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Relevant bibliographies by topics / University of New Mexico. Art Museum

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Academic literature on the topic 'University of New Mexico. Art Museum'

Author: Grafiati

Published: 4 June 2021

Last updated: 24 February 2023

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Journal articles on the topic "University of New Mexico. Art Museum"

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Fagerström, Linda, and Elisabet Haglund. "Mexican Art in Lund’s Museum of Sketches, Sweden." Art and Architecture, no. 42 (2010): 34–43. http://dx.doi.org/10.52200/42.a.2j2whvgo.

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The Mexican collection at Lund’s Museum of Sketches in is an unusual and valuable collection both from a Mexican and from an international perspective: the collection was built by Gunnar Bråhammar in the late 1960s, and counts works by David Alfaro Siqueiros, Diego Rivera, José Clemente Orozco and Juan O’Gorman but also Francisco Eppens, Rufino Tamayo, González Camarena, Raul Angiano, Leopoldo Méndez and Desiderio Xochitiotzin. The article discusses especially “the New Deal” by Rivera, “the Image of Mexico” at the Museo Nacional de Antropología e Historia in Mexico City by Morado Chavez, and “

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Russell, Marilyn, and Thomas E. Young. "Selected resources on Native American art." Art Libraries Journal 33, no. 2 (2008): 34–38. http://dx.doi.org/10.1017/s0307472200015339.

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This review of selected paper and electronic resources on Native American art describes what is available at the Haskell Indian Nations University Library and Archives in Lawrence, Kansas; the Institute of American Indian Arts Library and Archives in Santa Fe, New Mexico; the H.A. & Mary K. Chapman Library and Archives at the Philbrook Museum of Art in Tulsa, Oklahoma; and the Billie Jane Baguley Library and Archives at the Heard Museum Library in Phoenix, Arizona. These four institutions develop and maintain resources and collections on Native American art and make the information they co

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Barlow, CK. "Thomas DeLio: amounts. to. John Donald Robb Composers' Symposium/University Art Museum, University of New Mexico, Albuquerque, New Mexico, USA, 30 March–2 April 2003." Computer Music Journal 27, no. 4 (2003): 91–93. http://dx.doi.org/10.1162/comj.2003.27.4.91.

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Miramontes Olivas, Adriana, Juan De Dios Mora, and Deborah Caplow. "Exodus to the “Promised Land:” Of the Devil and Other Monsters in Juan de Dios Mora’s Artworks." Contemporaneity: Historical Presence in Visual Culture 6 (November 30, 2017): 58–72. http://dx.doi.org/10.5195/contemp.2017.222.

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Juan de Dios Mora is a printmaker and a senior lecturer at The University of Texas at San Antonio, where he began teaching painting, drawing, and printmaking in 2010. Mora is a prolific artist whose prints have been published in numerous venues including the catalogs New Arte Nuevo: San Antonio 2010 and New Art/Arte Nuevo San Antonio 2012. In 2017, his work was exhibited at several venues, including the McNay Art Museum in San Antonio, Texas in Juan Mora: Culture Clash (June 8–August 13, 2017) and at The Cole Art Center, Reavley Gallery in Nacogdoches, Texas, in Juan de Dios Mora (organized by

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Caballero-Ochoa, Andrea Alejandra, Alejandra Martínez-Melo, Carlos Andrés Conejeros-Vargas, Francisco Alonso Solís-Marín, and Alfredo Laguarda-Figueras. "Diversidad, patrones de distribución y “hotspots” de los equinoideos irregulares (Echinoidea: Irregularia) de México." Revista de Biología Tropical 65, no. 1-1 (2017): 42. http://dx.doi.org/10.15517/rbt.v65i1-1.31666.

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Diversity, distribution patterns and hotspots of the irregular equinoids (Echinoidea: Irregularia) of Mexico.Irregular echinoids can be found in almost all marine habitats, from the polar to the equatorial regions, and from the intertidal zone to great depths; some species have a cosmopolitan distribution, but most are geographically restricted, and all live in very particular habitats to a greater or lesser degree in Mexico has 153 species distributed within the coastal limits. Geographic barriers (terrestrial barriers and large ocean basins) and ocean current patterns act as primary modulato

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Robb, Matthew H. "Lords of the Underworld—and of Sipán: Comments on the University Museum and the Study of Ancient American Art and Archaeology." Latin American and Latinx Visual Culture 1, no. 1 (2019): 115–20. http://dx.doi.org/10.1525/lavc.2019.000007e.

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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and ear

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Freter, AnnCorinne. "MULTISCALAR MODEL OF RURAL HOUSEHOLDS AND COMMUNITIES IN LATE CLASSIC COPAN MAYA SOCIETY." Ancient Mesoamerica 15, no. 1 (2004): 93–106. http://dx.doi.org/10.1017/s0956536104151109.

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A variety of models contribute to our understanding of Classic Maya sociopolitical structure. Few, however, consider the variability that existed within Maya systems, and the temporal and spatial scales of analysis have often been limited, especially with respect to the commoner segment of society. One model that has focused attention on this component of the Maya is thesian otot, described by Charles Wisdom (1940The Chorti Indians of Guatemala. University of Chicago Press) and introduced for the Copan Maya by William Fash (1983 Deducing Social Organization from Classic Maya Settlement Pattern

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Head, Genevieve N. "Before Pecos: Settlement Aggregation at Rowe, New Mexico. Linda S. Cordell. 1999. Anthropological Papers, No. 6, Maxwell Museum of Anthropology, University of New Mexico, Albuquerque, ix + 219 pp., 56 figures, 26 tables, references cited, index. $28.00 (paper). ISBN 0-912535-12-1." American Antiquity 65, no. 3 (2000): 595–96. http://dx.doi.org/10.2307/2694554.

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Cannon, William J. "Rock Art in New Mexico. Polly Schaafsma. Museum of New Mexico Press, Santa Fe, 1992. vii + 175 pp., photographs, maps, works cited, index. ’29.95 (paper). - A Field Guide to Rock Art Symbols of the Greater Southwest. Alex Patterson. Johnson Books, Boulder, Colorado, 1992. xv + 256 pp., illustrations, indexes, bilblography. ’15.95 (paper). - Indian Rock Art of the Columbia Plateau. James D. Keyser. University of Washington Press, Seattle, 1992. 139 pp., photographs, maps, figures, glossary, bibliography, index. ’35.00 (cloth); ’17.50 (paper)." American Antiquity 59, no. 2 (1994): 379–80. http://dx.doi.org/10.2307/281943.

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Creel, Darrell. "Life on the Periphery: Economic Change in Late Prehistoric Southeastern New Mexico. John Speth, editor. 2004. Museum of Anthropology, University of Michigan Michigan, Ann Arbor, xvii + 429 pp. $44.00 (paper), ISBN 0-915703-54-8." American Antiquity 70, no. 2 (2005): 395–96. http://dx.doi.org/10.2307/40035715.

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Dissertations / Theses on the topic "University of New Mexico. Art Museum"

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Gilbert, Christine M. "The Ogden Museum of Southern Art University of New Orleans development internship." ScholarWorks@UNO, 2002. http://scholarworks.uno.edu/aa_rpts/24.

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This detailed report of a development internship at The Ogden Museum of Southern Art, University of New Orleans, includes an organization profile, a description of the activities performed during the internship, an analysis of an organizational management challenge, a proposed resolution to the management challenge, and a discussion of the short and long range effects of the internship. The roles and responsibilities of a board of directors, and the qualities sought in board members, are important aspects of the analysis and resolution of the management challenge.

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Osborne, Michelle. "The curator's room visceral reflections from within the museum : exegesis [thesis] submitted to Auckland University of Technology in partial fulfillment of the degree of Master of Art and Design, 2004." Full thesis. Abstract, 2004.

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Bryson, Karen Margaret. "An Egyptian Royal Portrait Head in the Collection of the Michael C. Carlos Museum at Emory University." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/31.

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This thesis discusses a small, red granite, Egyptian royal portrait head in the collection of the Michael C. Carlos Museum in Atlanta, Georgia. The head is determined to be a fragment from a group depicting the king in front of the monumental figure of a divine animal, probably a ram or baboon. Scholars have attributed the head to the reigns of various New Kingdom pharaohs, including Horemheb and Seti I, but on more careful examination its style demonstrates that it dates to the reign of Ramesses II (1304-1237 B.C.).

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Hansen, Paul. "The Immaculate Perception project : exhibition creation and reception in a New Zealand regional art museum : thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Museum Studies, Massey University, Palmerston North, New Zealand." Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/249.

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Internationally, museums have increasingly come under review since Bourdieu's (1969) research focused on art gallery visiting patterns and cultural codes. Museums exist within a post-modern milieu that demands a more democratic approach to defining their cultural and educational role within society. Over the last decade in particular, art museums, criticised for being elitist and insular within their communities, have been challenged to be more inclusive, accessible and relevant to their local communities.The literature suggests that a review of the core mission and the culture of museums is r

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McCredie, Athol. "Going public : New Zealand art museums in the 1970s : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Museum Studies at Massey University." Massey University. School of Maori Studies, 1999. http://hdl.handle.net/10179/250.

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This thesis examines the reputation the 1970s have as a renaissance era for New Zealand public art galleries.It does this by considering the formation and development of galleries in the period as well as their approaches. Public and community involvement, energy, innovation, activism, and engagement with contemporary New Zealand art are key areas of approach investigated since increases in each are associated with galleries in the seventies.The notion of a renaissance is also particularly associated with provincial galleries. In order to examine this idea in detail three "provincial" gallerie

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"Creating to Compete: Juried Exhibitions of Native American Painting, 1946-1960." Master's thesis, 2012. http://hdl.handle.net/2286/R.I.14852.

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abstract: In the middle of the 20th century, juried annuals of Native American painting in art museums were unique opportunities because of their select focus on two-dimensional art as opposed to "craft" objects and their inclusion of artists from across the United States. Their first fifteen years were critical for patronage and widespread acceptance of modern easel painting. Held at the Philbrook Art Center in Tulsa (1946-1979), the Denver Art Museum (1951-1954), and the Museum of New Mexico Art Gallery in Santa Fe (1956-1965), they were significant not only for the accolades and prestige th

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""Nuestro joven" San Felipe de Jesus: A new look at the martyr murals in Cuernavaca Cathedral, Morelos, Mexico." Tulane University, 2005.

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In this thesis I examine the significance of Mexico's first saint, San Felipe de Jesus, relative to the nascent movement toward independent Mexican statehood, as revealed in a close analysis of the murals in the Cuernavaca cathedral in which he appears. I place the murals within their historical context relative to contemporaneous artistic examples, and present an analysis of the murals with special attention paid to three complex issues: their authorship, style and date. Furthermore, I explore the socio-political importance of the cult of Felipe de Jesus in the history of creole colonial Mexi

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Books on the topic "University of New Mexico. Art Museum"

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Murder at the art museum: A novel. ABQ Press, 2016.

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University of New Mexico. Art Museum. Nineteenth-century photographs at the University of New Mexico Art Museum. University of New Mexico Art Museum, 1989.

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Antreasian, Garo Z. Garo Z. Antreasian: A retrospective, 1942-1987, the Albuquerque Museum, University Art Museum, University of New Mexico, Roswell Museum and Art Center. Albuquerque Museum, 1988.

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University of New Mexico. Art Museum. Highlights of the collections. University of New Mexico Art Museum, 2001.

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University of New Mexico. Art Museum. Catalogue raisonne: Tamarind Lithography Workshop, Inc., 1960-1970. University of New Mexico Art Museum, 1989.

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Cameron, Julia Margaret Pattle. For my best beloved sister, Mia: An album of photographs by Julia Margaret Cameron : an exhibition of works from the Hochberg-Mattis collection organized by the University of New Mexico Art Museum. The Museum, 1994.

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Barbe, Awalt, and Rhetts Paul Fisher, eds. The Regis santos: Thirty years of collecting 1966-1996. LPD Press, 1997.

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Museum of Fine Arts (Museum of New Mexico). Artists of 20th-century New Mexico: The Museum of Fine Arts Collection. Museum of Fine Arts, 1992.

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Niagara University. Castellani Art Museum. New additions '93 at the Castellani Art Museum of Niagara University. Castellani Art Museum, Niagara University, 1993.

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Ardren, Traci. The Jaguar's Spots: Ancient Mesoamerican Art from the Lowe Art Museum, University of Miami. UNIVERSITY OF MIAMI, LOWE ART MUSEUM, 2010.

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Book chapters on the topic "University of New Mexico. Art Museum"

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Duffy, Damian. "Remasters of American Comics: Sequential Art as New Media in the Transformative Museum Context." In Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0033.

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This chapter includes a 2009 essay by multi-faceted University of Illinois at Urbana-Champaign professor Damian Duffy highlighting the curatorial philosophies that avoid confronting the conceptual challenge of bringing the comics medium into the museum by attempting to fit comics, to one extent or another, into traditional fine art frameworks, including as examples the 2003 Contemporary Art Museum Houston exhibition Splat, Boom, Pow!, Masters of American Comics 2005, UCLA Hammer Museum and Museum of Contemporary Art, Comic Release! from Carnegie Mellon University, and his own curatorial work in partnership with John Jennings on the exhibitions Other Heroes: African American Comics Creators, Characters, and Archetypes. This chapter discusses new media, if we still need canons, comics versus fine art, comics as non-art, lone genius versus collaboration, display tactics, narrative, and racial inclusion.

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Brice, William R. "Fossil illustrations in three dimensions: Ward’s models at Cornell University." In The Evolution of Paleontological Art. Geological Society of America, 2022. http://dx.doi.org/10.1130/2021.1218(15).

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ABSTRACT Some fossil examples are rare, but the educational value of such samples is undeniable. One way around this dilemma, and one that was popular in the late 1800s and early 1900s, was to have students study 3-D models; this solution was used by many universities, among them Cornell University. One of the main, but not the only, suppliers of such models was Ward’s Natural Science Establishment of Rochester, New York, USA, which was founded in 1862 by Henry Augustus Ward (1834–1906). Even today the use of virtual, computer-generated 3-D models in classroom laboratories indicates how important 3-D visualization continues to be. But a computer image cannot be held in one’s hands, so the use of 3-D printer technology allows students to create their own physical models. However, none of these technologies can totally replace seeing and working with actual specimens or life-sized reproductions. Thus, museum displays are still an important aspect of educational activity for both students and the general public. This chapter explores how Cornell University made use of the models purchased from Ward’s in the late 1800s and the fate of some of these replicas.

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Bończuk-Dawidziuk, Urszula. "Collecting Antiquities at the Archaeological Museum of the Royal University in Wrocław in the Second Half of the Nineteenth Century." In Collecting Antiquities from the Middle Ages to the End of the Nineteenth Century: Proceedings of the International Conference Held on March 25-26, 2021 at the Wrocław University Institute of Art History. Ksiegarnia Akademicka Publishing, 2021. http://dx.doi.org/10.12797/9788381385862.11.

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In the second half of the nineteenth century, the museum at the University in Wrocław (formerly Breslau) was reorganised. As a result, the institution was granted a new name and a new – archaeological – profile. The changes were initiated by August Rossbach (1823–1898), professor of classical philology and archaeology, director of the museum from 1856 to 1898. Through his efforts, the university museum started to professionally specialise in Antiquity. Above all, Rossbach significantly developed the collection of copies of ancient art, which were used as research and teaching tools. Through his efforts, the collection of the Archaeological Museum grew rich with some original pieces, including the collection of Eduard Schaubert (1804–1860), terracotta figurines from Taranto, and ceramic vessels from the collection of Carlo d’Ottavio Fontana of Trieste. The museum also took care of a coin collection catalogued by a famous numismatist, Julius Friedländer (1813–1884), upon Rossbach’s request. Thanks to Rossbach, in the 1870s, the museum boasted one of the largest German university collections in archaeology. At that time, the institution was an important research, educational, and cultural centre in Wrocław.

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Bradley, Richard. "Life and Art." In The Idea of Order. Oxford University Press, 2012. http://dx.doi.org/10.1093/oso/9780199608096.003.0008.

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Not many prehistoric houses survive above their foundations. The three dimensions of the buildings are collapsed (sometimes literally) into the two dimensions of the site plan. That may be all that can be discovered by archaeology, and yet the missing component could have been all-important. The change of perspective is revealing, for the treatment of the walls and roof may be just as significant as the layout of the floor. Few excavated houses are as well preserved as those in the Near East, and there are many parts of Europe in which the question cannot be investigated directly. Here, the existence of ceramic models suggests an alternative approach. During 2010, two exhibitions featuring the arts of the first farmers took place in Britain. They ran simultaneously, one in Oxford and the other in Norwich. They also complemented one another geographically and thematically. The Lost World of Old Europe was organized by The Institute for the Study of the Ancient World at New York University (Anthony 2010), and Unearthed by the Sainsbury Centre for Visual Arts of the University of East Anglia (Bailey et al 2010). The display at the Ashmolean Museum in Oxford featured artefacts from Romania, Moldova, and Bulgaria, whilst that in Norwich was restricted to finds of figurines from Romania, Albania, and Macedonia, although they were compared with others from the Jomon Culture of Japan. Not surprisingly, the Neolithic and Chalcolithic objects spanned a long period of time and were associated with several regional groups. Some were elaborately decorated, while others were entirely plain. The artefacts shown in Norwich were all depictions of the human form, but those in Oxford also included pottery vessels, stone artefacts, and early metalwork. One small group of objects was especially striking, for it consisted of ceramic models of domestic buildings. In one case, from the Cucuteni Culture of Romania, a group of figurines had been discovered inside a miniature house of this kind. The evidence of such models is revealing. There were examples in which the outer wall was highlighted by angular designs, as if to emphasize the rectilinear outline of the building, but there was also a model in the Oxford exhibition which showed a structure with a similar ground plan whose exterior was covered by curvilinear motifs.

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Smalls, Shanté Paradigm. "Wild Stylin’." In Hip Hop Heresies. NYU Press, 2022. http://dx.doi.org/10.18574/nyu/9781479808199.003.0002.

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This chapter positions Martin Wong (1946–1999) as a foundational influential figure in New York City’s early hip hop culture. As the founder of the Museum of American Graffiti (July 1989–October 1989), Wong established the first permanent (though short-lived) home for hip hop art and ephemera. Through an investigation of and engagement with Wong’s archives at the Downtown Collection (New York University), the Museum of the City of New York, and the PPOW Gallery, I frame Wong’s art and life as a fulcrum around which the burgeoning hip hop street art cultures and the downtown arts scene pivoted.

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Simaika, Samir, and Nevine Henein. "Recognition." In Marcus Simaika. American University in Cairo Press, 2017. http://dx.doi.org/10.5743/cairo/9789774168239.003.0019.

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This chapter discusses the recognition of Marcus Simaika's work both at home and abroad. Among other accolades, Simaika was made an Honorary Fellow of the Society of Antiquaries of London, a Fellow of the British Society of Archaeologists, and a Member of the British Royal Geographic Society in 1917. In 1923, M. Georges Foucart, the Ministère de l'instruction publique et des cultes of France, presented to the library of the Coptic Museum all their publications on Coptic studies. Similar donations were made by the authorities of the British Museum. Furthermore, Simaika was invited to lecture at Cambridge University in 1924 on Coptic art and archaeology and at the University of Stockholm on Coptic art. On February 20, 1947, three years after Simaika's death, a ceremony was held at the Coptic Museum to inaugurate a new hall and to unveil the bust of Marcus Pasha Simaika.

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Tate, Carolyn E. "The Shape of Place: The Lower Pecos Canyonlands as a <jats:italic>Chicomoztoc</jats:italic>?" In Making “Meaning”: Precolumbian Archaeology, Art History, and the Legacy of Terence Grieder. University of Houston Libraries, 2022. http://dx.doi.org/10.52713/pgwg7974.

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In the classes he taught at the University of Texas at Austin, Terence Grieder insisted that while answers or “knowledge” evolve as new data are generated, a well-formulated question can lead researchers to consider a wider range of relevant evidence. In this paper, a series of questions structures an inquiry as to whether the formal similarity between the “crenellated arch” motif found in Archaic Period (c. 1700 bce - 400 ce) rock art pictographs along the Pecos and Río Grande Rivers of southwest Texas, and the 16th century Nahua (Aztec) depictions of <jats:italic>Chicomoztoc</jats:italic>—the “Place of Seven Caves”, a mythical place of origin—from throughout later Classic Period central Mexico, are more than mere coincidence.

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Curtis, Cathy. "A Taste of Success." In Alive Still. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190908812.003.0005.

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In 1956, Nell joined the new Poindexter Gallery. Reviewers praised her first show. The following year, she was awarded a residency at Yaddo (the artists’ colony in Saratoga Springs, New York), meeting poets Jane Mayhall and May Swenson. Afterward, she traveled to Mexico City and Oaxaca, where she worked at night by the light of an oil lamp. On her return, she spent several weeks at the MacDowell Colony in New Hampshire, followed by another stay at Yaddo in December, when her fellow residents were poets Barbara Guest and Jean Garrigue. Nell spent the summer of 1958 in a rented studio in Gloucester. It was there that ARTnews writer Lawrence Campbell visited her to write a major piece about her work on Harbor and Green Cloth, illustrated with photographs by her friend Rudy Burckhardt. A second version of this painting was purchased by the Whitney Museum of American Art.

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Głowa, Anna, and Joanna Sławińska. "The Collection of Late Antique Textiles from Egypt Acquired in 1893 by the Archaeological Cabinet of the Jagiellonian University in the Context of the Early Interest in “Coptic” Weaving." In Collecting Antiquities from the Middle Ages to the End of the Nineteenth Century: Proceedings of the International Conference Held on March 25-26, 2021 at the Wrocław University Institute of Art History. Ksiegarnia Akademicka Publishing, 2021. http://dx.doi.org/10.12797/9788381385862.13.

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Since 1883, when Theodor Graf (1840–1903) exhibited in Vienna a collection of Late Antique textiles from Egypt, a new trend in collecting antiquities was born. In the next decades, thousands of such textiles got to museums and private collections throughout the world. Some treated them as curiosities, others as examples of ancient craft to serve educational purposes, still others valued them as objects that enriched the knowledge of the daily life and culture in the centuries of the transformation of the ancient civilization. One of the oldest collections of this kind in Poland is an assembly of 52 textiles acquired in 1893 by professor Józef Łepkowski (1826–1894) for the Archaeological Cabinet of the Jagiellonian University (currently the Jagiellonian University Museum). The paper presents the Archaeological Cabinet’s collection of textiles on a broader background of the 19th-century interest in this specific kind of objects.

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Serafini, Isabella. "The Memorial to the Visit of the Queen of Poland Maria Casimira Sobieski in the Musei Capitolini: History, Style, Setting up and Dismantling over Two Centuries." In Collecting Antiquities from the Middle Ages to the End of the Nineteenth Century: Proceedings of the International Conference Held on March 25-26, 2021 at the Wrocław University Institute of Art History. Ksiegarnia Akademicka Publishing, 2021. http://dx.doi.org/10.12797/9788381385862.19.

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The research focuses on the new attribution to Lorenzo Ottoni (1648–1736) of the commemorative monument dedicated to the visit to the Capitoline Hill of Queen Maria Casimira Luisa de la Grange d’Arquien Sobieski (1641–1716), considering the different transfers connected to the everchanging taste and settings of the museum halls during the last two centuries; with a new hypothesis on its original display in the Sala degli Orazi e Curiazi of Palazzo dei Conservatori, on the Capitolone Hill.

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Conference papers on the topic "University of New Mexico. Art Museum"

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Ramírez Rivera, Jessica Beatriz. "Prácticas Feministas en Museos y sus Redes Sociales en México: una respuesta ante la pandemia. Feminist Practices in Museums and their Social Networks in Mexico: a response to the pandemic." In Congreso CIMED - I Congreso Internacional de Museos y Estrategias Digitales. Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/cimed21.2021.12631.

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El objetivo de esta comunicación es presentar algunas prácticas feministas que han hecho uso de las tecnologías en los museos de México, así como reflexionar en torno a la soberanía digital, los derechos culturales que se ejercen en las redes sociales y si estos se inscriben en la “internet feminista” desde los museos.En los últimos años, los movimientos feministas en México han tomado relevancia política, en ámbitos públicos y de intervención social. Muchas de ellas, han sido juzgadas negativamente por hacer uso de bienes culturales, lo cual ha desencadenado opiniones polarizadas.Si bien, la

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Lima, Cláudia, Susana Barreto, and Rodrigo Carvalho. "Interpreting Francis Bacon's Work through Contemporary Digital Media: Pedagogical Practices in University Contexts." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001420.

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This paper describes two pedagogical practices based on Francis Bacon’s graphic Works. One in a curricular context, held at Escola Superior Artística do Porto, and the other in an extracurricular context held at Universidade Lusófona do Porto (both in Portugal), which aimed to stimulate students towards a critical analysis and interpretation of Francis Bacon's work and its recreation using contemporary digital media. This initiative was integrated in the Graphic Works of Francis Bacon exhibition at the World of Wine Museum in Vila Nova de Gaia and was the result of a collaboration between this

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Pietrogrande, Enrico, and Alessandro Dalla Caneva. "Study for a new definition of the southern side of Prato della Valle in Padua, Italy." In 24th ISUF 2017 - City and Territory in the Globalization Age. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6287.

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The southern limit of thePrato della Valle space in the southern part of Padua's historical centre, inItaly, was continuously delimited by the boundary wall of the Santa Maria dellaMisericordia convent until the early twentieth century. Its presence was one ofthe elements that more than a century ago inspired the enlightened proposal byDomenico Cerato, a design professor at the University of Padua who had beeninspired by Andrea Memmo, the Superintendent of the Serenissima Republic ofVenice. The straight and continuous limit was replaced by the discontinuousarchitecture of the Foro Boario entra

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Guedes, Pedro. "Healing Modern Architecture’s Break with the Past: Musings around Brazilian Fenestration." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. SAHANZ, 2022. http://dx.doi.org/10.55939/a3990prwvx.

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This paper focuses on the role of Brazilian architects in emancipating Modern Architecture from overly limiting orthodoxies. In particular, this study follows direct, if weak influences across the Pacific to Australia and stronger ones across the South Atlantic to Southern Africa, where Brazilian ideas found fertile ground without being filtered through Northern Hemisphere mediations. Official delegations of architects from Australia and South Africa went to Brazil seeking inspiration and transferable ideas achieved mixed success. Central to the theme of this essay is a recently discovered and

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Allameh, Seyed M., and Roger Miller. "On the Application of Biomimicked Composites in 3D Printed Artifacts." In ASME 2017 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/imece2017-70770.

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Application of 3D printing to works of art is not new. However, with the advent of larger and more affordable 3D printers, it is possible to fabricate works of art including statues, sculptures, and architectural structures from biomimicked composites. Made of hard ceramic and soft polymer with or without reinforcement, these composites have shown to be much tougher than their monolithic counterparts. The use of biomimicking will increase the durability and strength of such artifacts. In this study, a newly developed architectural 3D printer is used to create works of art using concrete, with

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Orozco Varela, Luis Pablo, Mariana Blanco Ortiz, Gustavo Campos Fonseca, María Cubillo González, and Javier Nuñez Marín. "El Museo Dialoga: el museo y la sociedad en comunicación crítica." In Congreso CIMED - II Congreso Internacional de Museos y Estrategias Digitales. Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/cimed22.2022.15643.

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El Museo Dialoga: el museo y la sociedad en comunicación crítica. Autores: MSc. Luis Pablo Orozco Varela[1] Sra. Mariana Blanco Ortiz[2] Sr. Gustavo Campos Fonseca[3] Sra. María Cubillo González[4] Sr. Javier Nuñez Marín[5]. Resumen La ponencia consiste en compartir y analizar en profundidad el quehacer comunicativo del Museo de Cultura Popular de la Escuela de Historia de la Universidad Nacional de Costa Rica, específicamente a partir de la iniciativa de diálogo virtual denominada “#elmuseodialoga”, la cual ha potencializado la presencia del museo en las redes sociales académicas y ha contrib

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Lendvay, Miklós. "Országos Könyvtári Platform – központi könyvtári szolgáltatások együttműködő rendszere." In Networkshop. HUNGARNET Egyesület, 2020. http://dx.doi.org/10.31915/nws.2020.10.

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In 2020/21, the collaborative distributed Hungarian library platform will be completed and introduced, revolutionizing library services with state-of-the-art IT solutions. The Hungarian National Library Platform (HNLP) puts the national library services, the common catalog and interlibrary loan, the services of the ISBN office, the digitization cooperation on a new foundation, and integrates the Hungarian National Namespace and opens up entity-based data connections beyond the library world. It expands the range of services provided to readers, providing legitimate digital content to both libr

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Cueva, Marcos, Andre´ L. C. Fujarra, Kazuo Nishimoto, Lui´s Quadrante, and Ana Paula Costa. "Vortex-Induced Motion: Model Testing of a Monocolumn Floater." In 25th International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2006. http://dx.doi.org/10.1115/omae2006-92167.

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The vortex-induced vibrations - VIV have been studied for several fields of engineering due to its occurrence in different structures, such as electrical cables, industries chimneys and offshore risers. Although available an extensive literature describing its fundamental issues, these vortex-induced phenomena still deserve investigation, particularly in the offshore platforms installed in regions with high current speed. Recently, the Vortex-Induced Motions - VIM, a particular case of vortex-induced vibration with high magnitude of response amplitude, have been observed in SPAR platforms inst

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