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Journal articles on the topic 'Works art'

Author: Grafiati

Published: 28 May 2022

Last updated: 31 July 2025

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1

Cowan, Sandra. "ART WORKS: MONEY (Art Works). Katy Siegel , Paul MattickART WORKS: AUTOBIOGRAPHY (Art Works). Barbara Steiner , Jun Yang." Art Documentation: Journal of the Art Libraries Society of North America 24, no. 1 (2005): 57. http://dx.doi.org/10.1086/adx.24.1.27949360.

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2

Camp, Julie Van. "Creating Works of Art from Works of Art: The Problem of Derivative Works." Journal of Arts Management, Law, and Society 24, no. 3 (1994): 209–22. http://dx.doi.org/10.1080/10632921.1994.9941769.

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3

Bonaventura, Paul. "ART WORKS - PLACE." Art Book 12, no. 3 (2005): 41–42. http://dx.doi.org/10.1111/j.1467-8357.2005.00575.x.

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4

Kurz, Terri L., and Barbara Bartholomew. "Works of Art." Mathematics Teaching in the Middle School 18, no. 9 (2013): 559a—559b. http://dx.doi.org/10.5951/mtms.18.9.559a.

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5

Baynes-Cope, A. B. "Works of art." Journal of Applied Chemistry and Biotechnology 24, no. 4-5 (2007): 297. http://dx.doi.org/10.1002/jctb.2720240418.

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6

O’Donoghue, Dónal. "Works of Art and Works of Scholarship in Art Education." Studies in Art Education 62, no. 2 (2021): 107–13. http://dx.doi.org/10.1080/00393541.2021.1917265.

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7

David-West, Haig. "Uli Art: Master Works, Recent Works." African Arts 29, no. 1 (1996): 71. http://dx.doi.org/10.2307/3337452.

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8

Harries, Karsten. "Heidegger on Art and Art Works." International Studies in Philosophy 21, no. 3 (1989): 126–27. http://dx.doi.org/10.5840/intstudphil198921334.

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9

Lilly, Reginald, and Joseph J. Kockelmans. "Heidegger on Art and Art Works." Journal of Aesthetics and Art Criticism 44, no. 4 (1986): 411. http://dx.doi.org/10.2307/429793.

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10

Nazarov, Esbolsın, and Iqlasbay Moyanov. "WORKS OF FOLK ART FOLK ART." MODERN SCIENCE AND RESEARCH 3, no. 1 (2024): 118–23. https://doi.org/10.5281/zenodo.10464033.

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11

Davidov, Yunus Jummayevich. "THE USE OF AMBIGUOUS WORDS IN WORKS OF ART." MODERN SCIENCE AND RESEARCH 3, no. 6 (2024): 126–29. https://doi.org/10.5281/zenodo.11520738.

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12

Young, James O. "Destroying Works of Art." Journal of Aesthetics and Art Criticism 47, no. 4 (1989): 367. http://dx.doi.org/10.2307/431136.

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13

Walker, John A. "Art Works as Commodity." Circa, no. 32 (1987): 26. http://dx.doi.org/10.2307/25557167.

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14

WILLIAMS, ALAN. "Astonishing works of art." Art Book 17, no. 3 (2010): 13–14. http://dx.doi.org/10.1111/j.1467-8357.2010.01111.x.

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15

Zembylas, Tasos. "Controversial works of art." Communicating/Doing Politics 3, no. 3 (2004): 385–407. http://dx.doi.org/10.1075/jlp.3.3.03zem.

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Art is a public affair because its meaning is always collectively negotiated. Thus, public conflicts that are triggered by works of art are essentially political and inevitable. The analysis of these conflicts points to the effective limits of acceptability of art in a given social constellation. The following paper investigates two types of art conflicts: (1) conflicts that, at first glance, revolve around the interpretation and the aesthetic appreciation of an artwork; and (2) conflicts that explicitly call into question the legal legitimacy of publication of an artwork. This investigation a

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16

Irving, Dianne. "Using works of art." Practical Pre-School 2000, no. 24 (2000): 31. http://dx.doi.org/10.12968/prps.2000.1.24.40933.

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17

Irving, Dianne. "Using works of art." Practical Pre-School 2010, no. 108 (2010): 11. http://dx.doi.org/10.12968/prps.2010.1.108.45760.

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18

YOUNG, JAMES O. "Destroying Works of Art." Journal of Aesthetics and Art Criticism 47, no. 4 (1989): 367–74. http://dx.doi.org/10.1111/1540_6245.jaac47.4.0367.

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19

Carlson, J. David. "Olympic-art-inspired works." Visual Inquiry 11, no. 1 (2022): 67–74. http://dx.doi.org/10.1386/vi_00072_1.

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20

Sharpe, R. A. "Worlds of art and works of art." Cogito 3, no. 2 (1989): 122–27. http://dx.doi.org/10.5840/cogito19893242.

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21

Absamatovich, Rasulov Murad, and Abdurashidkhonova Muslimahon Bahodirhon qizi. "WORKS OF ART PICTURED IN WOOD." Frontline Social Sciences and History Journal 02, no. 04 (2022): 206–12. http://dx.doi.org/10.37547/social-fsshj-02-04-23.

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About the stages of creation of wood carving, which is a type of applied art. This article gives an idea of where the art of wood carving has been used in our country since ancient times, the history of their development.

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22

Flores, T., L. Ponce, B. Moreno, M. Arronte, M. Fernández, and C. García. "Nd:YAG laser in art works restoration." Revista de Metalurgia 34, no. 2 (1998): 98–100. http://dx.doi.org/10.3989/revmetalm.1998.v34.i2.668.

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23

Drobnick, Jim. "Bottles of Art, Works of Alcohol." Gastronomica 18, no. 4 (2018): 54–70. http://dx.doi.org/10.1525/gfc.2018.18.4.54.

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Alcohol has gained a notable prominence in contemporary art, particularly in artists’ bars and other convivial situations at biennials and art fairs. What happens, though, when an artwork features alcohol that cannot or is not meant to be drunk? If the point of drink in contemporary art involves engaging spectators in sensorial, embodied encounters, what remains of the specialness of alcohol when it stays in the bottle? This article examines artists’ multiples and distillation projects where drinking is teasingly possible but downplayed. In these works, partaking is less important than the ine

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24

BÜLBÜL, Handan. "Appropriation Method in Visual Art Teacher Education Painting Art Studio Course." International Education Studies 16, no. 4 (2023): 77. http://dx.doi.org/10.5539/ies.v16n4p77.

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This research is a case study aiming to reveal the experiences of art students towards the activity of &ldquo;reproduction through appropriation&rdquo;. During the activity process, students were firstly informed about appropriation and the art of appropriation, especially the works in which two works of art were appropriated by integrating them, and each student was asked to identify two works of art to be appropriated. Students made sketches by establishing relational links between the two works they chose. In the last stage, students were expected to make a new artistic production.

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25

Saito, Yuriko. "Why Restore Works of Art?" Journal of Aesthetics and Art Criticism 44, no. 2 (1985): 141. http://dx.doi.org/10.2307/430516.

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26

Lyas, Colin, and Randall R. Dipert. "Artifacts, Art Works, and Agency." Journal of Aesthetics and Art Criticism 52, no. 3 (1994): 367. http://dx.doi.org/10.2307/431442.

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27

F.T., Zhumazhanova, and Koptyleuova D.T. "art continuity in religious works." Journal of Oriental Studies 79, no. 4 (2016): 182–87. http://dx.doi.org/10.26577/jos-2016-4-908.

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28

Maulenov, A. A., and N. K. Matbek. "Neomythology in works of art." Keruen 74, no. 1 (2022): 160–69. http://dx.doi.org/10.53871/2078-8134.2022.1-12.

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The article draws attention to the role of mythology in the literature of the twentieth century, particularly in postmodernism. It is asserted that the use of myth allows you to achieve various artistic goals: create images, convey relationships. It is noted that the mythological symbolism fits well into the process of formation of intertextuality as the main feature of postmodernism. The main statements are illustrated through the work of Ch. Aitmatov on the example of the novel “When the mountains are served” (“The Eternal Bride”). The writer uses mythological plot, which is transformed and

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29

Jacobs, Jo Ellen. "Identifying Musical Works of Art." Journal of Aesthetic Education 24, no. 4 (1990): 75. http://dx.doi.org/10.2307/3333108.

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30

Van Beurden, Sarah. "Congo Art Works: Popular Painting." African Arts 51, no. 4 (2018): 94–96. http://dx.doi.org/10.1162/afar_r_00438.

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31

ananwa, Chika. "Internationalisation of benin art works." Journal of Humanity 02, no. 01 (2014): 49–60. http://dx.doi.org/10.14724/02.03.

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32

SRZEDNICKI, JAN. "On judging works of art." Theoria 34, no. 3 (2008): 245–55. http://dx.doi.org/10.1111/j.1755-2567.1968.tb00354.x.

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33

Abbott, Roselyn. "Film and culture: art works." Journal of Analytical Psychology 61, no. 5 (2016): 706–7. http://dx.doi.org/10.1111/1468-5922.12265.

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34

SAITO, YURIKO. "Why Restore Works of Art?" Journal of Aesthetics and Art Criticism 44, no. 2 (1985): 141–52. http://dx.doi.org/10.1111/1540_6245.jaac44.2.0141.

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35

Donougho, Martin, and Randall R. Dipert. "Artifacts, Art Works, and Agency." Journal of Aesthetic Education 30, no. 3 (1996): 121. http://dx.doi.org/10.2307/3333331.

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36

Palombo, Stanley R. "Tools, Works of Art, Psychoanalysis." Journal of the American Academy of Psychoanalysis and Dynamic Psychiatry 33, no. 1 (2005): 215–24. http://dx.doi.org/10.1521/jaap.33.1.215.65871.

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37

Feige, Daniel Martin. "Are Videogames Works of Art?" Journal of Aesthetics & Science of Art 71 (February 28, 2024): 266–307. http://dx.doi.org/10.17527/jasa.71.0.12.

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38

Teodora, Hubenco. "Artistic Perception of Visual Art Works - Imperative of Art Education." Journal of Educational Theory and Practice DIDACTICA PRO... 22, no. 2-3 (132-133) (2022): 20–23. https://doi.org/10.5281/zenodo.6685274.

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 The complexity of artistic perception is defined by the contradictions between subjective and objective, by the rapport between the rational and the emotional, real perceptions and creative abilities. Artistic perception is a complex matter that requires a multilayered approach: the development of perception in an emotional-logical way; the union of the act of artistic creation with the act of artistic perception; the decoding of the visual creative language through the lens of the sensibilities of the individual receptor; the manifestation of the received message by the receptor; the un

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39

Khalilov, Ilhom Isroiljonovich. "Development Of Oriental Art." American Journal of Social Science and Education Innovations 03, no. 02 (2021): 8–12. http://dx.doi.org/10.37547/tajssei/volume03issue02-02.

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The article examines the early and middle periods of the visual arts of the East. First of all, these are monumental works of art from ancient times, including frescoes found near Samarkand and Dalvarzintep, as well as the works of the great artist Kamoliddin Behzod.

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40

Wolfe, Frederick. "Nonpharmacologic therapy: What works?" Arthritis Care & Research 1, no. 3 (1988): 129–30. http://dx.doi.org/10.1002/art.1790010302.

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41

BAYRAK, Tekin, and Tolga ŞENOL. "TÜRK KÜLTÜRÜNE AİT BİRER KÜLTÜREL MİRAS OLAN SEMBOLLERİN TÜRKİYE’DE MODERN SANAT VE SONRASI DÖNEMDE RESİM SANATINDA KULLANILMASI." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 33 (2022): 57–69. http://dx.doi.org/10.31567/ssd.725.

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It is thought that in the 20th century and later period, the paintings in which the symbols of Turkish culture are used do not take place sufficiently in the literature. In this context, it is important to support the production of works within the relevant framework and to increase the recognition of existing ones. The aim of this study; To explore, understand and interpret the use of symbols, which have an important place in Turkish culture, in modern art and post-painting art in Turkey in terms of form-meaning relationship. The study was carried out according to the hermeneutic pattern in l

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42

Chang, Yongsock. "The Broadening of Art Perspectives in an Art Course of Non-Art Major Students through a Korean Art Teacher’s Asian Art Viewpoint." Asian Qualitative Inquiry Association 2, no. 1 (2023): 51–68. http://dx.doi.org/10.56428/aqij.2023.2.1.51.

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This research explores how Multicultural and Asian art affects college students in a U.S. university. The students did not major in art, and they chose art as elective subjects. The art course consisted of art theory and practice based on DBAE(Discipline-Based Art Education). In the art class, some non-white students always enrolled in the course. The researcher found that DBAE was satisfactory but sometimes inappropriate because DBAE is rooted in Western high art. The researcher changed the art studio class with a multicultural perspective, especially Asian art because he wanted to introduce

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43

Khursanova, Nargiza Bahodirovna. "UZBEK OPERA ART." EURASIAN JOURNAL OF ACADEMIC RESEARCH 2, no. 2 (2022): 396–99. https://doi.org/10.5281/zenodo.6303202.

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As a result of many years of Russian intellectuals living in Turkestan and their interest in art, a Russian opera house will be opened in Tashkent. Another major factor in the formation of the Opera House was the touring (creative tours) of the Italian opera group in Tashkent in 1900. In Tashkent, the Italians introduced operas such as "Rigoletto", "Traviata", "Troubadour", "Carmen", "Payatsi", "Faust" to Russian intellectuals. At the same time, Russian intellectuals laid the foundation for the formation of the Russian Opera House by

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44

Komatsu, Kayoko. "Art Education as Folding and Unfolding of Things." Journal of Education and Training Studies 5, no. 8 (2017): 101. http://dx.doi.org/10.11114/jets.v5i8.2520.

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This paper pays attention to the meaning of things in educational space. Students learn not only from words but also things with which they interact in the learning process. Especially in art education various things such as materials, tools, art works are indispensable. This paper tries to analyze the process of both creation and appreciation of art in the viewpoint of folding and unfolding of things. The methodology is the hermeneutic approach to the relationship between art works and viewers, materials or tools and their users, and created image and creators. In creating art works the proce

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45

Lee, Hyunjeong, and Daeheon Bae. "A Study on the Protection of Generative Art." Korea Copyright Commission 140 (December 31, 2022): 257–93. http://dx.doi.org/10.30582/kdps.2022.35.4.257.

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‘Generative Art’ is a artistic work in which some or all of the work is produced using an autonomous system programmed with algorithms; it is a field of Digital Art. This art form has existed for years, but works were not properly evaluated since it is difficult to prove what is original. However, with the advent of Non-Fungible Tokens(NFTs), the original can now be verified, and thus this art form has achieved rapid growth over the last few years. This study examined whether Generative Art can be protected by the current Copyright Act. To this end, it classified Generative Art creation based

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46

Kuryazova, D. T. "FROM HISTORY OF MINIATURE ART." American Journal Of Social Sciences And Humanity Research 03, no. 02 (2023): 22–29. http://dx.doi.org/10.37547/ajsshr/volume03issue02-04.

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This article examines the brief history and evolution of miniatures in the XIII-XVII centuries. Particular attention is paid to the comparative analysis and description of miniature works of different centuries. Also, the execution method and style of the miniature works made by the masters of different regions will be studied.

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47

Wojewoda, Ewelina, and Emilia Truskolaska. "Fałszerstwa dzieł sztuki – wybrane aspekty prawnokarne." Studia Prawnoustrojowe, no. 43 (October 26, 2019): 349–59. http://dx.doi.org/10.31648/sp.4645.

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With the practice of falsification works of art we are dealing for centuries. Basically since they just appeared. It is very difficult to determine thescale of this crime. These items are threatened by the phenomenon of counterfeiting due to the fact that they have not only the value of assets but alsothe non-pecuniary value: artistic, aesthetic and historical. Occurrence on the market of counterfeits is a serious threat fot the collectors and for a properfunctioning art market. In the Polish legal system protection of works of art against falsification ensure the regulations contained in the

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48

Eyers, Hayley. "Reusing books as works of art." ANZTLA EJournal, no. 15 (September 15, 2017): 153–61. http://dx.doi.org/10.31046/anztla.vi15.464.

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49

Cannon, R. D. "Bagpipes in English Works of Art." Galpin Society Journal 42 (August 1989): 10. http://dx.doi.org/10.2307/842621.

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50

Mitias, Michael H., and Dabney Townsend. "Aesthetic Objects and Works of Art." Journal of Aesthetics and Art Criticism 49, no. 3 (1991): 263. http://dx.doi.org/10.2307/431484.

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