound art, and she proposes the “big can” as an ideal venue, based upon previous experience with existing art spaces as well as the unique nature of sound art. Sound generates space; now it is time to make space for sound.

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32

Vermeylen, Saskia. "Space Art as a Critique of Space Law." Leonardo 54, no. 1 (2021): 115–24. http://dx.doi.org/10.1162/leon_a_01990.

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This article traces the shared history of space law and space art, putting a spotlight on the work of African artists who retell the history and future of space travel from the perspective of the African archive, producing a more inclusive history for humanity than that produced by the seemingly lofty ideals of national and international space laws.

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33

Doyle, Denise. "Art, Virtual Worlds and the Emergent Imagination." Leonardo 48, no. 3 (2015): 244–50. http://dx.doi.org/10.1162/leon_a_00708.

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This paper presents a framework for the emergent imagination that arises out of the transitional spaces created in avatar-mediated online space. Through four categories of transitional space identified in artworks created in virtual worlds, the paper argues that, as the virtual remains connected to time, the imagination becomes connected to space. The author’s analysis of the imaginative effects of artworks presented in the two virtual (and physical) gallery exhibitions of the Kritical Works in SL project demonstrates a mode of artistic exploitation of the particular combination of user-genera

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34

Demshina, A. Yu. "Dialogic building art space as a form of cultural development." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 44–48. http://dx.doi.org/10.30725/2619-0303-2017-2-44-48.

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Art space have become quite common. They play an important role in shaping the cultural landscape and the development of the modern city. On the example of the creative spaces of St. Petersburg and the author’s personal experience can be traced to the capacity and features of these locations. You can highlight a typology of self-organized commercial and non-commercial art spaces by type of activity, identify diff erences in communication and contemporary art spaces with informal organizations of the Soviet period. The difference of the art space of the events of contemporary art seems less pre

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35

Zilberstein, Shira. "Space Making as Artistic Practice: The Relationship between Grassroots Art Organizations and the Political Economy of Urban Development." City & Community 18, no. 4 (2019): 1142–61. http://dx.doi.org/10.1111/cico.12458.

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Standard narratives on the relationship between art and urban development detail art networks as connected to sources of dominant economic, social, and cultural capital and complicit in gentrification trends. This research challenges the conventional model by investigating the relationship between grassroots art spaces, tied to marginal and local groups, and the political economy of development in the Chicago neighborhood of Pilsen. Using mixed methods, I investigate Do–It–Yourself and Latinx artists to understand the construction and goals of grassroots art organizations. Through their engage

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36

Gueorguiev, Manol, and Adrian Anagnost. "Pandemic Design: Art, Space, and Embodiment." Design Issues 38, no. 3 (2022): 5–19. http://dx.doi.org/10.1162/desi_a_00688.

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Abstract The COVID-19 pandemic has fundamentally altered experiences of space and engendered new spatial design tactics. This article discusses DIY pandemic design tactics used by U.S. microbusinesses to reshape embodied experiences of interior retail spaces, in relation to contemporary artworks. Over the course of the pandemic, large corporations developed standardized, mass-produced designs for pandemic wayfinding and interior demarcation. In contrast, many microbusinesses used DIY pandemic design tactics having formal qualities and phenomenological implications that resemble precedents in c

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37

Ogawa, Go. "Effect art that dominates space." Cardiovascular Diagnosis and Therapy 8, no. 5 (2018): 694–95. http://dx.doi.org/10.21037/cdt.2018.01.05.

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38

Šnédarová, Jana. "Zlín: Public Art and Space." International Journal of Social, Political and Community Agendas in the Arts 17, no. 2 (2022): 35–49. http://dx.doi.org/10.18848/2326-9960/cgp/v17i02/35-49.

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39

Sedlovskiy, Anatoliy Anatolievich. "Space in Art and Cinema." Journal of Flm Arts and Film Studies 3, no. 2 (2011): 58–64. http://dx.doi.org/10.17816/vgik3258-64.

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Cinema is a synthetic art form which has accumulated the experience of theatre, literature, music and fine arts. The article investigates the influence of painting on cinema in terms of filling the screen space and artistic assimilation of the linear, spatial and tonal perspective, light and color treatment.

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40

Miller, Ron. "The Archaeology of Space Art." Leonardo 29, no. 2 (1996): 139. http://dx.doi.org/10.2307/1576350.

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41

Sokolovska, S. F. "ART SPACE OF CONTEMPORARY DRAMA." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 1(94) (July 7, 2021): 49–57. http://dx.doi.org/10.35433/philology.1(94).2021.49-57.

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Sokolovska S. F.The study of the modern literary situation, in particular, new trends in drama, is a relevant task for literary criticism. The work of playwrights of the 90s of the twentieth century deserves special attention since the literary practice of this generation of artists caused a number of significant shifts in various formally substantive areas of drama. Indicative in this respect are the works of the modern German author R. Schimmelpfennig. In the process of literary study of the play «The Golden Dragon», an analytical model of a literary text has been built, which is correlated

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42

Jewesbury, Daniel. "Public Space & 'Public Art'." Circa, no. 98 (2001): 13. http://dx.doi.org/10.2307/25563756.

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43

Steiner, Jon. "The art of space management." Journal of Facilities Management 4, no. 1 (2006): 6–22. http://dx.doi.org/10.1108/14725960610644195.

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44

Cartlidge, Edwin. "The art of space-time." Science 359, no. 6371 (2018): 41. http://dx.doi.org/10.1126/science.aar6576.

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45

jagodzinski, jan. "The Prosthetic Space of Art." Qualitative Inquiry 21, no. 6 (2015): 510–19. http://dx.doi.org/10.1177/1077800415581887.

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46

Eaton, Lynn. "Hospital finds space for art." BMJ 336, no. 7652 (2008): 1037.2–1037. http://dx.doi.org/10.1136/bmj.39566.641979.4e.

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47

KAWAGUCHI, Yoichiro. "The Art in Virtual Space." Journal of the Society of Mechanical Engineers 102, no. 971 (1999): 619–20. http://dx.doi.org/10.1299/jsmemag.102.971_619.

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48

Dunkley, Wayne. "Creating Space: Web Art Practice." Leonardo 38, no. 4 (2005): 276. http://dx.doi.org/10.1162/leon.2005.38.4.276.

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49

Harley, Ralph. "Edward Steichen's modernist art-space." History of Photography 14, no. 1 (1990): 1–22. http://dx.doi.org/10.1080/03087298.1990.10441018.

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50

Jarvis, Michael John. "Finding a space for art." International Journal of Education Through Art 10, no. 1 (2014): 85–98. http://dx.doi.org/10.1386/eta.10.1.85_1.

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