Bibliografías temáticas / Gallerists

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Literatura académica sobre el tema "Gallerists"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 1 de febrero de 2022

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Artículos de revistas sobre el tema "Gallerists"

Sharafjahan, Rozita, Anahita Ghabaian, Maryam Majd, Masoumeh Mozaffari, Combiz Moussavi-Aghdam y Keivan Moussavi-Aghdam. "In Tehran: A Conversation with Iranian Gallerists". Art Journal 77, n.º 4 (2 de octubre de 2018): 6–25. http://dx.doi.org/10.1080/00043249.2018.1549873.

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Batinic, Bernad. "Information Strategies of Fine Art Collectors, Gallerists, and Trendsetters". Empirical Studies of the Arts 23, n.º 2 (julio de 2005): 135–52. http://dx.doi.org/10.2190/5nk2-terb-2a4r-qmd3.

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The objective of this article is to identify the strategies and information sources used by gallery owners and people who are particularly interested in the art market to obtain information about artists and their works, and how they use this information to evaluate an artist's significance. The survey was carried out at the international art fair “Art de Cologne.” One hundred three people participated in this study, of which 25 were gallery owners. The descriptive data analysis reveals many differences between the gallery owners and people interested in the art market. In a second step, a model for trendsetting in the field of arts is proposed. According to this proposal, such a model should be able to identify significant artists of the future at an early point in their career. Key features of trendsetters are their pronounced information-seeking behavior and their intensive use of the media to inform themselves about art. They are able to categorize innovative artists into the correct existing art-trends, and furthermore they are interested in telling people in their sphere about their discoveries. The results of this study show a significant positive correlation between trendsetting and knowledge about art. Major trendsetters inform themselves about arts using specialist journals and the Internet, but reject friends and acquaintances as sources of information.

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Coslor, Erica, Brett Crawford y Andrew Leyshon. "Collectors, Investors and Speculators: Gatekeeper use of audience categories in the art market". Organization Studies 41, n.º 7 (16 de diciembre de 2019): 945–67. http://dx.doi.org/10.1177/0170840619883371.

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This research examines gatekeepers’ categorization work to assess and sort audience members. Using a multi-sited ethnography and interpretivist qualitative lens, we explore how high-value art gallerists sort buyers via categories, but also encourage conformity with preferred audience categories, both for artistic consecration goals and to discourage disruptive speculation. Categories served as reference points, with preferred and problematic buyer categories providing a discursive socialization tool, but also informing gatekeeping strategies, for example, problematic behaviors and buyer categories led to value-protecting gatekeeping and exclusion, often justified in moral terms. Monitoring continued throughout the relationship, with decisions considered both fair and necessary for gallerists’ professional practice. Gatekeeping decisions included long-term temporal considerations, prompting strategies including ‘placement’, monitoring and audience recategorization. This extends gatekeeping beyond simply passing muster at the ‘gate’. We also illustrate the dynamic and fluid nature of hidden categories, which provide gatekeepers with heightened abilities to punish perceived wrongdoing.

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Lee, Phil. "Art Photography and the Changing Map of Contemporary Art: From Gallerists, to Collectors, and to Museums". Journal of the Association of Western Art History 42 (28 de febrero de 2015): 255. http://dx.doi.org/10.16901/jawah.2015.02.42.255.

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Asquith, Wendy y Leon Wainwright. "A Moment to Celebrate? Art of the Caribbean at the Venice Biennale". Journal of Curatorial Studies 9, n.º 1 (1 de abril de 2020): 40–68. http://dx.doi.org/10.1386/jcs_00010_1.

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In recent years, the sporadic presence of various Caribbean national pavilions at the Venice Biennale – Jamaica (2001), Haiti (2011), Bahamas (2013), Grenada (2015, 2017, 2019), Antigua and Barbuda (2017, 2019), Dominican Republic (2019) – has on each occasion been almost unanimously applauded as marking some sort of moment of ‘arrival’ or ‘becoming’ for artists of the Caribbean, and for the local institutional structures and professionals that surround them. This article critically explores what the gains are of such a presence beyond the fleeting ‘Venice effect’ – mega-hyped exposure to international audiences, curators, gallerists and other market actors. The alleged benefits-for-all of contemporary cultural exchange, in an expanding globalizing field such as Venice, are by no means shared equally, and such discourses gloss over layers of uneven privilege embedded within the institution.

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Brandellero, Amanda. "Inside and Outside the Market for Contemporary Art in Brazil, through the Experience of Artists and Gallerists". Arts 9, n.º 4 (4 de noviembre de 2020): 113. http://dx.doi.org/10.3390/arts9040113.

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In this paper, I seek to extend our understanding of global art markets by focusing on the relationships between different art world agents and their perceived responsibilities and roles in a market considered locally ‘incipient’ and emergent on the global scene. For this purpose, I draw on over 50 interviews with art gallerists, independent art spaces and visual artists represented by them, living in São Paulo and Rio de Janeiro, the two largest clusters of the contemporary art market in Brazil, at a time of market expansion and internationalisation. In an incipient market, two main functions are considered important: Developing the commercial circuit and opening up the market, and; enhancing the value of art in society. Such functions occur against the backdrop of a large and complex country, where the ‘eixo’ (axis) of the main cities offers greater opportunities for visibility and valorization. The findings help to elucidate the perceptions of responsibility and roles in a context of market development, as well as the emerging boundaries between culture and the market. Moreover, the paper explores the emerging dynamics and strategies of art world development as they are enacted, offering insights into how art market actors perceive their roles and responsibilities, as well as the strategies available to them to support market consolidation.

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Fuller, Martin G. "Less than Friends, More than Acquaintances: Artists, Markets and Gallery Openings in New York". International Review of Social Research 5, n.º 2 (1 de octubre de 2015): 120–29. http://dx.doi.org/10.1515/irsr-2015-0011.

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Abstract This article describes one way that unknown and ‘emerging’ artists with limited exhibition history or reputation take steps towards developing their careers. Artists cannot apply directly for exhibition opportunities, therefore they develop social associations with gallerists that are described as being ‘kind-of-friendly-with’. Using a descriptive ethnographic narrative drawn from a case study of artists as they navigate an evening of commercial gallery openings in New York’s Chelsea district, it is argued that establishing a career in contemporary visual art depends on the ability to render one’s self visible to other participants in an art world. Rather than viewing the symbolic value of artworks as antagonistic with the economic art market, artists seek to establish social associations in which different forms of value are interrelated. In conclusion it is suggested that this is an art world in which the ‘economic world reversed’ is inversed.

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Lang, Sabine y Björn Ommer. "Reconstructing Histories: Analyzing Exhibition Photographs with Computational Methods". Arts 7, n.º 4 (9 de octubre de 2018): 64. http://dx.doi.org/10.3390/arts7040064.

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Displays of art in public or private spaces have long been of interest to curators, gallerists, artists and art historians. The emergence of gallery paintings at the beginning of the seventeenth century and the photographic documentation of (modern) exhibitions testify to that. Taken as factual documents, these images are not only representative of social status, wealth or the museum’s thematic focus, but also contain information about artistic relations and exhibition practices. Digitization efforts of previous years have made these documents, including photographs, catalogs or press releases, available to public audiences and scholars. While a manual analysis has proved to be insufficient, because of the sheer number of available data, computational approaches and tools allowed for a greater access. The following article describes how digital images of exhibitions, as released by the New York Museum of Modern Art in the fall of 2016, are studied with a retrieval system to analyze in which artistic contexts selected artworks were presented in exhibits.

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Duarte, Adelaide. "The Periphery Is Beautiful: The Rise of the Portuguese Contemporary Art Market in the 21st Century". Arts 9, n.º 4 (9 de noviembre de 2020): 115. http://dx.doi.org/10.3390/arts9040115.

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The aim of this article is to characterise the rise of the Portuguese contemporary art market since the beginning of the 21st century, within the broader context of the global contemporary art market. Against a theoretical backdrop of the globalisation of markets for contemporary art and the concept of the periphery, I will analyse Lisbon’s art scene as a local phenomenon that is looking for an international recognition. In doing so, I am focusing on two working hypotheses. The first relates to the efforts made by the gallery sector to raise the international profile of its artists, giving them sought-after widespread recognition, which encompasses a historical perspective on the situation and a prominent role for the younger generation of gallerists. The second intends to observe the role played by private collectors and their contributions towards boosting the art scene, assembling their contemporary art collections and making them available to the public. I conclude that this has led to an upsurge in the contemporary art market in connection with the growing number of validating structures, museums, and art centres, due mainly to the fact that the shortcomings of the public sector are being made up for by private initiatives.

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Loinjak, Igor. "Umjetnost u službi generiranja viška vrijednosti – o umjetničkom djelu kao (specifičnom) obliku kapitala". Život umjetnosti, n.º 104 (julio de 2019): 144–58. http://dx.doi.org/10.31664/zu.2019.104.09.

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According to one of Marx’s classifications, human labour can be divided into productive and unproductive: productive labour produces and accumulates surplus value, while unproductive does not. In his analysis of the field theory, Pierre Bourdieu implied that, by its very existence, a work of art possesses value that generates the accumulation of capital on the market. In this sense, an artistic artefact is considered to be the result of productive labour. Bourdieu writes that, in the intellectual (artistic, scientific) field, priority is given to the symbolic capital, which can be converted into the economic one at any time. Although it is derived from Marx’s theses, Bourdieu’s concept of capital is not consistently based on the Marxist idea of the exploitation of surplus value. However, the French sociologist admits that all capital is essentially based on the economic one, because all other types of capital can be converted into the economic one, which brings Bourdieu’s theory back into the framework of Marxist economism. Fields are arenas in which participants clash over different types of capital, but they are also spaces of struggle for legitimacy and the right to monopolise. On the basis of insights into the relationships of gallerists, curators and critics with the work of artists belonging to the new artistic practice in Croatia in the late 1960s and 1970s, this article will examine the extent to which Marx’s theses on productive and unproductive labour correlate to Bourdieu’s concept of the artistic field and its capital, and how artistic products of the new artistic practice can justify their existence as products of productive labour.

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Tesis sobre el tema "Gallerists"

Horňáková, Lucia. "Uplatnenie umelca na trhu výtvarného umenia v Českej republike". Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-199746.

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This diploma thesis considers the theme of the art market in Czech republic. The cooperation between gallerists and artists is not following the professional tradition seen in American and European galleries. Those led the artist to present his artworks exclusively in one and only institution in return for services gallery offer him. The change of attitude in needed in both, galerists' and artists' parts. In my diploma thesis, I am confronting their opinions so I can create a model of their cooperation leading to a professionalization of the relationship.

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Bradford, Hugh. "Marketing Scotland's museums and galleries". Thesis, University of Strathclyde, 1992. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=21499.

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The objective of this research is to document sound marketing practice in Scotland's museums and galleries. This research was undertaken due to the increasing interest in marketing by museums themselves, and by those who fund museums. Before the research began there was a suspicion that the transfer of consumer goods marketing concepts to museums might be inappropriate, and that there was a lack of empirically based studies of marketing in museums. The literature review confirmed these suspicions. An explanatory approach using qualitative methods was therefore appropriate. Examples of sound museum marketing practice were identified by use of a panel of experts. The research was essentially an ethnographic study of what curators (managers) in the successful museums actually do. Whilst the techniques used are well established in many of the social sciences they are less common both in marketing and in museum studies. The research also made use of "Ethnograph" software for the analysi s of interview data, one of the first occasions this has been done in marketing research in the UK. The research revealed an inductively derived model identifying three important areas that successful museum curators have to attend to, namely, the management of the museum, the management of its reputation, and the management of its relationships with the museum's patron (funding) groups. It is this latter split that provides the key difference between museum marketing and commercial marketing. The research went on to discover how these three categories are dynamically related in a "spiral of success", and how the model can be used as a diagnostic tool to identify areas requiring attention. The other principal findings relate to the characteristics of successful curators. The research has implications for policy in areas including training, and the whole relationship between museums and those who fund them. In particular the idea that marketing will necessa is refuted.

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Onsal, Basak. "Emergence Of Art Galleries In Ankara A Case Study Of Three Pionerring Galleries In The 1950s". Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12608100/index.pdf.

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This thesis attempts to analyze the emergence of private art galleries in Turkey by focusing on specifically the three art galleries, namely Gallery Milar, Helikon Society&rsquo
s Gallery, and Society of Artlovers&rsquo
Gallery that were opened in Ankara during 1950s. To this aim, both the artistic movements and governmental policies regarding the artistic field are mentioned from a historical point of view. Interviews, analysis of relevant literature, examining periodical magazines, and daily newspapers constitute the main sources of data collecting. In conclusion, in the light of our findings it is decided that the formation of art market and emergence of art galleries in Turkey have quite different characteristics from the western example as a result of its own social, cultural and economic dynamics in the historical frame.

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Liu-Devereux, Pauline Carol. "Galleries and drift : mapping undermined landscapes". Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3283.

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This is a creative/critical project, a collection of narratives inspired by critical discourse that map a local landscape and chart a personal topography. As a result of interdisciplinary study, particularly in the area of cultural geography and map making, I found new ways to explore ideas about Cornwall’s heritage, her undermined landscape and expand upon issues raised in my MA dissertation. Recognising the instability and partiality of maps provided insight and mapping became method as newly revealed pathways and subtly shifting perspectives inspired fresh narratives which challenge stereotypical images of Cornwall and reveal the sometimes dark realities of rurality. The more personal narratives in this collection reveal a different undermined landscape: ideas about romantic constructions and inheritance led to explorations of nostalgia, memory and identity. Life events became life writing and many of these narratives reflect a search for direction and for a missing person: the artist I once was. But there are other disappearances in these narratives and the final chapter gives an account of family events that had to be recorded but which raise ethical questions that life writers cannot ignore. We must take responsibility for the way we write about vulnerable subjects and recognise what this writing tells us about ourselves: that, as Nancy K. Miller has suggested, by exposing our lives to others through life writing, we too become vulnerable subjects. The essay accompanying these narratives reflects upon process and finds ways of giving an account of the writer writing. It uncovers contemporary theories that are embedded in the narratives and I describe it as an orouboros, a creature that continuously eats its own tail. Like the text it subjects to scrutiny, the essay is a life narrative, an autobiographical act that merges creative and critical thinking and this amalgamation has been my aim since my studies began.

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Jonsson, Håkan. "Guarding art galleries with one guard". Licentiate thesis, Luleå tekniska universitet, Datavetenskap, 1995. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-17769.

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Jun, Jinhee. "Perceived constraints to art museums/galleries participation". Texas A&M University, 2003. http://hdl.handle.net/1969.1/1173.

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Research on constraints to leisure and recreation participation has focused on various types of activities in which people would like to participate, are currently participating, or have stopped participating. However, little attention has been made to identify constraints associated with art activities participation. The objectives of this study were to 1) identify factors which limit people's attendance to art museums/galleries; 2) address the issue of the internal heterogeneity between two constrained leisure behaviors; 3) reveal the role of previous participation, interest in future participation, gender and lifecycle in the perception of constraints to art activities; and 4) show the validity of segmentation criteria which are previous participation, interest in future participation, gender and lifecycle. Data from the Survey of Public Participation in the Arts (SPPA 1997) was used in this study. Total sample was divided into four categories by previous participation and interest in future participation. Further, the categories 'participants with interest' and 'non-participants with interest' were sub-divided based on gender and lifecycle. The results revealed that time, cost, access and availability were considered as the most significant constraints to art activity participation across all segments. However, the array and intensity of constraints differed depending on the types of constrained leisure. In addition, different types of constraints were experienced with different intensity by segments defined by previous participation, interest in future participation, gender and lifecycle. The analyses demonstrated that previous participation, interest in future participation, gender and lifecycle were important segmentation criteria in constructing homogeneous groups with respect to perceived leisure constraints.

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Schellenberg, Kristian. "On the design of rockfall protection galleries /". Zürich : ETH, 2008. http://e-collection.ethbib.ethz.ch/show?type=diss&nr=17924.

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Elwick, Alex Robert. "Non-formal learning in museums and galleries". Thesis, University of Newcastle upon Tyne, 2013. http://hdl.handle.net/10443/2081.

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A ubiquitous, but under-researched, phenomenon, non-formal learning represents all learning that does not fall under the heading of ‘formal’ that is to say that it is not an organised event or package; bound by a prescribed framework; marked by the presence of a designated teacher; or result in the award of a qualification. This research primarily aimed to investigate how non-formal learning takes place in museums and galleries: specifically exploring the differences and characteristics of non-formal learning between different groups of people. As well as an extensive literature review which draws together theoretical approaches from a wide range of fields/disciplines, the thesis outlines the development of a methodological tool entitled ‘The Dual Model’ which is a combination of models of skill acquisition and cultural capital. This model represents a new approach to the investigation of non-formal learning and this thesis explores its direct implementation as an evaluative tool. Implicit learning (a form of learning which is unconscious, either whilst it is taking place or in terms of the knowledge subsequently created) represents a focal point for the research. By scrutinising contradictions in visitors’ accounts of their museums visits, possible cases of implicit learning in context are identified and evaluated; a unique contribution to an understanding of how people learn non-formally without being aware of doing so. The research confirms a typology of non-formal learning which differentiates between explicit and implicit components and also provides evidence that there are identifiably different sets of characteristics which individuals might exhibit based upon their cultural capital, their relationship with the art field and their level of skill acquisition.

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Fosh, Lesley. "Gifting personalised trajectories in museums and galleries". Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/38013/.

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The designers of digital technologies for museums and galleries are increasingly interested in facilitating rich interpretations of a collection’s exhibits that can be personalised to meet the needs of a diverse range of individual visitors. However, it is commonplace to visit these settings in small groups, with friends or family. This sociality of a visit can significantly affect how visitors experience museums and their objects, but current guides can inhibit group interaction, especially when the focus is on personalisation towards individuals. This thesis develops an approach to tackling the combined challenge of fostering rich interpretation, delivering personalised content and supporting a social visit. Three studies were undertaken in three different museum and gallery settings. A visiting experience was developed for pairs of visitors to a sculpture garden, drawing upon concepts from the trajectories framework (Benford et al., 2009). Next, a study at a contemporary art gallery investigated how gift-giving could be used as a mechanism for personalisation between visitors who know each other well. Finally, the third study, at an arts and history museum, explored how gift-giving could be applied to small groups of friends and family. The thesis reports on how the approach enabled visitors to design highly personal experiences for one another and analyses how groups of visitors negotiated these experiences together in the museum visit, to reveal how this type of self-design framework for engaging audiences in a socially coherent way leads to rich, stimulating visits for the whole group and each individual member. The thesis concludes by recommending the design and gifting of museum and gallery interpretation experiences as a method for providing deeply personalised experiences, increasing visitor participation, and delivering meaningful group experiences.

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Romberg, Camilla, My Kristiansson y Hilda Gustafsson. "En gallerias kommersiella miljö : Besökarens individuella upplevelse". Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-54636.

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Titel - En gallerias kommersiella miljö: Besökarens individuella upplevelse Ämne - Företagsekonomi, kandidatuppsats på C-nivå Författare - Hilda Gustafsson, My Kristiansson & Camilla Romberg Handledare - Dan Halvarsson Frågeställningar - Hur är den individuella besöksupplevelsen i en gallerias kommersiella miljöer, utifrån människans fem sinnen och dess multisensoriska sinnesupplevelse? Vad påverkar den individuella besöksupplevelsen i en gallerias kommersiella miljöer, utifrån människans fem sinnen och dess multisensoriska sinnesupplevelse? Syfte - Syftet med denna studie är att studera och skapa förståelse för hur besökaren uppmärksammar en gallerias kommersiella miljö, samt hur denna miljö påverkar besökarens individuella upplevelse utifrån sinnesmarkandsföring. Detta då få studier inom ämnet i sinnesmarkandsföring har genomförts. Metod - Studien innefattar ett induktivt synsätt och en kvalitativ metod. Studien har fokuserat på två torg som finns i gallerian Emporia i Malmö. Där har det utförts semistrukturerade intervjuer vid insamling av empirisk data. Analys - Utgångspunkten i studien är sinnesmarknadsföring, som handlar om hur olika sinnen enskilt samt i kombination har stimulerat besökare och påverkat deras upplevelse i en galleria. Empirin har sedan sammankopplats med teorier inom sinnesmarknadsföring. Slutsats - Båda torgen väckte stor uppmärksamhet hos intervjupersonerna. Generellt upplevdes det Gröna torget som positivt för intervjupersonerna medan det Blå torget upplevdes som både positivt och negativt.
Title - The servicescape in a shopping mall: The visitors’ individual experience Subject - Business Economics, bachelor thesis Authors - Hilda Gustafsson, My Kristiansson & Camilla Romberg Tutor - Dan Halvarsson Presentation of the questions - How is the visitors’ individual experience in a shopping mall, on the basis of the human five senses and multisensory? What affects the visitors’ individual experience in a shopping malls servicescape, on the basis of the human five senses and multisensory? Purpose - The purpose of this paper is to study and create an understanding of how the visitor recognizes the shopping mall produced servicescapes, and how this servicescapes affects the visitor's individual experience based on sensory marketing. This is because few studies are conducted on the subject sensory marketing. Method - The study includes an inductive approach and a qualitative method. The study have been focused on two servicescapes that are in the shopping mall Emporia in Malmö, where there were used semi-structured interviews to gather empirical data. Analyse - The starting point was based on sensory marketing. It was about how different senses individually and combined had stimulated visitors and affected their experience in a shopping mall. The empirical data has then been linked with theories of sensory marketing. Conclusions - Both of the servicescapes attracted attention from the interviewed people. The interviewed people at the Green servicescape had a positive experience and at the Blue servicescape, did they have both positive and negative experience.

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Libros sobre el tema "Gallerists"

En gallerists erindringer: Innfall og novellette. Oslo: Ars, 1985.

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Women gallerists in the 20th and 21st centuries. Ostfildern: H. Cantz, 2008.

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Elowitch, Annette. Barridoff Galleries contemporary. Portland, Me: Barridoff Galleries, 1989.

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Association, Museums. Museums & galleries yearbook. London: Museums Association, 2004.

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Paisley Museum and Art Galleries. Paisley Museum & Art Galleries. Paisley: Renfrew District Council Museums & Art Galleries Service, 1985.

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Museums and art galleries. Mulgave, Vic., Australia: Images, 2003.

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Parliament, Great Britain. Museums and Galleries Bill. London: Stationery Office, 2003.

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Andrew, Duncan. London museums & galleries guide. London: Nicholson, 1992.

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Managing museums and galleries. London: Routledge, 1997.

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Caulfield, Patrick. Exhibition at Waddington Galleries. London: Waddington Galleries, 1985.

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Capítulos de libros sobre el tema "Gallerists"

Fasche, Melanie. "Practices of Making Value—Evidence from Gallerists". En SpringerBriefs in Geography, 15–26. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-54030-6_3.

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Blauer, Ettagale. "Craft Galleries". En Contemporary American Jewelry Design, 33–44. Boston, MA: Springer US, 1991. http://dx.doi.org/10.1007/978-1-4757-4854-3_3.

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Lerner, Jaime. "Ramblas and Galleries". En Urban Acupuncture, 105–8. Washington, DC: Island Press/Center for Resource Economics, 2014. http://dx.doi.org/10.5822/978-1-61091-584-7_32.

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de Rezende, Pedro J., Cid C. de Souza, Stephan Friedrichs, Michael Hemmer, Alexander Kröller y Davi C. Tozoni. "Engineering Art Galleries". En Algorithm Engineering, 379–417. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-49487-6_12.

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Efrat, Alon y Sariel Har-Peled. "Guarding Galleries and Terrains". En Foundations of Information Technology in the Era of Network and Mobile Computing, 181–92. Boston, MA: Springer US, 2002. http://dx.doi.org/10.1007/978-0-387-35608-2_16.

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West, Adrian W. "Create Collages and Galleries". En Practical HTML5 Projects, 227–44. Berkeley, CA: Apress, 2012. http://dx.doi.org/10.1007/978-1-4302-4276-5_9.

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Contou-Carrère, Carlos. "Configurations and Galleries varieties". En Buildings and Schubert Schemes, 111–21. Boca Raton : Taylor & Francis, 2016. | “A CRC title.”: CRC Press, 2017. http://dx.doi.org/10.1201/9781315367309-6.

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Calè, Luisa. "Blake and the Literary Galleries". En Blake and Conflict, 185–209. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230584280_11.

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Illeris, Helene. "Adult Education in Art Galleries". En Adult Education, Museums and Art Galleries, 229–41. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-687-3_19.

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STELLWEG, CARLA. "Gallerists and the Marketplace". En Taking AIM!, 89–99. Fordham University Press, 2011. http://dx.doi.org/10.2307/j.ctt13wzxxq.14.

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Actas de conferencias sobre el tema "Gallerists"

Hendricks, Zayd, Jakkaphan Tangkuampien y Katherine Malan. "Virtual galleries". En the 2nd international conference. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/602330.602333.

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Marks, J., W. Ruml, K. Ryall, J. Seims, S. Shieber, B. Andalman, P. A. Beardsley et al. "Design galleries". En the 24th annual conference. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/258734.258887.

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Santoso, Markus y Christian Jacob. "Holobody galleries". En VRIC '16: Virtual Reality International Conference - Laval Virtual 2016. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2927929.2927944.

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Lee, Brian, Savil Srivastava, Ranjitha Kumar, Ronen Brafman y Scott R. Klemmer. "Designing with interactive example galleries". En the 28th international conference. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1753326.1753667.

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Fosh, Lesley, Steve Benford, Stuart Reeves y Boriana Koleva. "Gifting personal interpretations in galleries". En CHI '14: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2556288.2557259.

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Abe, Hironobu y Koichiro Hatanaka. "Current Status of Horonobe URL Project in Construction Phase". En ASME 2010 13th International Conference on Environmental Remediation and Radioactive Waste Management. ASMEDC, 2010. http://dx.doi.org/10.1115/icem2010-40069.

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Resumen

The Horonobe URL project has been pursued by JAEA (Japan Atomic Energy Agency) to establish and demonstrate site characterization methodologies, engineering technologies, and safety assessment methodologies for HLW geological disposal in relevant geological environment with sedimentary rock and saline groundwater distributing in the Horonobe area, Hokkaido, Japan. In the Horonobe URL project, surface-based investigation phase (Phase I) has already completed in the fiscal year 2005, and then construction phase (Phase II) has initiated in the same year. Currently, construction of the underground facilities such as shafts/galleries which were designed in Phase I, investigations of the geological environment in the excavated shafts/galleries and confirmation of applicability of engineering technologies have been alternately carried out as Phase II activities of the project. During the construction so far, monitoring for the construction safety such as convergence measurements, tunnel wall observation, sampling of groundwater and rock, investigations for evaluating excavation damaged/disturbed zone (EDZ/EdZ) along shafts/galleries were carried out. In addition, a shotcrete construction test and a grout injection test by using low alkaline cement material were carried in the horizontal galleries. In this paper, status of the URL construction and research activities mentioned above are outlined as the current achievement of the Horonobe URL project.

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Schmidt, Tobias. "High CRI Spotlight for Art Galleries". En Solid-State and Organic Lighting. Washington, D.C.: OSA, 2013. http://dx.doi.org/10.1364/soled.2013.dt3e.2.

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Sharji, Elyna Amir, Lim Yan Peng, Peter Charles Woods y Koo Ah Choo. "Designing a Framework for Multimedia Galleries". En International Conference of Innovation in Media and Visual Design (IMDES 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201202.080.

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"Galleries, Libraries, Archives and Museums (GLAM)". En 2021 7th International Conference of the Immersive Learning Research Network (iLRN). IEEE, 2021. http://dx.doi.org/10.23919/ilrn52045.2021.9459241.

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Porzucek, Slawomir. "UNDERGROUND GRAVITY SURVEY FOR EXPLORATION UNKNOWN GALLERIES". En 14th SGEM GeoConference on SCIENCE AND TECHNOLOGIES IN GEOLOGY, EXPLORATION AND MINING. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgem2014/b11/s5.083.

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Informes sobre el tema "Gallerists"

MacCarthy, Brian, Hamish Carr y Gunther H. Weber. Topological Galleries: A High Level User Interface for Topology Controlled Volume Rendering. Office of Scientific and Technical Information (OSTI), junio de 2011. http://dx.doi.org/10.2172/1050440.

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